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

Dear Katie,

I'm always getting overlooked for lead roles. I think I'm one of the better technicians in my class, but it's clear that my teachers don't see me as a star performer. What can I do to increase my chances of getting cast in larger parts?

—Natalia

Dear Natalia,

The good news is that being a solid technician is the foundation for everything. You're already halfway there!

It sounds like you might need to spend more time focusing on your artistry. Work on responding to the music. Play with the phrasing, so that your dancing doesn't look too "even." That's the hallmark of an exciting performer.

Think about making your movements bigger and bolder, so they're more legible and engaging from the audience. Can you reach more? Stretch your port de bras more? Focus up and out, projecting to the balcony rather than the first row.

Take every class as if you're onstage: Don't stare in the mirror too much; use your épaulement; and really perform the combinations. Soon, you'll start to see and feel a shift in your dancing—it'll become freer, more sweeping, more exciting. And hopefully your teachers will remember that when it comes time to make casting decisions!

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

Last month, a photo of two 14-year-old Black ballerinas—Ava Holloway and Kennedy George—dancing on Richmond, Virginia's Robert E. Lee statue lit up social media as Black Lives Matter protests seared through the U.S. The dancers, clad in all black, stood balanced in sous-sus with their fists raised while the statue awaited its still-anticipated toppling.

Holloway had decided to pose for photos in front of the monument after Virginia governor Ralph Northam announced its pending removal. When her mother, Amanda Lynch, uploaded the images to Facebook, a friend of local photographer Marcus Ingram asked if Lynch and Holloway would be interested in professional photos.

Upon arriving to shoot with Ingram the following morning, Holloway ran into her longtime friend Kennedy George, who was preparing for a group shoot with Holloway, other dancers and a teacher from their studio, Central Virginia Dance Academy, scheduled for later that day.

Reuters photographer Julia Rendleman spotted the dancers at the statue and photographed them. After Reuters tweeted the shot, it received thousands of likes and shares on Twitter, Facebook and Instagram.

We spoke with the dancers about the shoot, their activism, and what they want to see in the dance world.

What were some of your thoughts as you were dancing in front of the statue?

George: I felt empowered, like I was part of a greater cause; a bigger movement.

How have your lives changed since posing for the images?

Holloway: Since then, we've done a lot. We've been interviewed, taken headshots, we started a nonprofit with the other girls in the photos, a scholarship fund for dancers who look like us.

Can you talk about your nonprofit, Brown Ballerinas for Change?

Holloway: The founders of it are me, Kennedy, Sophia Chambliss and Shania Gordon. A big part of it is the Ava Holloway & Kennedy George Scholarship Fund. It pays for some of your tuition for dance and dance expenses if you can't pay for them yourself. Right now, we're working on the audition process for that and maybe in the future, we'll add ambassadors. Our partners are Brown Girls Do Ballet and another local organization, Miracles in Motion, that we've both worked with in the past.

George: The nonprofit's mission is to create advocacy, social justice, and to increase participation of underrepresented populations in ballet.

On the Brown Ballerinas for Change website, you both mention a desire to work in medicine. Is there a connection between your work as rising Black dancers and activists, and your medical aspirations?

Holloway: I think we both definitely believe that there need to be more people that advocate using their gifts and what they're good at. I'm really interested in science, and we both dance, obviously, so if we use dance as a way of protest, you can pretty much use anything. In the future, hopefully, being in the medical field can also help me advocate. And you don't see many doctors that look like me, so I think that will also help it to be diverse in the future, which is also part of a bigger picture.

George: I think the connection with medicine is giving back to the community and helping people out, helping the less fortunate.

What changes would you like to see in dance or the arts?

George: I would definitely like to see more different varieties of people.

Holloway: Hopefully ballet can change altogether and we can go away from these stereotypes we've had for years.

George: And also to make things easier for everybody, not just one group of people; to make things more accessible for everyone.

Do you have any advice for other young people who want to advocate for social change?

George: My advice would be just to know who you are, know what you stand for and be confident in that. And know that you are supported. Someone out there supports you. You are, and can be, just as powerful as anybody else. Use that, and surround yourself with people you know will help you and love you.

If online shopping has become your favorite #SocialDisDance hobby this summer, you're in luck. Just For Kix is giving away one $500 gift card and five $100 gift cards to their website to six lucky winners. Enter here by August 30th for your chance to treat yourself with a wide variety of dance shoes, practice wear, and costumes.

This offer is valid on the Just For Kix website only and does not apply to Youth Program Class fees and uniforms. Cannot be combined with other offers.

While taking all those #SocialDisDancing Zoom classes at home certainly helped keep your technique up to par, the relaxation of your daily schedule—no need to wake up early to catch a bus!—may have messed with your sleep cycle. Finding it harder than usual to get up for that Saturday morning rehearsal? Here's how to make your circadian rhythm dance to the right beat.

Cue the Sunshine, and Cut the Lights

According to the National Sleep Foundation, blue light, like the kind emitted from both the sun and all your electronic devices, has a huge effect on your natural sleep and wake cycles. That's because exposure to blue light delays your body's release of the sleep- inducing hormone melatonin. In the morning, take advantage of blue light's effect: As soon as you wake up, sit somewhere sunny indoors or go for a quick stroll outside. At night, decrease your exposure as much as possible. Using the "night-mode" setting on your devices or wearing blue-light–filtering glasses can help. But the most foolproof method is to limit all screen time at least 30 minutes before bed.

Get Your Sweat on Before Supper

Studies have shown that as little as 10 minutes of aerobic exercise during the day can help you sleep better. Most people should avoid strenuous exercise late at night, but if you can't move that 8 pm jazz class, don't sweat it. Just make sure to give yourself some screen-free time to wind down afterwards. And if you're hungry, go for something light and nutritious. Eating a heavy meal right before bed is likely to keep you awake as your body digests.

Consistency is Key

Set up morning and night routines and stick to them—even on weekends. These daily rituals signal to your body that it's time to wake up or prepare to sleep. If you're looking to shift your bedtime or morning alarm, the National Sleep Foundation recommends you do so in 15-minute increments. If you're struggling to make it through a long day, it's OK to squeeze in a nap, but try to limit it to 30 minutes or less.

Control Your Cave

Your bedroom environment plays a major role in the quality of your sleep. Whether it's morning or night, avoid doing homework, watching TV, or scrolling on your phone while you're in bed, and keep your bedroom cool, dark, and free of distractions.

The latest popular TikTok dance challenge isn't the "Renegade," or set to "Savage," by Megan Thee Stallion—it's testing how much your friends and family really know about what you do in the studio all day.

TikTok user @kayausvlogs recorded herself asking her partner to guess what common ballet terms look like based on the way they sound. The results were...mixed, to say the least—and pretty hilarious. Naturally, the trend went viral, and now dancers everywhere are testing their friends and family and posting the results. Here are some of our favorites.

@kayausvlogs

I’m actually surprised at how close he got to some of them ##ballet ##NobodyNeedsToKnow ##dancechallenge ##FashionEssentials ##GreekFreakOut ##fyp

♬ original sound - kayausvlogs

@makaila02

##duet with @kayausvlogs nice try @mmmegangraceee ##dancers ##fyp

♬ original sound - kayausvlogs

@sara6peddle

A for effort👏 ##HomeCourtDunkoff ##BeautyTutorial ##WholeNewGame ##fyp ##foryou

♬ original sound - kayausvlogs

@karlaagonzalezzzz

i woke her up for this so don’t let it flop @afernnnn ##PremiosJuventudChallenge ##NatureVibes ##SummerWorkout ##GreekFreakOut ##fyp

♬ original sound - kayausvlogs

@qtlilqt

DEAD

♬ original sound - kayausvlogs

Last night, the "World of Dance" contestants entered a new phase of the competition—and with that came their first opportunity to dance on the official "World of Dance" stage. This week turned on the lights, smoke, and effects, and the dancers brought their A-game to match. While only two of the six acts could advance to the World Finals, each performance showed off exactly why they made the top 12. Here are the two acts advancing to the finals this week, and one that narrowly missed the top of the leaderboard.

Jefferson y Adrianita

This salsa-dancing couple brought some of the most authentic chemistry of the night, but how could they not, with their son Derek (yes, named for that Derek) in the audience? Their energy was electric, their footwork crisp, and they brought tricks that even Derek had never seen done before. Neyo said a few of the lifts looked labored, but J.Lo thought they were perfectly in step. Their performance netted them a 94.3, the highest score of the night, and sent them spinning into the final round.

Géométrie Variable

The tutting trio from France continue to impress, but the judges wondered how the group could keep their very specific and unique style feeling fresh. Any reservations were blown away when the trio whipped out an umbrella and seamlessly incorporated it like a fourth dancer. The piece opted for a laid back and smooth vibe to show off the group's confidence without being overworked. A score of 94 secured them the second spot in the final round.

The Young Crew

We're not at the final round yet, and already The Young Crew have battled their way back from the edge of elimination. They were the only act in the entire contest to compete in every round so far, including winning last week's redemption duel. Their "Bohemian Rhapsody" routine was clean, but not quite enough to earn a top-two spot. Once Géométrie Variable knocked them to third place, the judges sent them home with a standing ovation.

Tune in next week when the other six semifinalists take the stage to show the judges why they deserve to compete in the World Finals!

If you're looking for a sign that 2020 might *just* be turning around, look no further than Netflix's new dance-centric film Work It. The movie comes out this Friday, August 7, and the hype is real. ICYMI, the film follows high school senior Quinn Ackerman, played by none other than Sabrina Carpenter, as she attempts to lead her dance team to a competition win in order to bolster her chances of being admitted to the college of her dreams. One small challenge: Quinn isn't a dancer.

Enter Jordan Fisher as Jake Taylor, a talented-but-troubled choreographer and dancer, to help Quinn lead the team. We had the chance to speak with Fisher about his experience on set, and why Work It just might be the dance movie we've all been waiting for.

Dance Spirit: Why should Dance Spirit readers be excited to watch Work It?

Jordan Fisher: The movie is littered with incredible talent from the dance world, that's a given—it's a dance movie. And we haven't had too many dance movies in recent history. I grew up with movies like Save the Last Dance, and Honey, and the Step Up series, even Footloose and Dirty Dancing. All of those movies informed my love and passion for film and for dance. So, I think that it's a modern dance movie is really exciting.

DS: What was it like working with Sabrina Carpenter and Liza Koshy on the film?

JF: Love them both so much. I've known Sabrina for forever. We've been friends since, like, 2013, but we've never actually worked on anything together aside from a few things we did for Disney Channel when we were both working there. So, working together on this project was really exciting for the both of us, having been longtime friends.

And I've been a fan of Liza's since her very first video on Vine, and I've followed her career ever since, so I was beyond thrilled to get to work with her. She's just a ray of sunshine—so kind, so warm, so stupidly talented, and so remarkably funny, so working with her made for some really great days on set.

DS: Do you have a favorite behind-the-scenes memory with them?

JF: Honestly, there were a couple of scenes where Laura Terruso, our director, wanted Liza to just be Liza. She would have Liza improvise, go off-script, and for me, trying to stay in character while she was doing that was the hardest acting exercise I've ever done. She is just so funny.

DS: What was it like working with choreographer Aakomon Jones?

JF: He's incredible. Aakomon is just a walking vibe, and he cultivated such a great space for us to rehearse in. He's so full of love, so full of passion where dance is concerned, and even more where people are concerned, and it made for such a great environment on set.

DS: Do you have a personal favorite part of the film?

JF: There's this great dance sequence that I got to be a part of that D-Trix actually choreographed for this one specific moment: Sabrina and Liza's characters find a video online while they're trying to look up information on my character, Jake Taylor. They come across this dance video that "Jake" choreographed, but it was all D-Trix, of course, and it's so awesome. It was some of the most challenging dancing I did in the movie—we did some stunting and tricking that I hadn't done in such a long time, but D-Trix was just like, 'I know you can do this because I know you, so let's just throw it, let's just make it happen,' and I'm so proud of how it turned out.

DS: What was it like working with D-Trix on this movie?

JF: It was such a blast. We have a ton of mutual friends, from the "So You Think You Can Dance" world and just from being a part of the dance industry, but we've never actually had a chance to work together before. We clicked immediately, and understood each other, so we had a ton of fun putting that number together. We actually added that scene in as a part of reshoots, after we wrapped on principal photography, so I had to fly back from New York—we spent a full day in the studio, learning the routine, and then shot it the next day, and had so much fun doing it.

DS: What was the biggest challenge for you working on this project?

JF: A couple of things—I was actually working on a few different projects at the same time, so that was a new experience for me, having to fly in and out so much. I had to work really hard to stay engaged with the film because of that, so that was a personal challenge for me, and one that I'm really proud of myself for accomplishing.

Where the film itself was concerned, I've done a couple of movie-musical type projects, and they're really difficult. Shooting dance sequences is grueling. You spend all day, all night, just doing the same chunks of dances over, and over, and over again, having to go back and start over, and all of a sudden, it's 3 a.m. and we have to pretend like we're starting the number for the very first time. It's a mental and physical challenge that's not for the faint of heart, but the finished product is so satisfying.

DS: We have to ask, since you were so great as John Ambrose McClaren—are there any similarities between this movie and To All The Boys: P.S. I Still Love You?

JF: Not too many similarities, other than the fact that it's a Netflix film! I'm playing a totally different character—you know, John Ambrose doesn't dance! But at the end of the day, John Ambrose, and Jake, my character in Work It, are both really good guys. Jake is a little more troubled, a little more frustrated with life than John Ambrose is, but I would say that watchers will be able to celebrate for Jake in the end a little more than they could for John Ambrose—no spoilers though!

DS: What do you hope viewers will take away from Work It?

JF: The main message I hope people take away is that it's okay if plans change. We might have goals in our lives, and we might be working really hard to cultivate those goals, but it's okay if those goals shift or change, due to the people that you meet, or a new passion you develop—those things are actually really great. Life throws you curveballs, and how you navigate that is entirely up to you.

Commercial dancer Kaitlynn Edgar was in Travis Wall's class at NUVO when she realized that competitions and conventions could lead to big things. Like joining-Shaping-Sound big. "After class, Travis started asking me all these questions, like when I was graduating," she recalls. "Everything fell into place, just because I happened to be a senior that year—and because I went to that convention. Soon after, I ended up joining the company."

There are all kinds of natural bridges between the competition world and the professional-dance world. We spoke to the experts about how life on the comp circuit can benefit your future career.

You Meet All the People

Daniel Gaymon, who most recently hit the Broadway boards in The Lion King and CATS, thinks that he was networking at convention weekends long before he realized it. "As an assistant, I was networking naturally, because I wanted to pick teachers' brains while training under them," he says. Gaymon says he still regularly runs into teachers and choreographers from his comp-circuit days at auditions and gigs.

Beyond the exciting possibility of landing a job or a mentor, you'll get invaluable feedback just by dancing for high-profile professionals. Gary Pate, CEO and president of Star Dance Alliance, suggests that current comp kids treat judges' critiques like the gifts they are. "These critiques, if handled well, are worth their weight in gold to a performer," he says. A fresh pair of eyes can lead to major breakthroughs in your technique and artistry—and will help you become used to absorbing constructive criticism.

Then there are the friends you meet along the way. "So You Think You Can Dance" Season 12 winner Gaby Diaz grew up in Miami, a hot spot for comp-world stars like Rudy Abreu, Jeanine Mason, and Ricky Ubeda. She says, "It's been nice to see the people we grew up competing with, and against, moving to NYC and doing the hustle like we are." Always keep in mind that today's rival could well be tomorrow's castmate. If you let them, competitors from other studios (yes, even that intimidatingly amazing dancer) will inspire you to dance your very best.

You Know How to Do It All

What do comp kids and the most successful professional dancers have in common? Adaptability and versatility. "When I'm on jobs, I see a real difference between dancers who grew up in the competition world and those who didn't," Edgar says. "There's just a gap in ability to pick up different styles of choreography fast, push physical limits, and apply critiques immediately." (Speaking of speed, Edgar adds that she remains a champion quick-change artist, thanks to her days competing multiple routines as a comp kid.)

Overcrowded auditions are also no big deal to veterans of the competition circuit. "We see hundreds of thousands of kids a year, in 300 cities," says Pate. A nonunion cattle call doesn't have quite the same panic factor when you're already used to leaving it all on the jam-packed hotel ballroom floor.

Another huge benefit of the comp lifestyle: the sheer number of performance opportunities. As Diaz says, "Being onstage all the time from a young age really helped me become comfortable with performing. By the time I was 19 and doing it on television, it wasn't scary at all anymore." Pate, for his part, believes competitions are invaluable to developing the "performing" in "performing artist": "At a dance competition, your goal is to entertain the judges through technique, personality, and storytelling," he says. "Once you go pro, those goals remain the same."

How to Avoid Potential Comp Pitfalls

No matter how many titles you've won, going pro means embracing a learning curve of some kind. Gaby Diaz relearned how to take care of her body in the months after winning "So You Think You Can Dance": "Growing up in the competition world, my 'strength' was my ability to force my body to do things. I was good at figuring out how to make it work, but that didn't necessarily come from a technically correct place."

Daniel Gaymon cautions competitive dancers to be wary of the fine line between assertiveness and aggressiveness: "It's great to have that hunger in you to dance, to stand out in a room, to book the job. But don't let that tenacity cross over into selfishness." You don't always have to be in the front row to get noticed by your dream choreographer.

Kaitlynn Edgar's advice for former comp kids: Get ready to hear "no" a lot more often. "You might be used to getting validation from all these awards, but now the job is the prize," she says. "It's important to wrap your head around not hearing the no as a loss, but as an opportunity to grow and learn."

If you're on #compkid TikTok, odds are you've seen a skit posted by Nick Silverio (@nicksilverioo). Silverio was a competitive dancer with Elite Academy of Dance in Shrewsbury, MA, before studying business at the University of Pennsylvania and continuing to dance throughout college. Now he works as a professional dancer, choreographer, and competition judge in NYC, and—like so many of us—turns to TikTok to fight quarantine boredom. His account has grown to almost forty thousand followers and has garnered over a million likes.

We asked Silverio to tell us a bit about his new creative outlet.

Dance Spirit: When did you join TikTok?

@nicksilverioo

Make sure to get all 4 corners of the room ##ballet ##balletbarre ##compkid ##dancer ##dancecompetition

♬ original sound - nicksilverioo

Silverio: Oh my gosh, I joined TikTok in quarantine because I was losing my mind. I had always said that I never would, because I was like, "I'll never dance on TikTok," which is still true. I have yet to dance on TikTok, but I wanted to make people laugh.

DS: So no "Renegade" for you?

@nicksilverioo

She’s “in the pipeline” for shaping sound ##dancer ##compkid ##dancecompetition

♬ original sound - nicksilverioo

NS: No! No "Savage," no elbow hits. I don't want to. But I do want to make people smile, especially dancers, since that's sort of my brand.

DS: What inspires your TikToks?

@nicksilverioo

Mom can you push my leg up? ##dancecomp ##dancecompetition ##compkid ##stretching (song: “Stretch” by Louise)

♬ original sound - nicksilverioo

I literally lay in bed at night and think about all the little details that come along with being a dancer that we don't think twice about, but then if you really think about them they're hysterical. [And] I'll wake up at two in the morning wearing my retainer and [I'll] record voice memos of my ideas, and then I'll play them back in the morning and record them as TikToks.

DS: How long does it take for you to create one, from start to finish?

@nicksilverioo

Competing against literally no one ##dancecompetition ##dancer ##compkid ##dance

♬ original sound - nicksilverioo

NS: I'd say about an hour, but some take two to three hours. I always end up spending more time on it than I expect.

DS: Are you surprised by how popular your videos have become?

@nicksilverioo

In the adult jazz division ##dancer ##dancecompetition ##dancecomp ##compkid

♬ original sound - nicksilverioo

NS: Yes! I didn't think anyone was going to watch them, and my sixth video has over a million views. I'm surprised because I thought only dancers would get it, but I think a lot of other people also relate to the humor.

[Lots of] dance moms share them on Facebook. The moms have been so supportive—Maddie Ziegler's mom Melissa reposted my dance moms TikTok on her Instagram, and I was like, "What is happening?"

DS: Who is your favorite person to keep up with on social media?

NS: One of my most recent videos, "The dancer you don't want to run into at nationals" was inspired by Caitlyn Reilly (@itscaitlinhello). For dancers, I'm obsessed with Christopher Davis (@iamchrxstopher). He's from L.A., and he's the funniest but also the sickest dancer.

You can follow Nick on Instagram and TikTok @nicksilverioo

The curtain rises, the crowd goes wild, and the bright lights of Broadway shine down as you make your debut on opening night…it's every Broadway baby's dream. But you may be surprised to learn that a show's journey to the Great White Way can be months, or even years, in the making. How does a production go from concept to curtain call? We spoke to industry veterans about what happens at every stage.

The Initial Idea

Typically, a producer, writer, composer, and director are the first people enlisted to help the idea for a show take shape, but every project is different. For Tony-award–nominated choreographer Joshua Bergasse, the earlier he gets on board, the better. "I like being able to influence the creation of the show, and point out which parts of the story can be told through dance and movement," he says. Once drafts of the book and music are completed, the team holds an informal reading of the work to get feedback from producers. Then, preproduction is assembled. "I'll use a skeleton crew of a few dancers, get into a studio, and come up with different combinations of choreography," Bergasse explains. "The goal is to create lots of different pieces that we can build on later."

Developmental Lab and Rehearsals

The next phase of the production is a workshop or developmental lab, which usually lasts three to four weeks. Here, the show begins to take shape, as an initial cast of principal leads and an ensemble learn musical numbers and staging. Dancers, take note: This is typically the earliest that you can audition for a show. Broadway dancer Eliza Ohman auditioned for a developmental lab of King Kong, and saw the show all the way to Broadway one year later. "For labs, the creative team looks for unique artists who inspire them," she says. "It's important to know your artistic point of view, and also when it's appropriate to share your own ideas." Naturally, even when you have the job, the audition is never quite over. According to Bergasse, "dancers have to prove they're excited about the project, and make themselves invaluable to the team as things move forward." The lab often culminates in a final showing, and from there, the production will either go back to the drawing board, or move on to a more rigorous rehearsal period.

Tech and Previews

Whether a show heads straight to a Broadway theater or out-of-town for a "tryout" run of performances, tech is where a production settles into its new home onstage. Costumes, lighting, and sets are all introduced in a jam-packed few weeks, until it's time to add the final ingredient: an audience. Ohman says, "When you start previews, the show feels alive again. It's rejuvenating for the company to have fresh eyes and ears reacting to the story." Previews are a production's first real test, for both the appeal of the show and the stamina of its cast. During previews, the cast spends its days in rehearsals implementing changes, corrections, and, sometimes, entirely new portions of the show. "By this point, you're exhausted physically, mentally, and emotionally," Ohman says. "As an artist, you grow attached to certain aspects of the show, so it can be hard to see them changed. But you have to be willing to trust the process, problem-solve, and stay totally focused while performing each night's version." Adaptability is crucial. Bergasse explains, "If I have to put in a whole new number for the next performance that night, the dancers can't freak out. They have to be ready to roll with anything."

Opening Night

For Ohman, opening night is full of mixed emotions. "There's so much anticipation, but also a lot of nerves, because you don't feel settled in the show yet," she says. "It's likely that you didn't start performing the final version until a few nights before." Bergasse agrees. "There's a saying that you never actually finish a show; you just open it," he says. "You're always going to be tweaking things and trying to improve. But to finally let it go just a bit on opening night is cause for celebration."

Every show follows a unique path, and even veterans like Bergasse never quite know if a project is destined for Broadway. For Ohman, however, the process is just as rewarding as the final product: "There's nothing quite as exciting as being able to collaborate on a show you love, and help make it the best version it can be."

Patrick Fraser was a widely respected portrait and lifestyle photographer when he met his now-wife, ballerina Carla Körbes. Through Körbes, he discovered the visual richness of dance. Soon, he was shooting world-class dancers in promotional campaigns for Pacific Northwest Ballet and American Ballet Theatre.

Fraser also became a regular at the Vail Dance Festival, where he met jookin star Lil Buck. During last year's festival, Fraser directed Lil Buck in a short video, "Buckin," featuring the dancer performing with the Rocky Mountains as a backdrop while telling his life story in voiceover. The arresting film premiered a few weeks ago. Shortly afterward, Fraser chatted with us about the creative process for "Buckin," the differences between photographing and filming dance, and what he loves about working with dance artists.

Tune in to an exclusive Zoom Q&A with Fraser and Lil Buck about the making of "Buckin" on August 20th at 6 pm Eastern. Full details here.

How did "Buckin" come to be?

I usually make a lot of personal work at Vail with all the dancers—it's a great opportunity to shoot some dance photography. I'd done some still photographs of Buck a couple of years back, and I thought some motion camera work of him in that setting could be beautiful, too. I'd seen a lot of nice films of Buck online, but I hadn't really heard him talking, and I wanted to know more about his story. So I approached him and said, "Hey, would you be up to do a film and an interview?"

What was the filming process like?

I used a handheld 16-millimeter camera. There's a lot of digital work out there that's very slick, and that's lovely, but I'm definitely trying to get a more authentic quality out of my work, so it feels like you're just there, in an intimate setting. In "Buckin," I was going for a scrapbook-slash-diary kind of feel.

We ended up shooting some scenes on the gondolas that take you up the mountain. Buck's dancing has this sliding quality—he glides across the stage—and I thought the gondolas felt like a metaphor for that movement. And then we did some setups at the top of the mountain, which takes him out of context. He's Memphis street, but here he is in nature, with the bird sounds—it throws you off a bit in a way that I liked.

Did the interview happen on set?

Afterward. We sat in his bedroom in his apartment in Vail, with his little dog, and just got to the bottom of it. I had a few questions jotted down, but really I just wanted to get inside why he dances, what drives him, what's behind Buck. It was wonderful that he talked about his family. He's totally engaged in this passion. When I left the apartment after the interview, I was like, OK: Now we have a film.

What do you enjoy about shooting dancers?

Oh, I've been so spoiled when it comes to dancers. I've had Carla to shoot—I think my first big dance campaign was for PNB, with Carla as the star. Working with dancers is so much more interesting than working with models. You get a different kind of freedom with dance. Dancers are up for everything—as long as you don't put them on a slippery floor or wear them out. And the movement is so beautiful. In still photography, I love the challenge of capturing the decisive dance moment. When you get it, you get this lovely adrenaline: That's the shot!

When it comes to capturing dance, how do you view the relationship between film and photography?

Film is of course a great medium for dance, and people are really pushing the boundaries on dance films. I've been blown away by their variety—the concepts, the lighting. But dance still needs print photography. Filmmakers are always using still references. Especially for dance, stills versus film—it's different parts of the brain. Sometimes I've tried to do both film and photography on the same day, and it's hard to toggle back and forth!

When a promotional campaign gets to the theater, everyone sees the print. The photos are literally stuck on the side of Lincoln Center. The film lives on YouTube, or the website, and many people discover it there. But it won't find you as you're walking around. The dance world needs both.

Dance and activism can go hand in hand in a number of ways. Over the past few months, many dancers have turned to their art not only to advocate in support of the Black Lives Matter movement, but to highlight injustice within the dance world itself. Whether it's incorporating dance into protests, starting conversations with other members of the dance community, or expressing themselves through personal creative projects, dancers are finding ways to speak out.

Katie Traylor

A junior dance-science major at Texas A&M University, Traylor wasn't expecting to get over 5,000 views on Facebook, and over 1,200 on Instagram, when she posted a video of herself improvising to the song "Glory," by John Legend. But in the wake of growing protests over police brutality and racial injustice, her solo resonated. "I see dance as a very powerful form of art. Being able to express my feelings through dance during this time gives me the feeling of vulnerability, empowerment and the sense of being heard by my community," Traylor says. "Being able to train and continue to learn about the art of dance as a biracial female has let me gain a voice that I didn't know I had."

Kennedy George and Ava Holloway

Kennedy George and Ava Holloway weren't trying to go viral when they decided to have photos taken in front of the Robert E. Lee statue in Richmond, VA, after the governor ordered it to be taken down. The statue, covered in multicolored graffiti, had become the site of many impromptu photo shoots as people celebrated its impending removal, and reflected on the historic moment. The two friends, both 14, have been dancing together for 11 years at Central Virginia Dance Academy. "I wanted to bring dance into it because it's just a part of me, and I bring it everywhere I go," says Kennedy. "Then it got way bigger and so many people started sharing the photo, and it made me appreciate dance even more."

Dressed in black tutus and pointe shoes while working with Richmond photographer Marcus Ingram, the girls caught the eye of other photographers as well, including photojournalist Julia Rendleman. When Rendleman posted an image of the two ballerinas, fists raised in strength, on her Instagram, it spread faster than anyone anticipated, even grabbing the attention of major news outlets.

Since the photo went viral in early June, the friends have been in the process of starting a nonprofit called Brown Ballerinas for Change, which aims to continue their activism and provide dance scholarships for underrepresented populations in ballet. Ava has also co-authored a children's book with her mother, Amanda Lynch, called My Ancestors' Wildest Dreams. "These pictures definitely have a deep meaning behind them, and the dance world is so supportive," Ava says. "It's overwhelming, but in the best way possible," adds Kennedy. "It makes you happy to see that people are actually inspired by you and you're making a change. It's the best feeling in the world."

Allison "Buttons" Bedell and Sheen Jamaal

When dancer Sheen Jamaal saw a video of protestors doing the Cupid Shuffle in New Jersey, inspiration struck to do something similar in New York. He immediately called his friend and collaborator Allison "Buttons" Bedell, and the seed for the Dance For George protest was planted. The event, on Sunday, June 7, drew around 400 people, who marched peacefully through NYC's Harlem neighborhood, danced to the Electric Slide as a group, and closed with nine minutes of kneeling in silence together, in tribute to George Floyd.

While the tone for the day was serious, the goal was to celebrate Black culture and the contributions of Black artists to the dance and entertainment industries. The mix of songs Jamaal put together included "Electric Boogie" (the song associated with the Electric Slide) and other classic songs by Black artists. He and Bedell point out that many people, when they dance to the Electric Slide at a party, don't even realize they're dancing to a song by a Black woman. "For me the event stands for strength more than anything," Jamaal says. "Finding a meaningful way to use art to effect social change—the way artists Katherine Dunham, Alvin Ailey and Martha Graham did before us—it just felt right."

Bedell cites the meaningfulness of watching a huge crowd of all ages and backgrounds moving together. "We get so wrapped up in choreography and learning and being perfect and all these things in the dance world, and I think sometimes you've got to remember that our craft is so expansive—it touches other things and it can bring everyone together," she says. Jamaal agrees. "Getting messages from people saying this protest made them feel like now they can use their voice, or it gave them the strength to power through personal situations—for me, that feeling outweighs everything," he says, "because it just shows that we're much stronger together than divided."

Jo'Artis Ratti

Though krumpers often participate in dance battles, their raw, energetic freestyling offers a positive release of frustration and aggression through nonviolent movement. For the youth in the communities where it originated, the dance acted as a response to police and gang violence, and a way to cope.

Dancer Jo'Artis Ratti, who goes by "Big Mijo" and is one of the co-founders of krump, used his art as a form of silent protest at a recent demonstration in Santa Monica, CA, when he danced in front of a line of police officers, with his friend Samantha Donohue dancing beside him. While Ratti looks defiant and strong, his movement is also full of vulnerability and pain. Though the officers were clearly uncomfortable at first, and Ratti had to explain that he was moving peacefully, one of them even ended up thanking him at the end of his dance. "There aren't a lot of masculine men who dance," Ratti told writer Sarah L. Kaufman at The Washington Post, "and that's what keeps me motivated to do it. To show people that you can let your guard down and be vulnerable through art."

J. Bouey and Melanie Greene

Through their podcast, The Dance Union, Melanie Greene and J. Bouey have been confronting racism in the dance world, and highlighting the experiences of Black artists, since 2018. Their episodes cover a variety of topics and issues, ranging from mental health and sexual harassment to advocating for fair pay. In early June, in response to a piece written by artist Nana Chinara called "An Open Letter to Arts Organizations Rampant With White Supremacy," they decided to organize an online townhall to continue the conversation and take steps toward direct action. That first meeting, "Town Hall for Collective Action: Dismantling White Supremacy Within Dance Institutions," had nearly a thousand attendees, either live on Zoom or watching on YouTube after the event. "The Town Hall's intention is to hold a space for our dance community to express their anger, witness the grief of our community, and synthesize that information into action," Greene and Bouey wrote on The Dance Union's Instagram in a post before the event. "We see this, and future town halls, as a space to stay connected with the current organizing work and to galvanize our dance community to take action." They've since hosted a second town hall, which covered topics in mental health, dance education and organizing demonstrations.

Amanda Morgan

Pacific Northwest Ballet corps member Amanda Morgan is the only Black ballerina in the company, and she's using her platform to speak out against racial injustice. At a Seattle protest in early June, she made a passionate speech that she later shared on Instagram, saying, "I will never stop talking about race until there is no longer a reason to. Society may have tried to silence the voices of the marginalized, but you will never silence me." She's kept the momentum going since then, calling on leaders in the ballet community to be more vocal in addressing injustice and inequality. She's spoken to outlets including Dance Magazine and the Seattle Times about her activism, and has continued to share thoughts and resources through social media. On Juneteenth, for instance, she shared a series of photos of Black artists and writers who have inspired her, from Josephine Baker and Arthur Mitchell to James Baldwin and Alice Walker. "Organizations need to think critically about: What are we showing as a ballet company? What are we saying, visually, and who are we leaving out? Whose story isn't being told?" Morgan told Dance Magazine. "We need to serve not just one community, but all communities."

The remaining six acts finally had their first chance to dance on the "World of Dance" stage—and for four of them, it would be their last. The judges had their work cut out for them, but knew they had to search for what Neyo dubbed the "World of Dance" million-dollar standard. Here are the two acts rounding out the top four, plus one more that received a standing "O" from the judges.

Oxygen

The contemporary hip hop group from the Netherlands came back with a vengeance this week after nearly being eliminated during the duels. Their incredibly musical choreography combined elements of tutting, krumping, and breaking, and was deemed "moving art" by Neyo. J.Lo declared the group could be dangerous if they made it to the finals, and a score of 96.3 sent them through.

Jake and Chau

It was a battle of the contemporary groups for the remaining spot in the finals. Jake and Chau were ready to risk it all, performing one jaw-dropping turn-into-extension-into-lift-into-back tuck sequence that could have seriously injured someone if it weren't done so flawlessly. The duo's silky transitions, impressive partnering, and heartwarming chemistry earned them a score of 95.3, which left them sitting comfortably in the top two for most of the night, until…

MDC3

Comp circuit darlings MDC3 brought an emotionally raw piece, based on the fight against cancer faced by the mother of one of the dancers. The story and technical execution were spot-on, and there wasn't a dry eye left onstage, in the audience, or behind the judge's table. With a score of 96.7, MDC3 took the top spot of the night, edging Jake and Chau out of the top two and sending them home.

The stage is set, and now it's Jefferson y Adrianita, Géométrie Variable, Oxygen, and MDC3 left to compete in the finals for the "World of Dance" title and, of course, the million-dollar prize. Tune in tonight (!!) for the season finale.

This season's "World of Dance" finale hit different. Like countless other performances this year, the episode (filmed in early March) was impacted by COVID-19. For the first time in the series' history, the finale was filmed without a studio audience.

But nothing could stop the finalists from leaving all they had on the "WOD" stage. Here's a spoiler-filled recap of how the night went down.

Oxygen

The dynamic hip hop crew hit the stage first. In a mentoring session with the judges, Oxygen was challenged by Derek Hough to make the ending "the best eight counts of their lives." Their alien-themed piece, complete with an out-of-this-world pod prop, was filled with their trademark precision. The performance was "first and foremost, dope," as Neyo put it. The judges gave Oxygen a 93.

MDC3

MDC3, the only remaining Junior Division act, brought another dynamic and emotional performance, this time inspired by the ups and downs of their "WOD" journey. The lifts were intricate, the floorwork impressive, and the emotion tangible, as we've come to expect from MDC3. They may have danced to Celine Dion's "I Surrender," but their performance showed that they came to compete for the grand prize. With a score of 95.7, the trio took the top spot and eliminated Oxygen.

Jefferson y Adrianita

The salsa duo pulled out all the stops with their final performance, opening with a bang as Adrianita jumped off a raised stage into Jefferson's arms. In their mentoring session, the judges stressed that the pair's precision needed to be as strong while they danced apart as it was when they danced together—and they delivered. Neyo said that their energy made up for the missing studio audience. They earned a score of 95.3, narrowly missing the top spot.

Géométrie Variable

The hip hop trio clearly put a lot of thought into the aesthetic side of their performance, and it paid off. They appeared to be controlling the lights as they tutted, creating geometric shapes that lived up to their name. The judges appreciated that the dancers took notes from their mentoring session and applauded them for bringing such a unique style all season. (We're hoping to see Derek tutting in the future...) The judges scored them 93.3, which means…

The winner is...MDC3! After four seasons, a contemporary group finally took home the W for the first time— and if anyone could do it, it's no surprise it was the fabulous Diego, Madi, and Emma.

Well, there goes another hour spent watching the Hatala sisters on TikTok.

It's easy to get lost in the feeds of Taylor and Reese Hatala, thanks to their mix of serious dance talent, endearing silliness, and knack for eye-catching short-form choreography. Seventeen-year-old Taylor and 14-year-old Reese are popping, wiggling, and throwing major face as skillfully as pros twice their ages—and they're doing it from their kitchen, bedrooms, and backyard at home in Canada, where they're currently #SocialDisDancing.

Casual as their vibe is, the Hatalas are strategic about their social presence. Those carefree-feeling TikToks are carefully crafted in a basement dance studio, then rehearsed and nit-picked to perfection before filming. It's a process that reflects the work ethic the girls have honed during professional gigs—from competing on "World of Dance" (both) and "Dancing with the Stars: Juniors" (Reese), to backing Justin Bieber (both) and Lil Nas X (Taylor).

But the goofiness? That's 100 percent real. These down-to-earth dancers truly admire each other and love to joke around. They're refreshingly normal teenagers—who just so happen to be sensationally talented and social-media savvy.

Separate Beginnings

For Taylor, it all started with a video. You've probably seen it—as have 14 million other people since it was posted in 2014: Taylor, barely 11, stands next to Laurence Kaiwai at The Kore Dance Studio in Canada, and hits each beat of Nicki Minaj's "Anaconda" harder than her teacher. Digital and critical acclaim soon followed, as did multiple appearances on "The Ellen DeGeneres Show."

Until that point, Taylor had been training at three Canadian dance studios—Kore, 3rd Street Beat, and Hyperflex Dance Studio. She started traveling more frequently to L.A. (with mom, Teresa), landed an agent at BTB Partners, and upped her bookings. She became a founding member of Will "WilldaBeast" Adams and Janelle Ginestra-Adams' company immaBEAST, and Adams remembers their first lesson: "I walked into rehearsal thinking she'd just be an average kid, and I took it easy on her," he says. "But when I went home and looked at her Instagram page, I couldn't believe my mistake."

@dancespiritmagazine

TikTok 101 with the Hatala Sisters - The Box Full Out!✨ @reese_hatala @taylor_hatala ##fyp ##theboxchallange ##thebox

♬ the box clean version - xx.sounds_.xx

Taylor landed a spot on Janet Jackson's Unbreakable world tour in 2015 and spent much of the year traveling with the pop idol. Around the same time, she and fellow dancer Larsen Thompson were also going viral as The Fraternal Twins. The duo starred in Ginestra-Adams' concept videos "IDFWU" and "Run the World" in 2015 (and appeared on the May/June 2015 cover of Dance Spirit).

All the while, another tiny powerhouse—Reese—was taking classes in Canada and L.A., preparing for her own commercial debut. "Larsen may be Taylor's dance sister, but real sisters? We stay together," says Reese. "I remember looking forward to the day we could start booking jobs together."

Better Together

It didn't take long for Reese to catch up. She was soon able to jump into many of the same classes her sister was taking and land similar jobs. Reese and Taylor even competed against one another on "World of Dance" Season 1. "Reese may have grown up as 'Taylor's little sister,' but she's fought hard to secure her own identity," says Ginestra-Adams. "She hasn't shied away from being herself—and she's feisty! She's not afraid to make a mean face or step into the spotlight."

As Reese has matured, the Hatala sisters have worked together more consistently. Whether they're at a shoot or creating for their feeds, they make good use of their complementary skills. Taylor often takes a directorial role by default, but Reese brings her own voice, too. "Reese uses her face more than I do," says Taylor. "As I've auditioned for other jobs, I've learned to be more subtle. But Reese is so strong, and she can hit so hard." Adds Reese: "Taylor is a cleaner mover than I am. But I'm working on it."

One of the sisters' first joint projects was the 2016 video "Sister Dance Party," choreographed by Ginestra, who found them to be dream collaborators. "They focus like adults, retain choreography quickly, and, right from the get-go, learn the moves as you'll want them performed," Ginestra-Adams says. "In class, if there are ever a few kids in the corner talking, Taylor and Reese are never part of it. They know when it's OK to goof around, and when it's time to get to work."

And when it is time to goof around, Taylor and Reese definitely know how to have fun. "I love going out to eat after shoots or rehearsals with them and their parents," says Adams. "It's when the realness comes out. Reese spilling the beans on Taylor's boyfriend, for example!"

Screen Time

In a normal month, the girls typically travel to L.A. twice. They spend about 50 percent of their time there, despite still attending regular school in Canada. (Reese also still trains at two Alberta studios.) So when quarantine hit this spring, it was a pretty big shock to their systems. "It's certainly different," says Taylor. "We wake up, work out, do our schoolwork online. I'm also teaching online classes, and we're both taking lessons in popping." They're FaceTiming a lot, and meeting up virtually with friends.

@dancespiritmagazine

TikTok 101 with the Hatala Sisters - Get Up Full Out!✨ @reese_hatala @taylor_hatala ##fyp ##getup ##getupchallenge ##getupdance ##tiktok101

♬ Get Up (feat Chamillionaire) - Ciara

And—like all of us—they're spending more time on TikTok, where they've seen their follower count increase in recent months. Their dancing-in-lockdown TikToks have a spur-of-the-moment look, which is true to form for the platform, but it's also deliberate. "It's what I like about our quarantine videos," says Taylor. "Everyone gets to see the rawness, the process, and we're using that to our advantage, to give our followers a look into our daily lives."

The Hatalas think a lot about their online brand. (Their father, Chad, helps direct their social media presence.) "I think we try to create things that are appropriate for our viewers," says Reese. "We want to stick to who we are—we're not going to post anything that's too old for us." Taylor notes that her style has changed as she has matured, and that it'll continue to grow with her as she looks to branch out into acting and modeling. Reese is also hoping to eventually parlay her dance successes into an acting career.

For now, though, Reese dreams of dancing on tour with a big star. And after quarantine, Taylor can't wait to get back in the studio and return to classes in L.A. Whatever the Hatalas' professional destinies, fans of this sister act can rest assured that Taylor and Reese plan on sticking together. Says Taylor: "Our strong sister bond has simply evolved, and it'll keep evolving."

What's the best way to extend the life of your favorite leotard or piece of workout wear? Aside from fabric quality, it largely comes down to what you do on laundry day.

We spoke with Erin Rollins, costume shop manager at BalletMet, for her top tips on keeping your beloved dancewear in rotation for years to come. (Spoiler alert: No, washing and drying everything on the same setting isn't advised.)

Keep it cool

"Cold water is always the best option with stretch fabrics," says Rollins. "Warm is okay, but hot water should be avoided." Why? It can damage the fabric's elasticity over time. Plus, if your clothing has bright or deep colors, opt for cold—heat can have adverse affects on color fastness.

Regular versus delicate cycles

The majority of leotards, sports bras and activewear can be laundered on a regular cycle, says Rollins. Tights, leotards and anything that's delicate (like lace or lightweight mesh) should be set aside for a delicate cycle or hand-washing.

Be mindful of anything with hooks, which can damage other items. Rollins recommends washing your tights in a lingerie bag to avoid snags.

The drying debate

When it comes to using a dryer, "there's a lot of debate about this in wardrobe land," says Rollins. "Many wardrobe managers will avoid drying garments because it elongates the life." But she points out that company costumes have a very high value and often need to last at least 10 to 20 years. "Most dancers don't need their rehearsal wear to last like that, so drying really isn't that big of a deal."

In fact, if your leotard is looking saggy, the dryer's heat can help the elastic in stretch wear "spring back." And if it's a synthetic fabric, shrinking usually isn't an issue.

One exception to using a dryer: If the tag lists more than 5 to 7 percent cotton. With cotton, colors fade and the surface of the fabric can develop a fuzzy white layer. Using a dryer speeds up that process.

Caring for your favorite pieces

A washing machine is never foolproof, warns Rollins. "There is always the potential for 'laundry disasters': snags, tangles, shrinkage, dye stains from other clothing, etc." That said, clothing made from heavier fabrics, like sports bras, activewear and some leotards, will generally hold up fine.

"But if the item is made from a super-lightweight fabric, or has lace, or if I really love it and want it to last forever, I might hand-wash it, so I'm certain it stays intact," she says.

How to hand-wash

Fill a sink or tub with cold water, add a very small amount of clothes detergent and swish it so suds start to form. Soak your item for 30 minutes, then rinse it in clean, cold water. Roll the clothing in a towel to remove excess moisture, and let it air dry on a plastic hanger or rack. (Avoid wire hangers, which can rust, says Rollins.)

About those stinky, sweaty clothes...

"Odor in clothing is usually due to bacteria, and bacteria will only grow if you give it time to get started," says Rollins. Post-class, don't throw your damp clothes in your hamper, or let them sit in your dance bag or a locker for more than a few hours. "That's a great recipe for gross."

Salt from sweat can also wear down stretch materials, notes Rollins, so wash promptly if you can.

If you're not doing a load right away, let your clothes dry before you add them to the basket. And if you're worried about the lingering stench, soak it in cold water for 30 minutes before washing it with warm water and putting it in the dryer.

What she wishes dancers would stop doing

"Don't ever wash your tights with anything that has color," says Rollins, recalling a dancer whose tights had turned grayish pink because she'd washed them with her leotards. "The majority of dance tights are made with nylon—a magnet for dye. If there's anything else in the washer that has color, and even a tiny bit of that color escapes, the tights will grab that color and never let it go."

When buying new dancewear, consider fabric, weight and weave

Aside from how you wash your dance clothes, Rollins says these three factors can shorten their lifespan:

1. Fabric: "Natural fibers like silk, cotton and bamboo break down more quickly and show holes."
2. Weight: "If a fabric is super-light, sheer or thin, it will wear down more quickly."
3. Weave: "If the weave has large holes that you can see—like mesh or lace—it will be more likely to snag."

Congratulations to the July Cover Model Search Editors' Choice video winner, Iyanna Jackson! Watch her solo below, and be sure to enter the Cover Model Search here.

Iyanna Jackson, "Have Mercy"

With "So You Think You Can Dance" canceled, and "World of Dance" over and done, we were pretty sure we'd be missing dance from our televisions screens for a minute. But it seems the dance gods have heard and answered our collective prayers, because "Dancing with the Stars" is officially returning for Season 29 on September 14.

If you're wondering what a season of "DWTS" might look like mid-pandemic, you're not alone. Luckily, this morning's announcement on "Good Morning America" provided a little (and we mean little) clarity. All of the professionals will be required to live alone, in line with social-distancing measures—yes, even the married pros. But will there be bedazzled face masks? We're not sure just yet.

"DWTS" fans can expect a few other changes this season. Most notably, supermodel and general icon Tyra Banks will be joining the team as the show's new host, replacing long-time (and much beloved) host Tom Bergeron and his co-host, Erin Andrews.

"DWTS" will also be welcoming back former professional—and everyone's favorite Aussie—Sharna Burgess, who was sorely missed last season. Plus, Daniella Karagach and former troupe dancer Britt Stewart will join the cast as first-time pros, making Stewart the first Black female pro in the show's history. And while the celeb cast has yet to be announced, former Bachelorette Kaitlyn Bristowe is already confirmed as a contestant.

So, who do you hope to see on "DWTS" this season? Let us know in the comments below!

Choreographers rarely get the recognition they deserve. The Tony Awards, for example, presents the award for Best Choreography during the Creative Arts Awards portion of the show, which usually isn't televised. In the final credits of the 2016 film La La Land, choreographer Mandy Moore was only recognized after 15 other members of the creative team. And on TikTok, the video-sharing app where dance crazes reign supreme, creators of even the most viral dances often aren't credited for their moves.

But while big-time choreographers for film and theater are at least compensated for their work and protected by unions, dancers on TikTok are often only up-and-coming creators, so when they aren't credited for their choreography–especially when it goes viral–they don't just lose out on recognition; they lose out on opportunity.

In an interview with BuzzFeed News, TikToker Bryan Sanon, who created the 100 Racks Challenge, explains the importance of giving credit where it is due. "People have made [dancing on the app] a business, so give the dance credit," Sanon said to BuzzFeed. "It's like you make something and it comes from you and your soul or your brain, and someone else who is more popular or in a different position takes it and you don't get recognized for it."

The creators that Sanon says are in a "different position" are often white, rich—have you seen Charli D'Amelio's house? (See: her sister Dixie's "Be Happy" video)—and mega-popular, with followings in the millions. But the choreographers who create the dances, including Sanon and others, like Keara Wilson (who created the "Savage" dance) and Jalaiah Harmon (who created the now-iconic "Renegade" dance) often don't achieve the same level of popularity. These underpraised creators, also, tend to be Black.

@bryansanon

##duet with @qgriggs love everyone showing love to my challenge &lt3 I would appreciate the big content creators to give credit tho !

♬ 100rackschallenge bryansanon - bryansanon

It's no surprise that many of the most viral dances on TikTok are choreographed by Black creators. The success of the app seems to hinge largely on aspects of Black American culture. The most famous TikTok creators' accounts regularly include lip-syncs and dances to hip hop, trap, and R&B music; the most viral dances are more social than exact—reminiscent of the vibes at your typical Black family reunion; and there seems to be a uniform among the most popular women on the app: Nike Air Force 1 sneakers, cropped tops, and stiletto nails, the sum of which evokes the aesthetics of the beautiful Black women who live in culturally-rich urban neighborhoods.

When you don't credit a choreographer on TikTok, especially one of color, you not only rob them of the opportunity to capitalize on the attention their dance is getting, but you also, whether inadvertently or not, whitewash the history and context of the choreography. To avoid making these costly mistakes, here are ways to credit the creators whose dance moves you see and replicate on the app.

@bryansanon

##duet with @jadagomillion no cap need more folks like this on the app love it ✊🏾🖤

♬ 100rackschallenge bryansanon - bryansanon

Tag the Creator

This first option is really nonnegotiable, and it's the most efficient way to give credit to a choreographer. In the caption of your TikTok video, tag the original creator using their TikTok handle so that their account is easily accessible to others. Put "dc:" (meaning "dance credit") before the tag, so viewers know exactly why you're tagging that person. If you don't know who to give credit to, type the song that accompanies the dance in the search bar on the app. Under the category "Sounds," click the first music option that the search generates. If the song and dance are popular, you'll likely see a mosaic of dance videos, but usually, the creator of the dance is the first result to come up (in the top left-hand corner).

Duet With the Creator

"Duet-ing" on TikTok—where you and another creator appear on either side of a split screen and perform a prank, skit or dance together—can be super-fun to do with friends. But it can also be a powerful way to not only credit a choreographer, but also amplify their artistic voice by exposing a larger audience to the way they move. This option requires very little work: First, find the video of the creator performing their dance. On that video, click the "Share" icon, then hit "Duet." Then, record yourself dancing side by side with the creator. It's as easy as that. But remember: No matter what, you should always tag the creator in the caption of your video.

In June 2018, Chase Johnsey made history. He became the first male dancer in modern ballet history to perform as a part of the female ensemble at an international ballet company, dancing in the corps in English National Ballet's Sleeping Beauty. Johnsey, who identifies as gender fluid but uses male pronouns, had previously been a standout performer with Les Ballets Trockadero de Monte Carlo for more than a decade. Today, Johnsey serves as the co-founder and artistic director of Ballet de Barcelona, and continues to work as an LGBTQIA+ advocate in the dance community. Follow Johnsey on Instagram @chasejohnsey. —Cadence Neenan

Dear 15-year-old Chase,

I know your secret. You just bought a pair of Sansha pointe shoes from Discount Dance Supply with money you make from working Saturdays at your mom's hair salon. You haven't dared to bring them into the studio yet. Little do you know that you will soon find your feet in those pointe shoes, and in many pairs after that. Those shoes will not only take you around the world, but also allow you to make history. Most importantly, they will enable you to help other people find their feet. You are going to carve a brand-new place in the world of ballet for yourself and so many others after you.

I know this sounds crazy, because right now, the world makes no sense to you. The label closest to your gender identity won't exist for another 15 years or so. Your sexuality is seen as taboo. And, when you finally get the courage to wear your pointe shoes in front of others, and not just your full-length bedroom mirror, people are going to find you funny or think you are an abomination to the classical ballet world. But it won't always be this way.

I have to break it to you: You are never going to fit in. You are going to need thick skin, because you'll have to endure extreme criticism and discrimination. Luckily, there will be influential people who will understand how unique and special you are, and who will fight for you to be able to be yourself.

My final piece of advice is to never lose your rebellious quality when people tell you your limits. (Oh, and BTW—stop bleaching your hair as if you're in a boyband. The pictures will haunt you later!)