Back in the fall, when you applied to your dream dance programs, May 1—aka College Decision Day—felt very far away. But now it's almost here, which means it's time to decide where to dance for the next four years! To help you narrow things down, DS asked Molly Newman (Idyllwild Arts Academy's director of college counseling) and Denayia Miniex (currently a freshman in the Ailey/Fordham BFA Program) for advice on making the right choice for your dance career.

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Visit the Campus

If you haven't set foot on a college's grounds, now's the time. "Seeing the facilities, meeting some faculty, and trying to see yourself there can be very helpful," Newman says. "One student I advised had her heart set on a program. When she went to audition, she found the studios depressing and unappealing, and realized she couldn't enroll there." Miniex agrees that even if you've already been on campus to audition, one more day or overnight visit can add detail to your initial impressions, helping you get a better picture of what life is like at that school.

Denayia Miniex (Cory Jones, courtesy Miniex)

Talk to Someone

If you can't make it to campus, the next best thing is to talk to a current student. "Schools are good about setting you up with current students so you can ask questions about their experience in the dance program, social life, and other opportunities on campus," Newman says. Talking it out with a parent (Miniex and her mom debated until "I was confident in my decision"), guardian, or dance teacher who knows you well can also guide you.

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Money Matters

Like it or not, financial realities can affect which dance department you choose to join—not to mention the debt you'll face after graduation. "Looking at schools' financial aid offers and comparing program costs is helpful," Newman says. It's even possible to negotiate a more favorable financial aid package if, say, your heart is with College A but College B's financial aid offer was more generous. (Make sure to follow the school's stated procedures and work with your college counselor, so as not to appear unprofessional.)

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Think for Yourself

"Pure name recognition is not a good reason to choose or not choose a school," says Newman. "It's harder to find a place that's really right for you if you cling to preconceived notions about where you 'should' be." "You should make the decision with your head and your heart," Miniex says.

College, like dance, is what you make of it. Keep an open mind, do your research, and remember that ultimately, you're the one with the power to make your college experience a success.

A version of this story appeared in the April 2019 issue of Dance Spirit with the title "Stuck in the Middle with Schools."

When you hear "breakfast," do you think "legendary dance crew"? No?

Well, that's about to change. Because McDonald's recruited the fabulous gentlemen of Kinjaz for a commercial touting the Golden Arches' breakfast menu. And those gentlemen delivered a deliciously dancetastic spot. (The ad's tagline is that we've been "sleeping on breakfast"—an opportunity to show off Kinjaz's "sleepwalking" style.)

Buh-dah-buh-bah-bah:

You can also see how the sausage was made (see what we did there) in this behind-the-scenes video:

Luke Barrett's been a standout on the comp scene for years now, thanks to his crystal-clear technique and soulful improv skills. He's a two-time New York City Dance Alliance National Male Outstanding Dancer (Mini in 2016 and Junior in 2018), 2nd runner-up at The Dance Awards (2017), and Beat Squad member (2018). Luke hasn't let negative comments and bullying at school weaken his passion for dance: "Support from my family and my dance friends has made me stronger in pursuing what I love," he says.

"Work your hardest and persevere through the good and the bad. If something's bringing you down, just move past it."

Fast Facts

Age: 13

Birthday: March 23, 2006

Hometown: Mountain View, CA

Trains at: Dance Attack in Los Gatos, CA

Nickname: Scooby

Favorite dancers of all time: Travis Wall and Lex Ishimoto

Most-played music: "Anything by Billie Eilish"

Three words to describe his dancing: "Powerful, swift, graceful"

Something no one knows about him: "I'm really into architecture, because I love art and math. The designs of giant buildings are so interesting to me."

A version of this story appeared in the April 2019 issue of Dance Spirit with the title "You Should Know: Luke Barrett."

Congratulations are in order for our "Dear Katie" advice columnist, Kathryn Morgan! After a long struggle with hypothyroidism, which led to the ballerina's resignation from New York City Ballet in 2012, Morgan is now set to dive back into full-time professional dance as a soloist at Miami City Ballet.

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The news broke yesterday, delighting everyone who's missed Morgan's singular presence onstage. We're excited to see her tackle MCB's repertoire—with its Balanchine roots, it'll probably feel familiar to the NYCB alum.

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MCB is also welcoming Carlos Quenedit as a principal; promoting company dancers Alexander Peters, Emily Bromberg, Shimon Ito, and Chase Swatosh; and bringing in eight new corps dancers, including our friend Bianca Bulle. Congrats and merde to all!

Guess who's baaaaack?! Your resident Dance Spirit astrologers! And on the eve of the Youth America Grand Prix awards ceremony, we thought it was the perfect time to pair each zodiac sign with a variation commonly seen during the competition. After many painstaking hours spent researching, consulting the stars, and staring wistfully into the sky, we compiled our data and present you with the definitive list of each star sign as a YAGP variation! As we said last time, don't @ us if you're not happy with your pairing—the stars don't lie, baby!

Aries: Kitri, Act I from Don Quixote

I have absolutely no doubt that Kitri's an Aries. The beloved heroine of Don Quixote is universally known to be fiery, fierce, and independent—and a quick Google search yields the exact same words to describe this first sign in the zodiac. With her fabulous red dress and fan, Kitri puts pretty much every Aries quality on full display in the wildly challenging Act I variation, from creativity, to independence, to ferocity. –OM

Taurus: Lise from La Fille Mal Gardée

As the resident DS Taurus, I'm convinced that Lise is a fellow Taurean. We're known for our loyalty and determination, two qualities Lise has in spades. She's determined to marry Colas, the love of her life, instead of the dumb-as-a-doorknob Alain, but also wants to honor the wishes of her mother. Throughout the ballet, we watch as Lise navigates many a life-altering decision, as she comes into her own (#SelfLove—very Taurean!), and finally, as she puts her foot down and marries Colas. Yeah, that's as Taurus a trajectory as they come. Not to mention, the variation itself is a total classic—it truly is the Taurus of variations, with its crisp musicality, romantic costume, and sweeping music. –OM

Gemini: Paquita Variations 1-5

Simply put, Geminis get a bad rap. They've got some qualities that can be spun negatively ("two-faced" immediately comes to mind). But at the end of the day, they're just misunderstood. A quick Google search clarifies that the "two-faced" trait Geminis actually possess is "duality," along with intelligence, ebullience, and adaptability—all of which dancers need when tackling one of Paquita's many variations. The ballet itself has a pretty wild plot that sounds like it was plucked from the brain of a Gemini. According to the Petipa Society:

Set in Spain during the occupation of Napoleon's army, Paquita tells the story of the young gypsy girl, Paquita, who is unaware that she is really of noble birth and was abducted by gypsies when she was an infant after the assassination of her parents. Paquita wins the love of the young French officer, Lucien d'Hervilly when she saves his life from the gypsy chief, Iñigo, who is hired by a Spanish governor to kill Lucien. Through a medallion that she has had all her life, Paquita finally discovers her true birth right and identity; she is in fact the cousin of Lucien and can marry him.

So, yeah, Paquita's clearly got a lot going on, and she needs those Gemini traits to carry her through. –OM

Cancer: Variation from The Talisman

The Talisman variation as fantastical and celestial as they come. The ballet centers on Niriti, the daughter of the Queen of the Heavens. After descending to earth with her guardian, Vayou the Wind God, Niriti faces a nearly impossible challenge: to resist the temptation of mortal love. (Girl, same.) I'm a Cancer rising, and this hits verrrrryyyyy close to home. At their cores, Cancers love to love. They could swim in feelings of nostalgia forever. They're bursting with sensitivity. So having to resist falling in love is literally the hardest thing a Cancer could do. But, against all odds, our girl Niriti's out here doing it in the Talisman variation. –OM

Leo: La Esmeralda

Leos are the natural leaders of the zodiac. They're as independent as they come, and march exclusively to the beat on their own drum—all of which sounds exactly like Esmeralda. She's in the middle of a super complicated romantic situation, having married a poet to save him from execution, while simultaneously falling in love with Captain Phoebus de Châteaupers, who happens to be engaged. It's all very intricate, which is exactly the type of situation Leos hate. Enter the variation, which requires the ballerina to flex every Leo trait in the book, allowing her to shine while showcasing her technique and presence. –OM

Virgo: Queen of the Dryads from Don Quixote

Calling all Virgos! Y'all are proud to be logical, practical, and above all grounded in the physical world. Which brings us to the challenging showpiece of this particular variation: Italian fouettés. We can't imagine a star sign better equipped to tackle these notoriously intimidating bad boys than perfectionist, hardworking Virgos. The fact that Virgos are well-known as an earth sign (fyi, the Queen of the Dryads is literally the ruler of her fellow tree spirits) certainly doesn't hurt. The methodical, committed Virgo nature also jives well with this solo's deliberate, steady music in waltz time. (That a sufficiently thorough justification to satisfy all the Virgos out there? No shade; we imagine Virgos are overrepresented in the ballerina ranks.) –HR

Libra: Variation from Grand Pas Classique

Did we hear somebody say "balance"? Libras are obviously obsessed with equilibrium, symmetry, harmony, and balance, and darn it if this variation doesn't plainly show whether or not a dancer has those qualities. As the zodiac's ultimate aesthetes, Libras highly value exquisite elegance and refined taste—which nicely sum up this variation's tricky balancing and turning sequences on one foot, which appear unassuming but leave the dancer with nowhere to hide lapses in strength or technique. Your average Libra is the Princess Charming of the zodiac, so it's also lucky that dancing this variation leaves plenty of chances to turn that megawatt smile on for the benefit of Libra's adoring audience. –HR

Scorpio: Variation from Harlequinade

Scorpios are all about the game of lying in wait and striking when it's least expected. Surprise, so's this variation. You think you've got some run-of-the-mill relevés going on when BOOM! All of a sudden, we go from multiple tightly-controlled pirouettes into a how-did-she-do-that suspended grand rond de jambe en l'air and chugs for days in arabesque on that same standing leg. Mad respect, Scorpios. Scorpio style also tends toward the capacity to beguile and seduce others—which, let's be honest, is super necessary to pull of the potentially cheesy flirtatious mime sequences that are baked into this variation. –HR

Sagittarius: Diana et Actéon

Y'all didn't seriously think the variation in which the ballerina LITERALLY holds a teeny archery bow the entire time would match up with any sign other than Sagittarius, now did ya? If you need more explanation, though, it's really quite simple: Daring plunges into arabesque penché en pointe? Sounds a lot like the Sagittarian love of adventure. Eating up stage space throughout the entire variation? A true Sag needs to be on the move, in every sense of the phrase. A confident, sassy stage presence that could verge on arrogance? Well, um, #NotAllSags. –HR

Capricorn: Giselle's Act 1 Variation

This variation shows the earthy peasant maiden before she goes through the heartbreaking pain of being deceived by Albrecht (aka the OG playa), so Giselle's earnest and mischievous qualities—both typical of Caps, FYI—are out in full force. But beyond her obvious youthful playfulness (also very Capricorn), Giselle is the poster child for inner strength. When Capricorns undergo intense hardship and struggle early in their lives, they emerge from that dark night of the soul with inner fortitude like WHOA. Ain't no struggle like dancing yourself to death over boy problems, only to forgive said idiot boy with unbelievable depths of emotional intelligence and optimism, amirite? –HR

Aquarius: Princess Florine from The Sleeping Beauty

Aquarius, the water-bearer, is often mistaken for a water sign—when in actuality it's the last air sign in the zodiac year. That totally reminds us of our friend Princess Florine, whose variation is regularly (and, technically, incorrectly) referred to as "Bluebird." ANYWHO, Florine's sustained balances, port de bras suggesting she's listening to faraway music, and hops en pointe allow Aquarian trinas to show off their free-spirited, stubborn streak. (Fun fact: In medical astrology, Aquarius is strongly associated with the ankles—key for pulling off this variation's many changes in direction while up on one pointe shoe!) –HR

Pisces: Third Shade from La Bayadère

Pisces is the last sign in the zodiac, so fishies are said to have absorbed everything their sibling signs experienced over the year—regrets, pain, joys, you get the idea. WHAT A COINCIDENCE, then, that our Third Shade is the last of the three demi-soloist variations in the second act of La Bayadère, and arguably the variation most full of pathos, depth, and *~feelings~* in general. Pisces are known for their access to the collective unconscious, their inherent bent towards the spiritual and mystical, and that all clocks with this Shade's ethereal movement quality. Plus, this variation's steps literally prevent the Shade from looking directly at the audience for more than a second at a time—Bye-sces! –HR

In her senior year at Butler University, Jennifer Sydor auditioned for more than a dozen regional ballet companies—and got a string of "no, thank you" responses. "I have an athletic build, and my movement quality isn't the typical ballet aesthetic," Sydor says. "But I'd been laser-focused on ballet. When I didn't get a ballet contract, I was heartbroken."

Her one job offer came from Kim Robards Dance, a small modern company based in Aurora, CO. After attending KRD's summer intensive, Sydor ended up accepting a yearlong position with the troupe. "I was relieved and happy to begin my career," she says. She's been working as a contemporary dancer ever since.

In the dance world, rejection is part of the package. That doesn't make it any more pleasant. But whether you didn't get the Nutcracker role of your dreams or you weren't picked for a job despite feeling like you aced the audition, you can emerge from even the most gut-wrenching "no" smarter and stronger.

Take Appropriate Responsibility

Nadine Kaslow, a psychologist who works with dancers at Atlanta Ballet, advises taking "appropriate responsibility" for negative outcomes. "Some people blame themselves way too much: 'I'm a terrible dancer, I'm a terrible person, I don't deserve anything,' " she says. "Others don't take any ownership at all, when they should."

Think about what you can control. You know how hard you've been training. You know how much sleep you got the night before the audition, and what you ate for breakfast. If you dropped the ball somewhere, you can take steps to improve. But there are plenty of reasons for rejection that have nothing to do with your performance.

For instance, when musical theater performer Kristine Bennett was auditioning for ballet companies after college, two directors told her they didn't have the budget to hire her. Several years later, when she was up for a replacement track in a Broadway show—a role she felt particularly suited for—"I thought I'd done really well in the audition," Bennett says, "but I think I got overlooked because the choreographer didn't know me. It's disheartening when you don't get a job because of something like that, but you have to know it isn't personal."

Kristine Bennett in costume for "The Little Mermaid" (courtesy Bennett)

Feel Your Feelings

"Give yourself a chance to be sad, hurt, or angry," Kaslow says. "You don't have to rush past those feelings. Rejection is hard!" While you recover, let parents, teachers, and friends know that you could use their support and compassion. "If you need to take a day off," Kaslow adds, "that's OK."

When is it time to dig yourself out of the emotional hole? One red flag is letting the rejection negatively impact your self-esteem. Kaslow also cautions against falling into behaviors that are self-destructive or destructive to relationships: lashing out in anger, acting impulsively, or self-harming, to name a few. To regain perspective, Bennett recommends developing interests outside the dance world. "If you have something else you enjoy doing," she explains, "you won't feel like your entire identity is wrapped up in your dance success."

Look for the Lessons

Every rejection is a learning opportunity. Did you audition with a friend? You can analyze each other's performances. Are you well-acquainted with the choreographer or director who turned you down? "Follow up and ask, 'Is there anything I should be working on, artistically or technically?' " Sydor says. "That's a hard thing to do, but it can help you get your tool kit ready for the next try."

Sydor in Laura Peterson's "Atomic Orbital" (Stephen Delas Heras, courtesy Sydor)

When you've been auditioning a ton but not getting anywhere, look for patterns. You might realize you've been trying for positions that aren't actually a great fit. You may need to do more research into what types of dancers certain schools or companies usually accept. You might even need to entirely reassess your goals. "It's not about giving up," Kaslow stresses. "It's about finding a path that works for you."

Stay Open

Be ready to embrace the hand you're dealt, even if it's not what you initially wanted. "One summer when I was a teen, I didn't get into any of the prestigious ballet intensives I was used to attending," Bennett remembers. She begrudgingly signed up for one she felt was lower-tier—"and I got some of the best training of my life!"

Painful as it can be, rejection offers you a chance to explore other options. Bennett ended up having a successful career in musical theater, performing in two regional productions of Oklahoma!, a national tour of The Music Man, and the reworked-for touring production of Disney's The Little Mermaid. Sydor has danced with the Metropolitan Opera, toured with the electropop band Fischerspooner, and worked in film and television. "Being rejected early on opened me up to the different ways I could define my career," Sydor says. "The most important thing is perseverance. If you stay connected to why you love dance, you can transcend rejection and keep going."

A version of this story appeared in the May/June 2019 issue of Dance Spirit with the title "It's a 'No' From Me."

This week, over 1,000 young hopefuls gathered in New York City for the Youth America Grand Prix finals, giving them the chance to compete for scholarships and contracts to some of the world's top ballet schools and companies. Roughly 85 dancers made it to the final round at Lincoln Center's David H. Koch Theater on Wednesday. Today, the 20th anniversary of YAGP came to a close at the competition's awards ceremony. Read on to find out who won!

Grand Prix Award Winner

Gabriel Figueredo (18), John Cranko School, Germany

Senior Women

1st Place: Grace Carroll (15), Tanya Pearson Academy, Australia

2nd Place: Yazmin Verhage (16), Ballettschule Theater Basel, Switzerland

3rd Place: Arianna Crosato Neumann (16), Danzaira Escuela Profesional de Ballet, Peru

Senior Men

1st Place: Junsu Lee (16), Korea National University of Art, South Korea

2nd Place: Francisco Gomes (15), Academia Annarella, Portugal

3rd Place: Joaquin Gaubeca (16), Cary Ballet Conservatory, Argentina

3rd Place: Harold Mendez (17), The Sarasota Cuban Ballet School, Cuba

Youth Grand Prix Winner

Darrion Sellman (14), Los Angeles Ballet Academy, USA

Junior Women

1st Place: Rebecca Alexandria Hadibroto (12), Malrupi Dance Academy, Indonesia

2nd Place: Ava Arbuckle (14), Elite Classical Coaching, USA

3rd Place: Madison Brown (13), Lents Dance Company, USA

Junior Men

1st Place: Misha Broderick (13), Master Ballet Academy, USA

2nd Place: Andrey Jesus (13), Bale Jovem de Sao Vicente, Brazil

3rd Place: Seungmin Lee (14), Sunhwa Arts Middle School, South Korea

Special Awards

Shelley King Award for Excellence: Summer Duvyestyn (12), Classical Coaching Australia, Australia

Grishko Model Search Award: Ava Arbuckle (14), Elite Classical Coaching, USA

Natalia Makarova Award for Artistry: Anastasia Poltnikova (17), Bolshoi Ballet Academy, Russia

Dance Europe Award: Gabriel Figueredo (18), John Cranko School, Germany

Mary Day Award for Artistry: Joao Vitor da Silva (15), Ballet Vortice, Brazil

Outstanding Choreographer Award: Maiko Miyauchi and Christina Bucci, Yarita Yu Ballet Studio, Japan

Outstanding Teacher Award: Mariaelena Ruiz, Cary Ballet Conservatory, USA

"World of Dance" is not messing around this season. Last night, J.Lo and her crew took an ax (just a metaphor, of course, but we're imagining it as a beautifully bedazzled ax) to the "WOD" playing field, eliminating six beloved Upper Team and Junior competitors. Brace yourselves: We've entered the land of Very Tough Choices.

Which acts were spared that sparkly ax? Read on, intrepid friends.

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Junior Division

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Yes, the whole "guy trying to charm the hard-to-get-girl" schtick is, as J.Lo herself noted, the "oldest story of time"—but Julian and Charlize's routine made it darn fun. Their super-crisp, perfectly-executed choreo earned them a solid 93-point score, and a spot in the Division Finals.

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We would've lost it if Kayla Mak hadn't made it through this round; in our opinion, the contemporary ballerina has been consistently underrated throughout the competition. So we were relieved when the judges gave her routine—which showcased her signature combination of delicacy and strength—solid mid-90s scores.

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Contemporary sisters Ellie and Ava took a bit of a risk last night with a number inspired by their grandfather, a Vietnam vet—a difficult story to tell, and one that Jennifer "didn't get at all" after watching their rehearsals. But the intensity of the finished routine was enough to sell all of the judges, who sent Ellie and Ava through to the next round.

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Upper Team Division

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The Kings, big-time frontrunners, not only met but exceeded everyone's expectations last night with a routine that somehow included elements of both Bollywood and animation. Derek didn't just give them a standing O—he gave them a standing-on-top-of-the-table O.

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Big props to Unity LA's use of props (sorry), which can be a tricky proposition (sorry again) for contemporary groups. The canes in their emotional number symbolized the huge demands dancers make of their bodies, and accordingly how short their careers can be—a sentiment that hit home with us, and the judges.

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Rounding out the winners' circle last night was The Heima, the dynamic-yet-polished Korean b-boy group that might be the only act capable of dethroning The Kings. Our heads were spinning just WATCHING their insane head-spinning, which earned them a perfect 100 from Ne-Yo.

Dance competitions are fun, rewarding—and completely exhausting. Here are the seven stages of surviving a competition day, to which we DEEPLY relate.

Stage 1: Packing Literally Everything

Gotta get that car packed up super early so you can make the competition's crack of dawn check-in time—and gotta bring ABSOLUTELY EVERYTHING. You can never be too prepared.

Stage 2: GO TIME

No matter how tired you are, once you get onstage, it's time to be your absolute best self. SMIZE SMIZE SMIZE!

Stage 3: Eating All the Foods

Sure, we might have to sneak those snacks in, since we're not technically supposed to eat in costume, but we need the nutrients!

Stage 4: Sitting Through Endless Awards Ceremonies

There. Are. So. Many.

Stage 5: Taking Thousands of Pictures

Because one of the best things about comps is that they're big dance-friend reunions, and all of these moments must be documented, obviously.

Stage 6: Picking Sequins and Glitter Off Every Inch of Your Body

This stage basically never ends. How does the glitter get literally everywhere WE DO NOT UNDERSTAND.

Stage 7: Packing Up All Your Trophies

*takes a super-humble bow*

Sara Esty's ethereal grace and sophisticated charm have won over ballet and Broadway audiences alike. The bunhead-turned-Broadway-baby began training near her hometown in Gorham, ME, at the Maine State Ballet's School for the Performing Arts (with her equally fabulous twin sister, Leigh-Ann). She enrolled full-time at the Miami City Ballet School in 2004, and joined Miami City Ballet as an apprentice in 2005. In 2006, Esty won the Princess Grace Award, and she was promoted to soloist at MCB in 2011. After leaving MCB in 2014, she made her Broadway debut in An American in Paris as the understudy for Lise, and went on to share the role of Lise with her sister on the show's national tour. Most recently, she was seen in 5th Avenue Theatre's production of Marie, Dancing Still in Seattle, WA. —Courtney Bowers

Dear Sara,

It's me—an older, and hopefully wiser, you. Remember all of those nights you spent wondering what your future would hold and if you were making the right decision by committing to following your dreams? Good news: They've paid off. Every worry, struggle, and moment of doubt has been worth it—and there's still so much to be done.

It's a big and tough world out there. However, I can guarantee from my experiences so far that if you hadn't done the things that scared you, you would be nowhere near the artist or human you are today. Leaving the comfort of a small town in Maine to live out your passion of dancing in a ballet company? Terrifying. Leaving the comfort of 10 years in that company to move to NYC and tackle Broadway? Cue the anxiety. (FYI, anxiety will try to get the better of you, but it'll also make you stronger.) Leaving NYC to travel the U.S. and lead the first national tour of a new Broadway show? By all means, you should be completely gray in the hair by now. But guess what? You keep going and surprising yourself. Last winter, I did one of the scariest and most exhilarating things yet: I sang my heart out in one of the most vocally challenging parts in Broadway history, playing Maggie in A Chorus Line in NYC. Girl, we did it.

You're no longer "just a ballerina," and don't let people pigeonhole you there. However, the work you're doing now as a ballet dancer is the greatest gift you'll give yourself. It will make you strong in body and mind, and grant you the discipline to make it in this industry.

At age 14 (courtesy Esty)

A lot of people are going to tell you "no," but you know what you do with that? You turn it into "yes." You'll be faced with a lot of tough decisions, and you'll ALWAYS wonder if you've made the right choices, but following your heart will put you in the right place. Work your butt off. Stay humble, stay grateful. You've gotten yourself where you are today with the love of your family, friends, and teachers. But when you're on the audition floor or the stage, it's just you. Believe that you are enough.

Love,

Sara

A version of this story appeared in the May/June 2019 issue of Dance Spirit with the title "Letter to My Teenage Self: Sara Esty."

Samantha Figgins is currently in her fifth season with the Alvin Ailey American Dance Theater (and was a Dance Spirit cover girl back in 2013!). But what many people don't know is that the gorgeous dancer suffers from single-sided deafness. As a baby, Figgins contracted spinal meningitis, which caused her to lose all hearing in her right ear. She never gave up on her dance dreams, though, and fought her way through uncomfortable situations, never missing an opportunity to learn and grow. Now, after getting her first pair of hearing aids, she opens up about her path to success. —(As told to Courtney Celeste Spears)

I come from an artistic family: I'm one of four girls, and all of us (including my twin sister, Jenelle) are dancers. While we were growing up in DC, my mother put my oldest sister in dance first, but I eventually fell in love with it, too. I studied at Duke Ellington School of the Arts and later attended SUNY Purchase Conservatory. I danced and toured with Complexions Contemporary Ballet for four years, before joining Alvin Ailey American Dance Theater. I'm filled with so much joy and gratitude to be where I am, especially now, as I'm able to reflect back on my journey, and the work it took to overcome a disability that could've held me back from my dreams.

Samantha (in red) with twin sister Jenelle in sixth grade (courtesy Figgins)

When I was 10 months old, I had spinal meningitis, which put me in the hospital for 10 weeks and caused me to lose all hearing in my right ear. Ever since, I've lived with single-sided deafness, which in time turned into auditory processing disorder (APD)—when the brain has difficulty processing speech.

It was hard growing up with single-sided deafness. I found myself not fully invested in conversations because I couldn't understand what was being said. It made me more of an introvert, because it was exhausting trying to play catch-up. Conversations would feel like fill-in-the-blank puzzles, where I'd have to rely on body language, context clues, or hand gestures to figure out what I was missing.

I did know one thing: I loved to dance. It saved me. Without dance, it would've been easier for me to be less interactive and less engaged with those around me. But dance made me focus. It made me an observant, hard worker. My disability fueled me to be the best dancer I could be.

Figgins (left) performing at the Kennedy Center in high school during her residency with Dance Theatre of Harlem (courtesy Figgins)

This past year, I got my first pair of hearing aids. It's completely changed my interactions, the way I'm able to be present myself, and the way I approach my dancing. I used to get anxious when a teacher or choreographer was speaking, afraid I'd miss something important. Even standing at the barre on my right side would make me uneasy. My hearing aids have opened my world in so many ways—from things like feeling more balanced when dancing to being excited about conversations and interactions. But it's become clear to me that my work ethic and constant goal of perfection is what made me strong, resilient, and got me here today.

Being open about my journey with hearing loss has allowed me to share my story with my co-workers, my mentee who also suffers from single-sided deafness, and other dancers in the community. Dancing with AAADT has been a dream, and has afforded me the opportunity to connect to a greater purpose. Looking back, I wouldn't call my hearing loss a curse. It's ultimately been a blessing. I'm constantly reminded that I'm perfect the way I am.

Figgins (third from left) performing Wayne McGregor's "Kairos" with Alvin Ailey American Dance Theater (Paul Kolnik, courtesy AAADT)

To any young person who may be suffering from deafness, I encourage you to always believe in yourself and trust in the gift you've been given. Small obstacles are always a gift, because they build your strength. Don't give in to your insecurities. Take whatever you've been given and make it shine—because your story is one that needs to be shared.

A version of this story appeared in the May/June 2019 issue of Dance Spirit with the title "Feeling the Beat."

In our "Dear Katie" series, MCB 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 14 and have been studying ballet seriously for about three years. Even though I feel ready, my teachers haven't put me on pointe yet. Am I doing something wrong? Should I ask them about it, or is it pointe-less?

Leilani

Dear Leilani,

You need to have a meeting with your teachers. Tell them how eager you are to dance on pointe, and ask them what you need to work on. Prepare yourself for what they might say, because it could be difficult to hear. They might think your ankles aren't strong enough yet; they might tell you that your technique isn't where it needs to be.

Hard as those kinds of criticisms are to take, though, they're constructive. They'll tell you exactly what you need to work on to achieve your goal! And no matter what your teachers say, keep working on proper technique and alignment on your own. That way, whenever the time comes for you to don that first pair of pointe shoes, you'll be ready.

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

We're officially declaring April the month of Beyoncé. Not only did she gift us the greatness that is her Homecoming documentary, but she followed it up with the #BeforeILetGoChallenge, the newest viral dance craze to sweep the world wide web.

Clearly, Queen Bey noticed the void left by the #InMyFeelingsChallenge and remedied the situation immediately. On Monday night, she reposted videos on her Instagram story of fans dancing to her cover of Frankie Beverly and Maze's 1981 hit, "Before I Let Go." The challenge took off overnight and a hashtag was born. Check out some of the incredible entries below, then make a submission of your own! 🐝

Beyoncé Posts 'Before I Let Go Challenge' Videos on Instagram Stories www.youtube.com

At 17, commercial standout Natalie Bebko ("Nat Bat") has already accomplished more in her career than most adults: She was an assistant choreographer for the 2016 BET Awards and has worked with tons of music greats, including Trey Songz, Flo-Rida, Sia, Mila J, and Big Sean. She trains with immaBEAST dance company and consistently breaks the internet by slaying in class videos. Catch her on Instagram, where she has a casual half a million followers, and read on for The Dirt!

Do you have any pets?

Do you have any guilty pleasures?

What dance item can you not live without?

Who can always make you laugh?

Do you have any nicknames?

What are you most nervous about?

What's one food you can't live without?

Where do you feel happiest?

What would you be if you weren't a dancer?

What's something no one knows about you?

A version of this story appeared in the May/June 2019 issue of Dance Spirit with the title "The Dirt: Natalie Bebko."

If Jennifer Lopez is a great dancer, and you are Jennifer Lopez's fiancé, is there some kind of transitive property that means you are at least a pretty good dancer? Does her dance fabulosity, like, osmose into you?

"The Tonight Show" just showed us that the answer to both those questions is, unfortunately, a hard no. But bless Alex Rodriguez, betrothed of J.Lo, for trying.

A-Rod and "Tonight Show" host Jimmy Fallon headed to Broadway Bodies dance studio in NYC to try out a hip-hop class, learning a booty-centric routine to DJ Kool's classic "Let Me Clear My Throat." The results were not stellar, although both were pretty great sports about it all. And we're guessing A-Rod now has even more respect for his soon-to-be wife's talent.

Alex Rodriguez and Jimmy Crash a Hip-Hop Dance Class www.youtube.com

"We promise that you'll never find another [music video] like thi-i-IS!" Sorry not sorry, because all of us Swifties at Dance Spirit have waited a long year and a half for new T-Swift music—which, naturally, brings with it a new choreographic style for the princess of pop.

All she cares about is pantsuit poweeeeeeeeer! (Giphy)

The music video for "ME!"—the song we can only assume is the lead single for Ms. Swift's upcoming seventh (!!) album—trades in Reputation's hard-edged, menacing glamour for a lewk we can only describe as "the city of Paris [or is it London?!], but make it an Instagram museum by covering everything in gallons of pastel rainbow paint."

Anyone else getting major "Wizard of Oz" vibes here? (Giphy)

The four-minute vid features a whole crew of longtime Swift dancers, including Giuseppe Giofre, Nadine Olmo, Gracie Stewart, Jake Landgrebe, Eliotte Nicole, and Christian Owens. Wearing Easter-egg pantsuits and swingin' 60s looks, the dancers, Swift, and Brendon Urie (of long-running pop outfit Panic! At the Disco) all get down with a healthy mixture of marching-band precision, exuberant classic jazz, and Hairspray-esque pony'ing.

Serious question: Why did Brendon Urie never get cast as Link Larkin in "Hairspray"?! (Giphy)

So get into it, before the inevitable deluge of class videos set to this absolute bop. ☔️🌈

Tackling an exercise regimen with focus and dedication can really pay off in your dance career, and there's a definite thrill associated with seeing your technique, strength, and stamina improve. But what happens when your drive morphs into something that's driving you? That's what exercise addiction feels like: a sense that you have to do more. "Exercise addiction controls you," says Diane Israel, a psychotherapist who specializes in body image and is an adjunct professor at Naropa University. Israel is also an exercise addiction survivor and a former world-class runner and triathlete. "It has a different quality than exercise that's joyful, and that you know is good for you," she says.

What Is Exercise Addiction?

Exercise addiction is defined by obligation. "You might feel really guilty about not exercising, even if you're tired, sick, or injured," says Philippa Ziegenhardt, counselor at the Australian Ballet School. Exercising takes priority over your normal activities, including rest and recovery. "Exercise addiction has a harsh, punishing, and critical energy," Israel says. "It tells you 'Get going' and 'You're not OK unless you do A, B, and C.' "

This might sound alarming to dancers who are used to self-motivating through tough rehearsals, training sessions, and performance seasons. But Dr. Andrew Garnham, sports physician at the Australian Ballet School, says that it's important to look out for that feeling of preoccupation. "Exercise addiction leads to the exclusion of, and reduced performance in, your other usual activities," he says. "It may also become apparent that performance in the chosen activity is diminishing rather than improving, despite devoting more time and effort to it."

Health Impacts

With both physical and mental health impacts, exercise addiction can really take a toll on a dancer's career. "It affects normal growth and development," Garnham says. "There may be delayed puberty, failure to grow, reduced muscle and bone strength, and frequent or recurrent injury." Disordered sleep and disordered eating are also associated with exercise addiction.

Israel adds that your sense of self-worth is likely to suffer, too. You might feel ashamed of or angry at yourself for doing something that you know is harmful, but which you can't stop. "At a certain point, you might feel more addicted to the training than the performance or event," she says. "And when you overtrain, you can't perform at your best."

Road to Recovery

The bottom line is: If you don't get support, you'll lose what you love. That support should be both physical and mental. It will take time, and require a team of care providers, to recover from exercise addiction. Use your regular doctor as a point of continuing contact during your recovery. "Your doctor will monitor your progress," Garnham says. Ziegenhardt suggests eventually working with an exercise physiologist, who studies the effects of exercise on the body. "This could help you reintegrate exercise into your life in a balanced way."

Israel stresses the importance of finding practitioners experienced in treating exercise addiction, who don't simply tell you to cut back. You might know that's what you need, but not how to do it. It's OK to take time finding the right medical and mental-health care providers. "It's a journey toward healing," Israel says. "You can't bargain with exercise addiction. You have to face it and name it."

A version of this story appeared in the May/June 2019 issue of Dance Spirit with the title "Exercise Addiction 101."

Happy International Dance Day, everyone! Since 1982, this delightful holiday has been celebrated worldwide each April 29th. Why April 29th, you ask? It's the birthday of Jean-Georges Noverre (1727–1810), who's often credited as the creator of modern ballet.

This year, we thought we'd mark the occasion by rounding up some of our favorite stories about world dance. Because we can think of no better occasion to learn more about the beautiful, rich traditions of styles like nihon buyo and bharatanatyam.

(By the way—don't confuse International Dance Day with National Dance Day, which is coming up on September 19th. More days to celebrate dance, hooray!)

Folklórico (Mexico)

A dance style with as much complexity, variety, and history as the country of Mexico itself.

Nihon Buyo (Japan)

From its origins in traditional forms of theater to modern-day performances, nihon buyo has always been about communicating a clear narrative through an intricate physical language.

Bharatanatyam (India)

Bollywood spectaculars have their origins in classical Indian dance—particularly bharatanatyam, perhaps the most influential of the seven classical forms.

Irish Step Dance

This style's signature fast-flying feet and ramrod-straight posture were made famous by Riverdance, and today you can find Irish step classes at studios across the country.

Flamenco (Spain)

The fiery art of flamenco features an extremely complex rhythmic structure that's in constant dialogue with the music.

With its eye-popping visuals, colorful cast of outrageously dressed characters, and terrifyingly fierce competition, "World of Dance" sometimes feels just a little bit like a dance version of The Hunger Games. ("The Dancer Games," perhaps?) Last night's episode only reinforced that sense, as we watched 12 formidable acts get mercilessly narrowed down to just four remaining contenders. Who went home, and who held on to their chance for victory? Happy Hunger Games, dancers!

Upper Division

2016 DS Cover Model Search winner Briar Nolet flipped her way to the top of her division with an acro-heavy solo to Britney Spears' "My Prerogative," edging out Derion and Madison (who took a big technical risk that unfortunately didn't land—literally) and Poppin John (who the judges felt needed to show more variety). The judges praised the growth Briar's made throughout the competition, and we cannot WAIT to see how she levels up in the finale round.

Poppin John

Derion & Madison

None

Junior Team Division

Teeny-tiny hip-hoppers VPeepz beat out the Crazy 8's (cute contemporary kids) and the Dancetown Divas (ballroom babies with loads of girl power) with some amazing synchronicity, WHOA-worthy illusions, and a genuinely fun stage presence. Hip-hop groups have historically done super well in the "World of Dance" final round (hello, last year's champs The Lab), so it'll be interesting to see if that trend continues this year.

Dancetown Divas

The Crazy 8's

None

Junior Division

This round was a real nail-biter, not least because each judge handed out their highest score to a different divisional finalist: J.Lo's high score went to fierce-arina Kayla Mak, Derek Hough thought contemporary sister act Ellie & Ava were best, and Ne-Yo gave the highest numbers to Julian & Charlize. In the end, contemporary prevailed, with Ellie & Ava's flawless control sending the sisters on to the Finals.

Julian & Charlize

Kayla Mak

Upper Team Division

This divisional final was practically a coronation ceremony: The Kings showed that they're true royalty with a number that had the judges literally on their feet 30 seconds in. Unity LA's heartbreaking concept (which gave Ne-Yo his first-ever goosies, nbd) and The Heima (who weren't quite up to their usual level of "wow") sadly couldn't trounce the unstoppable guys from India.

Unity LA

The Heima

But wait: Turns out there can be more than four finalists! Next week, a Wild Card will be announced—aka an act that didn't score at the top of their division, but that the judges feel deserves to advance. Who do you think the lucky dancer (or dancers) will be?

Sorry, everybody else doing the #BeforeILetGoChallenge (yes, even you, Jenna Dewan!): It's over. It's been won. The end.

While millions of dancers around the world have been filming their best takes on Beyoncé's viral craze since Queen Bey kicked off the contest last week, we don't think anyone can top Charles Smith Jr.'s submission. The fabulous choreographer—who's worked with everyone from the Brooklynettes to Lizzo—shut down NYC's Times Square for an epic dance party with his squad. And it's the most joyful thing we've seen in a long time.

The Times Square vid is actually Smith's second contribution to the challenge. "After the initial video"—which featured dancers performing on a basketball court, and which Beyoncé reposted to her Stories—"I received crazy amounts of DMs asking me to teach it again in a class setting," he told VIBE. "I decided to just do it again in a larger setting, and where else but Times Square?"

Tons of dancers turned up for the shoot, many of them having learned the choreo off Instagram. In his caption, Smith wrote that the challenge "is bigger then just a 'challenge' to me. It's about spreading joy to folks through the art of dance!"