On the morning of May 1, Miriam Barbosa posted a photo of her daughter, Itzkan, on Facebook. The image itself is striking—Itzkan stands smiling on pointe in front of Miami City Ballet, where she has spent the last year as a pre-professional student, perched atop a mountain of old pointe shoes of all different sizes. But it's the story behind the picture that's inspired so many people to comment their congratulations and appreciation. The photo contains every single one of Itzkan's pointe shoes, from her very first pair up until the moment she got her first professional contract as a corps member with MCB last month. The image not only calls attention to the hard work and dedication necessary for young dancers to achieve their dreams, but to the sacrifices parents make to help them get there.

A professional dancer and teacher herself, Barbosa moved to the U.S. from Brazil to dance with Martha Graham Dance Company until her daughter was born, then took a teaching job at the University of South Carolina. While her mom was at work, Itzkan took children's classes at the university's conservatory, and later began training at the Center for Dance Education. She put on her first pair of pointe shoes at age eight, the same year Barbosa was getting her own dance company, Miriam Barbosa Dance, off the ground (it was then called South Carolina Contemporary Dance Company).

As a single mom, Barbosa was already working multiple jobs to make ends meet—running her company, performing, teaching Gyrotonic and Gyrokinesis classes—and she knew the cost of pointe shoes would be a considerable addition to the bills. When she asked Itzkan why she danced, the eight-year-old replied, "Mom, why do you breathe?" "For her it was just part of her, there is no why," Barbosa says. "I know what it takes when that's what you really want. My parents were not as supportive of my dance career, so when I realized that she had the talent and the willingness, I was like okay, we'll do whatever it takes." Still, she wanted Itzkan to understand the amount of money, dedication and sacrifice that went into her dream career, and so she promised to save every pair of shoes until Itzkan earned her first contract.

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Barbosa stored shoes in South Carolina, and then in their small New York apartment when Itzkan was accepted to study at Ballet Academy East. Barbosa transferred her work to New York, and sometimes took jobs overseas teaching intensives, because they paid more. She often wondered if saving the shoes was crazy, but she stuck with it. When Itzkan got her contract from MCB last month, "I called her and I said, 'Guess what? It's time for the shoe mountain,' " says Barbosa. She gathered all the shoes from New York, flew to South Carolina to collect the ones she'd left in storage there, and rented a truck to drive with all of them to Miami. The completed mountain had over 200 pairs of pointe shoes, representing more than $20,000. After the photos were taken, all the shoes were recycled except for the first tiny pair, which Itzkan kept for good luck.

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The response to her Facebook post has been "beautiful," Barbosa says. "I had a lot of mothers who reached out to me and people who cried when they read the story." Barbosa's mountain of "broken, sweaty" shoes is a visual tribute to the sheer amount of work, sacrifice and dollars it takes to build a professional dancer. It's also an act of love from mother to daughter, and a testament to Barbosa's love for the art of dance itself.

"Sometimes the audience has absolutely no idea of what it takes for those dancers to be on that stage, how many rehearsal hours they have to put into it, how hard it is financially both on the parents and themselves," she says. "I'd like for people to recognize dance as an art form and that it's not easy—it does take a lot of shoes, a lot of sweat, and lots and lots of hours of work."

These days, Francesca "Frankie" Axam-Hocker and Ahren Victory are doing great: Axam-Hocker, who graduated from the Boston Conservatory at Berklee in 2014 with a BFA in dance, is now senior manager of visitor services at The Paley Center for Media; Victory, who graduated from the University of Arizona in 2017 with a BA in arts, media, and entertainment, is now playing Sillabub in the national tour of CATS. But ask these dancers about the past few years, and it's clear their current successes don't tell the whole story. Yes, even the most talented and motivated dancers struggle with postgrad life—but there are ways to ease your fears, stress, and uncertainty.

Just Do Something

Upon moving to NYC, Victory hit the non-Equity audition circuit hard—and it hit back. She'd wake up at dawn and wait all day in a "sea of people," just for the small chance she'd get to audition. "It was easy to sink into other auditioners' negativity and bitterness," Victory says. "The biggest thing was realizing I had the power to create a bubble of positivity around myself. Whether I got seen or not, it was a good day because I showed up to do what I was supposed to."

Ahren Victory (Ocie Clelland/Soul Phocus Photos, courtesy Victory)

Axam-Hocker watched friends struggle with the idea that dance gigs should cover all expenses. "Not to say dancers shouldn't be paid, but don't feel guilty about taking a service job or working in a box office," she says. "You're here to dance, but you also have to eat. You'll get there—in the meantime, you might have to babysit."

Work Your Network

Victory didn't know anyone when she moved to NYC. "I built my network on people I was taking class from," she says. "If you appreciate a dancer's work or work ethic, let them know and learn from them." You never know how making contacts, even in small ways, can help you.

Axam-Hocker at work (courtesy Axam-Hocker)

Even as she moved toward arts administration, Axam-Hocker leaned on her alumni community for pragmatic support. "When I first got to NYC, a group of us dancers set up a babysitting network," she says. "The people you meet in college may not be friends forever, but they can become the informal network that helps you get a job or find an apartment." And don't be afraid to reach out to favorite professors—they know you and the dance world well, and can help you find or get started on your chosen path.

Everyone Else Feels Lost, Too

According to Axam-Hocker, the postgrad blues were real even among dancer friends who landed lucrative jobs quickly: "They felt so drained by the pressure." Look for small, daily ways to feel self-sufficient and competent, and you'll feel more in control of your career trajectory.

Victory in costume as Sillabub (courtesy Victory)

Maybe the hardest thing about navigating the postgrad years is that every dancer's struggles will be unique. "It's easy to compare someone else's social-media highlight reel to your grind and the nitty-gritty of your life," Victory says. "No one posts the behind-the-scenes effort and struggle that eventually create Insta-worthy success."

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

Alexei Ratmansky's Whipped Cream, which American Ballet Theatre debuted in 2017, tells the story of a young boy who eats too many sweets, falls into a delirium, and is rescued by Princess Praline, who brings him to a world inhabited by fantastical confectionary characters. Last week the chefs at New York's Serendipity 3, the famous Upper East Side eatery best known for its frozen hot chocolate, tried their hand at bringing Ratmansky's ballet to life (or at least to the table). The result is Whipped Cream - The Sundae, available to diners from May 7-July 13.

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As soon as we saw this ballet-inspired dessert, we knew we had to have someone try it. And who better for the task than the dancers of ABT, currently preparing for a run of Whipped Cream as part of the company's Metropolitan Opera House Season, which opens today. So we asked corps de ballet dancers Xuelan Lu, Courtney Lavine and Lauren Bonfiglio and apprentice Michael de la Nuez to conduct a taste test. They're accompanied by four students from ABT's Jacqueline Kennedy Onassis School, dressed in the production's whimsical costumes, who came along to pose with the sundae (because, as all good dancers know, eating in costume is strictly taboo.)

Check out our video below to find out what they like best about this treat, what they really think of the plastic ballerina on top, and which characters from Whipped Cream they'd most like to snack on.

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,

Self-doubt is my biggest enemy. I'm always comparing myself to the other dancers in my class, and even though my teachers have told me I'm talented, I never feel like I measure up. What's the best way to adjust my perspective?

Maddie

Dear Maddie,

Every dancer struggles with self-doubt—including world-famous dancers. Start out by recognizing that even people who appear super-confident have some aspect of their technique or performance they wish they could change. Knowing that you're not alone will give you a healthier sense of perspective.

Hard as it can be, try to really hear and believe your teachers. They're looking at your dancing more objectively than you are, and they wouldn't say you were talented if you weren't. Let their faith in you bolster your faith in yourself.

Finally, set small, achievable goals on a regular basis. Think, "Today I'm going to work on my turnout," or "I want to focus on my port de bras in this class." Narrowing your focus will keep you from feeling overwhelmed or defeated by the need to measure up on every front. The mental side of dance is always the hardest, but if you can teach yourself to believe in your talent, you will succeed.

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

What do we love more than a video about ballet? A video about ballet done right—like YouTuber Michelle Khare's chronicle of her 6-week deep dive into the world of professional ballet.

The vid, part of Khare's "Challenge Accepted" series, features DS regular Alison Stroming, Aaron Smyth (who partnered Misty Copeland in The Nutcracker and the Four Realms, and former American Ballet Theatre principal Irina Dvorovenko—so, basically, the A-Team of A-Teams. With Stroming's assistance, Khare got the hang of the basics (ballet bun, barre, port de bras), and blossomed from there. Kudos to Khare for not only committing herself 110%, but also fairly depicting the ins and outs of ballet for the general public. Check out the vid below.

It's May, which means it's time to gear up for your studio's annual recital! Yes, every group's performance preparations are different, but here are the eight stages pretty much every dancer goes through.

Doing Spring Cleaning on Steroids​

Every arm, head, and accent must. be. the. same. And if it takes running the number "one more time" about 50 times, so be it.

Trying to Get Every Single Person You Know to Buy a Recital Ticket

Your old preschool teacher, your second cousin twice-removed, the Starbucks barista: Basically anyone you've ever interacted with is getting an invite to your recital. You've worked too hard this year not to have a 50-person entourage greet you at the stage door!

Stocking Up on Survival Supplies

10 packs of bobby pins, 3 cans of hairspray, 2 boxes of makeup-remover wipes and, oh, 30 pounds of snacks should be just enough to get you through the weekend, right?

Remembering that School Is Still a Thing

Why oh why do final exams have to coincide with this mayhem? Doesn't your school understand the demands of recital season?

Spending a Few Glorious Minutes Onstage

It's finally show time, and your moment in the spotlight is e-v-e-r-y-t-h-i-n-g, because you understand how much work it takes to get there! You're almost sad to be hearing your recital songs for the last time…almost.

Spending a Very Not-Glorious 30 Seconds Between Each of Your Dances

If quick-changing costumes were an Olympic sport, you'd most certainly win the gold.

Bidding the Seniors Farewell

After final bows, the curtain falls, and you're left in a sea of sobbing dancers because 1) you're exhausted and 2) all of your besties are officially heading off to college without you.

Realizing it’s Actually NOT the End of Everything

Get some rest and enjoy your five days of summer dance-cation, because Nationals rehearsals start bright and early next weekend!

Although it may feature three adorably charming old ladies, Hong Kong Ballet's effervescent 40th anniversary season promo video proves that it's not your grandmother's ballet company.

As dancers clad in neon and pastel ensembles absolutely slay artistic director Septime Webre's eclectic, powerful choreo, you can't help but marvel at how whimsically the old and new collide. (There's also a stunning view of Hong Kong Harbor, and a cameo by a giant magenta lion!) It's clear that Webre, formerly of the Washington Ballet, is bringing his signature flair to the company's 40th anniversary season. Watch the full vid below!

Hong Kong Ballet 40th Anniversary Season Brand Video youtu.be

What does Mikhail Baryshnikov have to say to dancers starting their careers today? On Friday, he gave the keynote speech during the graduation ceremony for the inaugural class of the USC Glorya Kaufman School of Dance.

The heart of his message: Be generous.

After promising not to talk politics, he said he would go "180 degrees in the opposite direction" by talking about generosity.

Appropriately, he started with the ceremony's most obvious example: the woman who made USC's dance program possible—Glorya Kaufman, arts patron extraordinaire.

But he went on to explain that generosity is about a lot more than donating money. It's also about:

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• Sharing. He thanked his mother for opening his eyes to dance.

• Teaching. He thanked his teachers who shaped him.

• Artistic collaboration. "To collaborate is to be generous with your time, your body, your soul. It's always a two-way street—you give, you get."

• Allowing yourself to take risks. "As young creative artists, and really as human beings, you have to be open to failure," he said. "Failure is a part of learning.... As a very old dancer, I have had many, many opportunities to fail. It happens. Projects collapse, knees blow out, money dries up. But you as artists, and as young people discovering what you care about, you must be generous to that spark inside yourself that made you love dance in the first place."

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But he's realistic. He knows that dancers can have a hard time being generous with themselves.

" 'My jump is not high enough, my turns aren't perfect, I can't get my leg behind my ear.' Please don't do that. Sometimes there's an obsession with technique that can kill your best impulses. But communicating with an art form means being vulnerable. Being imperfect. And most of the time this is much more interesting. Trust me."

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And with a sly smile, he ended the speech by breaking his promise: He talked about politics.

He said he'd recently been wondering why artists tend to lean left politically. "Maybe, just maybe, it is because the arts get to the heart of what's important to us, meaning our humanity. The arts are the best form of truth that we have. We must be vigilant to protect and maintain a society that respects this idea. This means we must participate as citizens whenever possible. You, me, all of us. We must give our time, our thought, our caring to ensure that our country has the awareness and the courage, the generosity of spirit that is necessary for art to flourish."

"New York City Ballet star appears in a Keanu Reeves action movie" is not a sentence we ever thought we'd write. But moviegoers seeing John Wick: Chapter 3 – Parabellum will be treated to two scenes featuring soloist Unity Phelan dancing choreography by colleague Tiler Peck. The guns-blazing popcorn flick cast Phelan as a ballerina who also happens to be training to become an elite assassin. Opens in theaters May 17.

Last night, longtime theater legends (including Chita Rivera herself!) as well as rising stars gathered to celebrate one of Broadway's danciest events: the third annual Chita Rivera Awards.

The evening paid tribute to this season's dancer standouts, fabulous ensembles, and jaw-dropping choreography—on- and off-Broadway and on film.

As usual, several Dance Spirit faves made it into the mix. (With such a fabulous talent pool of nominees to choose from, we're glad that ties were allowed.) Here are the highlights from the winner's list:

Outstanding Male Dancer in a Broa​dway Sh​ow: Ephraim Sykes, for originating the role of David Ruffin in "Ain't Too Proud"

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A post shared by Ephraim Sykes (@ephsykes) on Mar 23, 2019 at 2:14pm PDT

He first captured our hearts with his moves in Newsies, and you may have since seen this King of New York dancing in Hamilton and NBC's Hairspray Live!.

Outstanding Off-Broadway Choreography: Rick and Jeff Kuperman, "Alice by Heart"

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A post shared by Kuperman Brothers (@kupermanbrothers) on Mar 6, 2019 at 10:23am PST

The Kuperman brothers have earned awards left and right for their absolutely brilliant choreography for Alice by Heart—and rightfully so! They created some of the show's most quirky and poignant moments.

Outstanding Female Dancer in a Broadway Show: Gabrielle Hamilton, "Oklahoma!," and Ashley Blair Fitzgerald, "The Cher Show"

It's a tie! Both dancers are giving fabulous performances night after night, but we especially love Hamilton's full-out attack, which carries the entire reimagined dream ballet sequence in the latest Broadway revival of Oklahoma!

Outstanding Theatrical Film Choreography: "Mary Poppins Returns," Rob Marshall and John DeLuca; co-choreographer Joey Pizzi

I would personally like to thank this team for bringing the Trip a Little Light Fantastic dance number into the world, as well as my YouTube queue.

And that's just the tip of the iceberg. See the complete list of nominees and winners here!

Choreographer Bob Fosse's signature style—with its jazz hands, inverted knees, and slouched shoulders—is still a huge influence in the dance world (and, thanks to the gloriously dancy FX series "Fosse/Verdon," the TV world). But while you know to expect plenty of Fosse-isms during a stage performance of Chicago or Sweet Charity, Fosse's legacy has also seeped into pop music culture, inspiring the likes of Beyoncé and Lady Gaga. Here are just six of the many music videos that reference Fosse's iconic works.

"Get Me Bodied," Beyoncé

There's no doubt that Beyoncé's music video for "Get Me Bodied" was inspired by Fosse's "Rich Man's Frug," from the musical Sweet Charity. From the the fist pumps to the ponytail flips (not to mention the costumes and set), the vid channels the glamor of "Rich Man's Frug" perfectly.

"Alejandro," Lady Gaga

There are all kinds of influences at play in this epic video, but it clearly references the film version of Cabaret (which Fosse choreographed) at several different points, with Lady Gaga embodying Sally Bowles. Notice the Fosse-esque hip and hand movements throughout, and particularly at the 6:20 mark of the music video.

"Spell Block Tango" and "Cell Black Django," Todrick Hall

"Cell Block Tango," from Chicago, is arguably Fosse's most recognizable number—and it inspired not one but two of Todrick Hall's viral YouTube videos. "Spell Block Tango" puts a Disney villain twist on the classic routine, featuring Cruella de Vil, Ursula, and other characters we love to hate as the murderesses behind bars. "Cell Black Django" uses the number to poke fun at stars like Beyoncé, Nicki Minaj, and Rihanna.

"Circus," Britney Spears

We see subtle Fosse references throughout Britney Spears' "Circus" video. Spears, as the circus ring leader, appears to be channeling the Leading Player from Fosse's musical Pippin. There's some saucy Fosse-style hat-and-cane choreo, too, and a section with chairs that recalls Cabaret.

"Single Ladies (Put a Ring on It)," Beyoncé

There's probably no stronger representation of Fosse's influence on popular culture than Beyoncé's "Single Ladies" (aka the "best video of all time"). Its choreo pays homage to—or, some have argued, steals from—Fosse's number "Mexican Breakfast," which was created for a performance on the Ed Sullivan Show. Check out this video to see the similarities side by side.

Do you have a "Strictly Ballet"–sized hole in your heart? Good news: The upcoming docuseries "On Pointe" just might fill it.

The School of American Ballet is teaming up with Imagine Documentaries and DCTV for the project. Though it's not yet clear where "On Pointe" will air, we do know that it'll follow talented SAB students preparing for professional ballet careers—much as Teen Vogue's popular "Strictly Ballet" web series did back in the day. But "On Pointe" marks the first time documentary filmmakers have been allowed access to the school, and it sounds like it'll paint an even more complete picture of the dancers' lives inside and outside the studio.

"I am in awe of the tremendous talent and commitment of the young student dancers and instructors at the prestigious School of American Ballet," producer Ron Howard said. (Same!)

We'll let you know more about the series as we hear it. In the meantime, find out what the alums of "Strictly Ballet" are up to now—at New York City Ballet, Los Angeles Ballet, Miami City Ballet, and beyond.

🌈 It's almost Pride month, dance friends! 🌈

Ralph Lauren is kicking off the celebration bright and early with a gender-neutral capsule collection featuring a rainbow version (naturally) of its pony logo. And the brand chose a bunch of influential LGBTQIA+ community members to model the looks—including our favorite danseur in heels, Houston Ballet soloist Harper Watters.

As ever, Watters looks fabulous in the campaign, which was shot by Cass Bird and also features Olympic medalist Gus Kenworthy and trans actress Josie Totah. And 100 percent of the proceeds from each graphic tee and 100 percent of the purchase price from the sale of all other items will go to the Stonewall Community Foundation, which funds a wide range of LGBTQIA+ organizations.

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American Ballet Theatre principal James Whiteside is known for more than just his uber-charismatic presence on the ballet stage: He doubles as both the drag queen Ühu Betch and the pop star JbDubs. Whiteside's newest musical release, titled WTF, came out last week, and is for sure his most ballet-filled song to date. Both the lyrics and the choreography are jam-packed with bunhead references, from the Rose Adagio to Haglund's Heel to a framed portrait of George Balanchine. Not to mention the fact that he and his four backup dancers (Matthew Poppe, Douane Gosa, Maxfield Haynes and Gianni Goffredo) absolutely kill it in pointe shoes.

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Whiteside released the video on May 17, the International Day Against Homophobia, Transphobia and Biphobia. And beyond showing off his impressive quadruple pirouette into a double tour (see 3:22), Whiteside uses WTF to shine a light on the questions surrounding gender, sexuality and harassment that have been circling the ballet world for the past two years. Whiteside's main message, "What the what," shows that he's flummoxed, and trying to make sense of it all. Yet his words also act as a form of protest against the people who have held him back, or questioned his unapologetic sense of self. (An explicit version of WTF, available on Spotify and iTunes, references Marcelo Gomes, Chase Finlay, Amar Ramasar and Zachary Catazaro, male dancers who have been involved in cases of sexual misconduct in the midst of the #MeToo movement.)

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The most prominent example of this is Whiteside's pushback against Sergei Polunin's recent homophobic and sexist outbursts. If being partnered by men while on pointe doesn't send enough of a message, then Whiteside's lyrics make things crystal clear. "Sergei Polunin is a bully and a coward," he sings. Towards the end of the video, Whiteside walks defiantly toward the camera while a recorded clip of Polunin speaking plays: "Personally I don't want to see men onstage not being a man." In another section, Whiteside calls out writers, naming former New York Times chief dance critic Alastair Macaulay and anonymous ballet blogger Haglund's Heel. He sings, "I will not be influenced by Alastair Macaulay. Haglund is fresh by the names that she calls me. Look at my career and look at all the ones that fought me." Whiteside has been celebrated for redefining the idea of the principal male dancer, but that progress has not come without criticism; in an interview with Dance Magazine last year he said, "I can't imagine someone like me existing when I was a kid." Here, Whiteside uses his musical platform to showcase his most honest and unapologetic self.

It's been an eventful few months for Sage Humphries, to say the least. Last November, the Boston Ballet company member made her (very well-received) choreographic debut with a piece called YOU, part of the company's BB@home: ChoreograpHER program. Just one week later, Humphries sustained an injury that kept her offstage for a couple of months. But she didn't have much downtime: Artistic director Mikko Nissinen soon asked Humphries to make a piece for Boston Ballet's first-ever appearance at Boston Calling Music Festival. Now that Humphries is back in the studio, Dance Spirit caught up with her to talk about making ballet rock, working with her composer brother, and what it's like to see her name next to William Forsythe's.

Dance Spirit: How did this piece come together?

Sage Humphries: Mikko, my boss, approached me in January when I was still injured. He asked if I'd be interested in choreographing something for May. We ended up having a meeting when I came back from my injury, and I want to say the rehearsal process started in early April. The piece is 8 minutes and 40 seconds, and I'm on the edge of finishing it. Of course there are some edits and tweaks I want to make. It's been a little challenging because I haven't had a lot of rehearsal time, so a lot of the choreography has just been done by myself in the studio.

DS: Your brother, Michael Humphries, composed the music, right?

SH: Working with my brother for a second time has been super cool. (He also composed the music for the piece I choreographed back in November.) Michael composes and produces music as FutureSelf. Mikko actually approached me insisting that Michael compose, because our artistic visions really match. Right when we knew this project was happening, Michael and I started brainstorming ideas. He'll send me sections of the music, and then I'll choreograph to them. We have a really, really good working relationship.

Sage and Michael Humphries bowing after last fall's BB@home: ChoreograpHER program (Brooke Trisolini, courtesy Boston Ballet)

DS: Who are your dancers?

SH: I have four dancers in the piece. They're amazing principals (Kathleen Breen Combes and John Lam) and soloists (Maria Baranova and Roddy Doble). I was amazed to get to work with such experienced dancers. It was so easy for me to take the most dramatic version of my vision and put it on them, because I know they're able to execute it. The piece is called White, which suggests a blank slate. It's up for interpretation. It's based on the history of classic rock. Each dancer represents an inspirational, extraordinary rock artist. Picture a 16-year-old boy—kind of like my brother when he was younger—listening to his favorite record, and suddenly it comes to life before him. It's nostalgic and modern at the same time.

Rehearsing "YOU" (Brooke Trisolini, courtesy Boston Ballet)

DS: How much were you thinking about the fact that this would be performed at a festival, as opposed to a more traditional ballet setting?

SH: I definitely made the piece specifically for this audience. I really enjoy going to music festivals myself, and am always amazed by how music brings all these diverse types of people together. It's such a hyped-up audience, you have to do something that'll click and stick with them. This piece bridges the gap between music they already know and love, and modern music that's more at the forefront of the industry. The women are in pointe shoes, but I wanted the choreography to feel more human and relatable than a super-classical piece.

DS: What makes this piece different from YOU?

SH: That was my first piece ever, and I'd had a lot of time to think, design, and meditate on how I wanted it to come across. I was so in my head about every little detail. Since we didn't have a lot of time with White, I had to do a lot of prep work beforehand, and go into the rehearsals prepared to teach. The cool part is, because they're such experienced dancers, they already know how to personalize the style and add their own flair. I'm collaborating with the dancers and letting them explore way more than I did the first time around.

Rehearsing "YOU" (Brooke Trisolini, courtesy Boston Ballet)

DS: Did your injury affect the choreographic process at all?

SH: I had a stress reaction in my L2 in November, the week after the ChoreograpHER premiere. I was out for all of Nutcracker. When I was approached about this piece, it was pretty clear that I wouldn't have to be in rehearsals until March at the earliest, so my injury didn't play a huge role in allowing me to demonstrate in rehearsal. It did, however, allow me the time at home in California to think about what I wanted. I spent a lot of time with my brother, and we had dialogue all the time about this piece.

DS: What does this opportunity mean to you?

SH: It's exciting that I get to be a choreographer amongst the legends. My piece comes after a pas de deux by former BB principal Yury Yanowsky, and before William Forsythe's piece to Khalid's "Location." That was intimidating for me at first because I was like, "One of these things is not like the other…" But it has also challenged me. Mikko believes in me, so I have to believe in myself. My brother believes in me, I believe in him, I believe in my dancers. I love music festivals, and I can't really explain how excited I am! My whole family is coming out to see it. Uniting the music industry and the ballet industry like this has been a longtime dream of mine.

Sage Humphries' White can be seen on Saturday May 25 and Sunday May 26 as part of Boston Ballet's performances at Boston Calling Music Festival.

It's safe to say that we're obsessed with the "So You Think You Can Dance" All Stars. Over the past few seasons, we've loved seeing them up on that "SYT" stage, guiding each new batch of contestants. Unsurprisingly, many of the All Stars are as charismatic online as they are onscreen. While we wait to hear which All Stars will be involved in Season 16, here are six from years past that you should totally be following on Insta.

Jenna Johnson Chmerkovskiy

Versatility is practically Jenna's middle name. Her Insta feed is full of photos from "SYTYCD" and "Dancing with the Stars"—and, of course, cute couple moments with new husband Val Chmerkovskiy.

Robert Roldan

Robert Roldan is one of the greatest All Stars of all time, helping many contestants make it to the finale. (Who could forget how his adorable partnership with little J.T. Church?!) His Instagram is the perfect combination of dance and travel pictures. And the fact that he's basically a model definitely doesn't hurt.

Gaby Diaz

If you're not already following tap legend Gaby Diaz, GET ON IT. In addition to dance pics, the Season 12 winner has a feed full of photos of her adorable pups.

Paul Karmiryan

Paul's feed is fabulous for many reasons—but mostly because of how dance-filled it is! Check it out if you need some inspiration to get you through a long rehearsal.

Sasha Mallory

Sasha's feed is, in a word, INSANE. Her dance photos are the most iconic—they always leave us screaming, "How?!"

Kathryn McCormick

If you like feeds with great aesthetics, then you definitely need to give Kathryn a follow. The vibe and color palette of her gorgeous, dance-filled posts make them a feast for the eyes.

Everyone loves the multitalented Maddie and Mackenzie Ziegler. Everyone loves Olympic figure skater (and pop-culture icon) Adam Rippon. Everyone loves when dancers ice-skate, and vice versa. So what could possibly be more lovable than the latest episode of the YouTube show "Break the Ice with Adam Rippon," in which Rippon teaches the sisters Ziegler to skate? (Nothing. NOTHING is more lovable than this freakishly cute video.)

Follow along with the terrific trio as they talk about what it's like to be close friends with Sia (same), get real about the bullying Mackenzie faced on the competition circuit, and learn exactly how far prior dance training can get you on the ice. (Spoiler: Not very far, unless you actually remember to hold your core like you do in the studio. 🤯)

Take one part delectable Galen Hooks choreography. Add two sensationally spicy dancers, Ashley Everett and Jasmine Harper. Melt in some luscious Beyoncé vocals.

SHAKE. STIR. SIZZLE.

That's the recipe for Hooks' gorg new video. Set to "Summer" by The Carters (aka Beyoncé and Jay-Z), it stars not only the formidable Hooks herself, but also two of Queen B's most fabulous dancers: Everett, Bey's dance captain, and Harper, who's actually featured in the album cover for the song.

Everett and Harper workshopped the combo with Hooks and assisted her in class. (They also worked with Hooks on her dance film "Wait for Me"—the three clearly have great chemistry.) The resulting choreo is serpentine perfection with a serious Beyoncé pedigree, aka 1000 percent our beginning-of-summer #mood.

Calling all Little Monsters! Fresh off her Oscar win for Best Original Song, Lady Gaga will head back to the Park Theater in Las Vegas this May. She'll perform her Enigma show, as well as her stripped-down Jazz & Piano show. Dancer Montana Efaw has worked with Gaga for a whole decade, and now joins her onstage in Enigma. We caught up with Efaw to get the inside scoop on the show, and what it's like dancing with a pop icon.

Dance Spirit: What do you love about Enigma?

Montana Efaw: One of my favorite things about working for Gaga is that the dancers are so well-utilized and the costuming is also always amazing. But for this show I really like the story line Gaga has created. It feels so new in many ways, but also has moments of nostalgia.

DS: What are your favorite numbers in the show?

ME: One of the treats of this show is getting to dance with a live band every night and not just the track. For me, some of her earlier hits like "Poker Face" and "Love Game" really bang when you get to perform them live and feel those drums. But also her classics like "Telephone," "Bad Romance," and "Just Dance" are so fun, because a lot of her fans know certain parts or moves at this point.

DS: What's it like performing at the Park Theater?

ME: The stage is massive, but it's more intimate than an arena, so we're really able to see a lot of people in the audience. It's fun to bring what feels like a stadium-sized show to this theater. The fans are amazing and always go all out and dress up. They definitely play a key role because when they're on fire, you can't help but feel that.

A version of this story appeared in the May/June 2019 issue of Dance Spirit with the title "Calling All Little Monsters."

It's almost time: Season 16 of "So You Think You Can Dance" premieres this Monday, June 3! Need help getting through the last few days (or hours, really, EEE) before Nigel's first "Cue music"? Take a look at our roundup of all the info that's trickled out so far about the new season.

The Competitors Include Some Familiar Faces

We spotted a few dancers we know in the season's preview videos, including Dance Spirit Cover Model Search winner Sydney Burtis, James "Animated J" Jimenez (who does that truly insane split in the vid above), "Dance Moms" alum Gino Cosculluela, and ballroom siblings Stephanie and Ezra Sosa. It sounds like Vlad Kvartin, who's performed with the "Dancing with the Stars" troupe, also auditioned—which means it's shaping up to be a super-strong ballroom season.

There Are Two Brand-New Judges

Vanessa Hudgens and tWitch aren't returning to the "jidges" table this season (*tear*). In their places—at least for the audition and Academy rounds—will be legendary choreographer Laurieann Gibson and "SYTYCD" and "America's Best Dance Crew" alum Dominic "D-Trix" Sandoval.

We Might Already Know Who the All Stars Are

There's no official word yet on the identities of this season's All Stars. But at a recent promotional event, 10 our favorites—five men and five women, hmmm!—performed a fabulous rendition of Mark Kanemura's "Call Me Mother" routine. Could this be the Season 16 All Star crew?

The Live Shows Will Feature a Top 10—Not a Top 20

Yup, this was confirmed by Nigel himself: Last season's big plot twist—that 10, rather than 20, dancers would make it to the live shows—is just a fact this season.

The Show's Got a New "Look"

Not exactly sure what that means yet, but we are VERY into the 360-degree camerawork we've seen in the preview clips.

CAT DEELEY IS BACK

Thank the dance (and fashion) gods!