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Dance News
Photo by Jeff Eason, courtesy of Dance Films Association

At the Dance on Camera Kickoff Gala on July 16, Dance Films Association honored two beloved dance artists from different generations: Jacques d'Amboise and Trey McIntyre.

McIntyre and d'Amboise. Photo by Jeff Eason, courtesy of Dance Films Association

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Your floor gets installed and everything looks and feels great, but somewhere down the line (it could be a couple of weeks, months or years) seams separate, the floor develops waves or becomes slippery.

What is going on? Was it the installation, defective material, or those who clean the floor? There are a number of reasons why the floor goes bump in the night. For every reason or cause, there is a solution. The problem is finding out what has been causing the mischief.

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Social media validates extremes over clean, solid technique. Photo by David Hofmann/Unsplash

The entrancing power of Instagram can't be denied. I've lost hours of my life scrolling the platform looking at other people documenting theirs. What starts as a "quick" fill-the-moment check-in can easily lead to a good 10-15 minute session, especially if I enter the nebulous realm of "suggested videos."

My algorithm usually shows me professional ballet dancers in performances, rehearsals, class, backstage and on tour, which I quite enjoy. But there are the other dance feeds that I find myself simultaneously intrigued and horrified by: the hyper-elastic, hyper-extended, gumby-footed girls always at the barre doing developpés to six o'clock. There are the multiple turners, the avid stretchers and we can't forget the endless balancers.

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Studio Owners
Thinkstock

Q: We had a talented pair of sisters join our competition team this season. They came to us from another studio that I've known for many years, and earlier this week, that owner called to ask me to help her collect a large balance due from their family. Should I get involved, or leave it to her to sort out?

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Dancer Health
Thinkstock

I put dancing aside for two years, but now I'm back and ready to work hard. The only problem is that I get really nauseated in class when turning. This was never an issue before I stopped. Do you know what the problem could be?

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Dance Teacher Tips
Photo by Kyle Froman

Unlike a usual waltz, in which the lift and dip would come from the legs, this waltz from Paul Taylor's Cloven Kingdom (1976) requires the up-and-down motion to come solely from the torso. The legs remain in plié the entire time, eating space. (When this piece is performed, dancers traverse the length of the stage using one pass of this waltz.)

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Dance News
Adam Rose/FOX

At the start of last night's episode of "So You Think You Can Dance," 41 dancers remained. An hour later, we had a Top 20. And then there was a BIG FAT TWIST. (We'll get to that.)

The 41 still-standing Academy dancers showed up at the Dolby Theater in L.A. ready to tackle three rounds: contemporary choreography with seven-time Emmy nominee and one-time "SYTYCD" contestant Travis Wall; an "epic group routine" with jazz choreographer and La La Land she-ro Mandy Moore; and a last-chance solo showdown. Here's what happened.

The Contemporary Competition

"I'm not looking for robots," SuperTrav immediately explained. He gave the dancers shapes, but from there, each was expected to make the choreography his or her own. Everyone got sweaty and exhausted, and after 90 minutes, it was time to perform in groups of three for Nigel, Mary, Vanessa, and Travis.


Allen Genkin

The ballroom babe struggled during hip hop last week, but (naturally) crushed the ballroom choreography. This time around, the judges still couldn't resist Allen's charm, and he got to stay—though, Nigel said, "We need more."

Cole Mills

Cole has stood out during each round of choreography thus far, and not just because of his full-back tattoo. Travis called him absolutely beautiful. "I don't know where you came from or where you've trained, but I am very excited for you," TWall said. And he made it through.

Tessa Dalke

The pressure was on for this early favorite—and the judges weren't feeling her contemporary performance. Vanessa was expecting more, Travis didn't think she commanded the space with her energy, and Nigel said she needed to step up. But they weren't ready to give up on her, so she stayed for jazz.

Sydney Moss

She stood out, Nigel said, simply. She got to stick around, too.

Hannahlei Cabanilla

All the judges agreed that they couldn't take their eyes off her. Hannahlei made it on to jazz as well.

David Greenberg

The ballet dancer didn't totally crush Travis's choreography, so the judges decided to send him home. "I hate this part," Travis said through gritted teach. (We hate it, too.)

Eddie Hoyt

The judges needed to make cuts, and despite Eddie's awesome personality, the tapper's "SYT" journey ended here. Tear!

Evan DeBenedetto

The other tapping standout in the competition killed this choreo. Vanessa said he rose to the occasion, and he made it to the jazz round.

Bridget Derville-Teer

Nigel told Bridget she lost him today, and Mary didn't connect with the performance. Bridget was sent home—but Nigel hopes to see her again. (Season 16, girl! Be ready to crush it!)

Genessy Castillo

Genessy seemed to lose confidence halfway through the performance, but the judges still adored her, so she made it through.

Emily Carr

Emily was totally captivating in this round. Her jumps were the highest, her expression the fullest, her performance the boldest. Travis thought the competition was hers to lose: "Girl, I can't wait for you to get on the show so I can work with you," he said. Holy ultimate compliment, TravMan!

The Group Production Number

With 33 dancers left, it was time to bring in Mandy Moore for the final round of choreography. Her jazzy group routine featured all the dancers shining in their individual styles, plus a grand finale where everyone came together. "If they can't hang in the group routine, then it is cutsville, buh bye," Mandy said. STONE. COLD.



This routine looked so fun. (Was anyone else standing up, trying to learn it at home? No? Just us? OK.) The high-energy choreography was fairly simple, but there was a LOT of it. Each group got just an hour to perfect their portion of the routine—and to choreograph two eight-counts of the performance themselves. Intense much?

There were so many wonderful moments during the enthusiastic performance. Emily Carr was a standout again. The tappers looked awesome, and Jensen Arnold had undeniable presence. (The entire ballroom group is looking super strong this year, TBH.) The exhausting routine earned a standing O from the four judges, whom we were not envying at that point.



But cuts had to be made, and Tessa Dalke, sadly, was one of them. Other favorites—Alexis Gilbert, Jay Jackson, Gaevin Bernales—were sent home, too.

The Last-Chance Solo Round

The remaining 27 dancers got to perform one final solo before the judges chose the Top 20. Jay Jay Dixonbey's number was powerful, precise, and pretty darn perfect. Chelsea Hough rocked heels for hers. Hannahlei Cabanilla earned a "love. her." from Mary. And Allen Genkin wrapped things up with a booty wiggle, a big smile, and a Magic Mike-esque shirt toss that Nigel called "a little desperate." (AGREE TO DISAGREE, NIGEL.)

Without further ado...

The "So You Think You Can Dance" Season 15 Top 20

THE GUYS

Jay Jay Dixonbey

Cole Mills

Justin Pham

Slavik Pustovoytov

Peyton Albrecht

Dustin Payne

Evan DeBenedetto

Darius Hickman

Kyle Bennett, Jr.

Allen Genkin

THE GIRLS

Genessy Castillo

Magda Fialek

Jensen Arnold

Stephanie Sosa

Dayna Madison

Sydney Moss

Brianna Penrose

Chelsea Hough

Emily Carr

Hannahlei Cabanilla

BUT WAIT. After the reveal, there was another reveal: Turns out only 10 dancers will continue on to the live shows. What is happening?!

Next week, each of the Top 20 dancers will be paired with an All Star and a choreographer. See you then for more madness!

Dance Teacher Tips
Photo courtesy of Ballet Next

In 2011, when former American Ballet Theatre principal Michele Wiles departed the company and formed BalletNext, she found an artistic freedom she'd been longing for. Along with new collaborations with choreographers and musicians, she began working with trumpeter Tom Harrell, who introduced her to the multilayered sounds of jazz. "The dancers are another instrument to a jazz musician," says Wiles. Pairing this music genre with her classical foundation has been pivotal in defining her style. "I have this classical facility, but my mind is more contemporary. Jazz is a good intersection for my work," she says.

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Once competition season ends it may be challenging to keep your dancers excited and involved in dance. Don't let the down time between competition seasons drag on. Dance conventions are an easy and effective way to learn new skills, meet inspiring choreographers, and keep your dancers involved all year long. It is also a great opportunity for your dancers to bond and grow together as a team.

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Dance News
Photo by Alex Huber, courtesy of YDC

Ballroom dance could be the best form of diplomacy, according to New York City teenagers starring in a new documentary, Taking New Steps—The Dancing Classrooms Youth Dance Company Goes to Israel.

Saturday, members of the Youth Dance Company and their loved ones watched the private screening with family and friends at the Film Society of Lincoln Center in Manhattan. Produced by SingularDTV, the 18-minute documentary captured individual interviews and sweeping drone shots during the company's 2017 trip to Israel for the Karmiel Dance Festival. Dancers in the audience, now a year older, cheered as they viewed younger versions of themselves on the movie screen.

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