Deep in the throes of "So You Think You Can Dance" Season 16, the euphoria of summertime and live shows is causing us to reflect on seasons past. While much has undergone change since the show's inception—movement trends, choreographers, dancers, judges and fashion—the positive impact it has on the trajectory of the winner's future remains as significant as ever. "This show has changed my life—it's changed me as a person," says Hannahlei Cabanilla, winner of Season 15.


Cabanilla now splits her time between Los Angeles and Orange County, doing industry work, teaching at various studios and traveling. Some of her most coveted gigs since winning include Rent: Live, the "SYTYCD" Season 15 tour and the 2019 American Country Music Awards. Her advice to the next winner? "Believe in yourself, because you were meant to be exactly who you are."

Biggest surprise about "SYTYCD" "I didn't realize how hard it would be. I've been watching the show since I was 6, and they don't show the audience how many hours of rehearsal the dancers have each day (nine), or how stressful it all truly is. You only see little clips of rehearsal, and then the happy moments onstage. There are blisters, and bruises and fatigue. It's a lot of pressure and stress. We were constantly thinking about the show. Even after rehearsals we would go back to our apartments and practice more. It's live, and you only get one take to make all these styles that you've never done before look perfect and professional. The stakes are getting eliminated. You're playing mind tricks with yourself thinking you might go home because of anything you did or didn't do. It's a lot."

Most powerful moment "I did a piece with Marko Germar called Welcome Home. The choreographer was Robert Roldan, and it was the first piece he ever created for the show. The rehearsal process for it had a lasting impact on me. Up until that point I had stayed strong and hadn't had any mental breakdowns, but during this rehearsal process I became very emotional because of the nature of the piece. I kept getting notes to be more personable, and to make my dancing more human-like. We did an exercise to get in character where I read the lyrics to the song out loud to Marko while I danced. I connected to the song so well that I broke down crying during the dance. I tore down walls and was able to be a better dancer because of it."

Lasting impact "'So You Think' has opened up a world of opportunities for me. I got to work closely with so many choreographers on the show who have hired me to work with them since. It has helped me build a recognizable name for myself in the dance world. Beyond that I have created special lifetime bonds with the other top-10 dancers from the show. We fight like family, but we love each other so much. This opportunity helped me grow. I wouldn't change a thing about it. It built me into the dancer and person I was meant to be."

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Barbara Bashaw in Thompson Hall of Columbia Teachers College. Photo by Kyle Froman

Barbara Bashaw has always been a pioneer. Since kicking off her career in education by building a dance program from the ground up at an elementary school in Brooklyn, she's gone on to become an inspiring force in teacher training. Now, as director of the new doctoral program in dance education at Columbia University's renowned Teachers College and as executive director of the even newer Arnhold Institute for Dance Education Research, Policy & Leadership, she's in a position to effect change nationwide.

"The study of dance education is a young field," Bashaw says. "Music and visual arts are far ahead of us, in terms of the research that has been done, as well as the foothold they have in education. Anywhere education is being discussed, we want to put dance on the table—and that means developing researchers and championing research that will push public policy." In a climate where arts education feels both more endangered and more necessary than ever, Bashaw is ready to blaze a trail.

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Karen Hildebrand (center) with 2019 DT Awardee Marisa Hamamoto and members of Infinite Flow. Photo by Joe Toreno

Every year in our summer issue, we honor four dance educators for their outstanding contributions to the field. Recipients have included studio owners, professors, program directors, K–12 teachers and more, whose specialties run the gamut of dance genres.

We need your help to identify this year's best in the profession. Do you have a colleague or mentor who deserves to be recognized as a leader and role model?

Send your nomination by March 1, 2020. You can e-mail us at danceteachereditors@dancemedia.com with the following details:

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Sponsored by Akada Software
Photo by Jenny Studios, courtesy of Utah Dance Artists

Running a dance school used to involve a seemingly endless stream of paperwork. But thanks to the advent of software tailored specifically for dance studios' needs, those hours formerly spent pushing papers can now be put to better use.

"Nobody opens a dance studio because they want to do administrative work," says Brett Stuckey, who leads Akada Software's support team. "It's our job to get you out of the office and back into your classroom."

We talked to Stuckey about how a studio software program can streamline operations, so you can put your energy toward your students.

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To celebrate Valentine's Day in the most dance-centric way possible, we sat down with five powerhouse dance-teaching couples to talk about their love stories. What do they admire about each other? What are their couple goals and their teaching philosophies, and how do they make their relationships work, especially when they work together? Get ready to swoon!

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For Parents
Photo by Paul B. Goode, courtesy of BAE

Watching through the studio windows—or even from the sidelines in a Mommy and Me class—can surely make parents wonder what exactly our little tykes are getting out of weekly ballet lessons. After all, they're repeating the same things class after class. Are they bored? Are they progressing? Why are they doing that again?

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Photo by Nina Lokmadzhieva, courtesy of Varna IBC

The oldest ballet competition in the world doesn't have the funds for the show to go on: The 29th edition of the Varna International Ballet Competition, scheduled for July 12–30, 2020, has been postponed indefinitely.

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Dance Teacher Tips
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Q: I have a 15-year-old student who has problems keeping her heel fully on the ground during a demi-plié. How can I help her?

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The eight 2020 Prix de Lausanne prize winners. Photo by Rodrigo Buas, courtesy of PdL

The 2020 Prix de Lausanne has officially come to a close after a thrilling week of classes, coaching sessions, competition performances and networking forums. The annual competition, which was live streamed around the world and watched over 1.1 million times, gave 77 dancers an opportunity to perform and take class in front of an international panel of judges. In addition to a classical variation, candidates had to master a contemporary solo by Mauro Bigonzetti, Jean-Christophe Maillot, Cathy Marston, Wayne McGregor, Heinz Spoerli or Richard Wherlock.

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Dance News
Photo by Wendy Turner, courtesy of Boulder Jazz Dance Workshop

This summer, as for the past 42 years, students will flock to Colorado to immerse themselves in jazz dance training and performance. High school and college students, professional artists and teaching artists alike will find opportunities for growth and connection.

The Boulder Jazz Dance Workshop honors tradition while also embracing innovation and change within the jazz dance genre and dance field in general. Before executive/artistic director Lara Branen began the Workshop, she and her co-founder Michael Geiger had studied at separate times with San Francisco jazz teachers Ann Garvin, Linda Heine and Ed Mock. Later Lynn Simonson became their primary inspiration. Each year Branen invites new guest artists to join long-term faculty who devotedly return year after year, including: Wade Madsen (modern dance), Nancy Cranbourne (jazz), Christy McNeil Chand (jazz) and Meghan Lawitz (contemporary). This summer will include lyrical, musical theater rep and a heels class, in addition to the program's regular offerings.

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Nope, there's still no Oscar for Best Choreography—but we now get to reveal the winner of our own Dance Spirit award for Best Movie Choreography of 2019! Though we're big fans of all seven of the nominated choreographers, and think each one deserves to be acknowledged for their contributions to some of our favorite films this year, there can only be one winner. And based on your votes, that is...

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Photo courtesy of Meier

Pointe shoes are high-maintenance. New pairs are not only expensive, but time consuming. So it's no surprise that many dancers try to extend the lifespan of each shoe. But did you know that dancing on dead shoes can increase your risk for a variety of injuries?

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Dance Teacher Tips
Jill Wolins (center, in pink). Photo courtesy of Wolins

"The best judges come from the competition circuit," says Jill Wolins, who trains adjudicators for the Star Dance Alliance and Starpower National Talent Competition. "If you competed as a kid, you have proper respect for how hard these dancers work. It's not easy to do what they're doing."

Wolins began judging competition events in 2001 in between dancing as a Rockette and performing on Broadway/national tours of The Producers, The Will Rogers Follies, Sweet Charity and Grease. And, yes, she came up on the circuit herself, before earning a BFA from the State University of New York at Buffalo.

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