Jacqulyn Buglisi has a flair for drama. To encourage the students in her intermediate and advanced Graham classes at The Ailey School to open their sternums in a high release, she tells them to stretch “like a flower came out of your heart." When attempting to convey the weight of a hand gesture, she explains that they must “pull the hem of heaven from the sky." During the extensive warm-up sequence, she reminds them that this is no time for complacency: “We don't do positions. We dance the series." Despite her penchant for the Graham dramatics, Buglisi is equally quick to curb any excess of melodrama in her students. “No Swan Lake with the arms," she admonishes one whose wrists are limply crossed.


Buglisi's authority on the Graham technique is formidable—she was a principal dancer with the Martha Graham Dance Company for 12 years. Soon after the birth of her son in 1988, as her association with MGDC was winding down, Denise Jefferson approached her and offered a teaching position at Ailey. Buglisi fondly remembers Alvin Ailey himself taking time to stop in and watch her classes. Within two years, she became the chair for The Ailey School's Graham-based modern department.

Though most of these students have been studying Graham technique with her for three or four years—as professionals, international, certificate or Ailey/Fordham BFA students—there is conscientiousness on every face: Buglisi has carefully imparted that there are always deeper understandings of the familiar pulses, flexed wrists and energized spirals to explore. Her own attentiveness and investment mirrors that of her students—she calls one who is perpetually in the back row to the front, apparently per an earlier agreement to encourage confidence.

For students who are new to Graham technique, the biggest hurdle can be to find the connection to their centers. “Understanding contraction and release requires such awareness," says Buglisi. “Once they recognize their centers, that's really the beginning." She devotes moments in her class to stillness and introspection, encouraging her students to appreciate their own beauty and potential without getting caught up solely in the mechanics of the movement. “It's OK to smile!" Buglisi occasionally reminds her class. “Be happy with the image in the mirror."

Jacqulyn Buglisi is a born-and-bred New Yorker who trained at the High School of Performing Arts, where she studied Graham technique. After performing and teaching in Europe for several years, she returned to New York to dance for Pearl Lang and Joyce Trisler. She was a principal dancer with the Martha Graham Dance Company for 12 years. In 1993, she co-founded Buglisi Dance Theatre with fellow Graham dancers Donlin Foreman and associate founders Terese Capucilli and Christine Dakin. She is the chair of the Graham-based modern department at The Ailey School, where she has been teaching for more than 25 years.

Courtney Celeste Spears, 20, is a sophomore Ailey/Fordham BFA student.

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

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

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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."

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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 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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