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From mid-March into early April, dance communities around the world experienced a seismic shift as performance seasons were cancelled, training programs were suspended and physical contact outside one's home was mandated unsafe. As dancers, we are taught to problem solve in real-time, so it came as no surprise when streamed performances and classes began popping up almost immediately. Dance Magazine asked six voices from our national dance community to share their thoughts regarding the swift distribution of online content. What are the implications of sharing our art form for a fee versus free, especially during a time when dancer are struggling financially?

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One of the hardest parts of hunkering down to prevent the spread of COVID-19 is giving up our daily routines. And for dancers, that means class. Last week we shared a number of online teaching platforms (including Miami City Ballet principal soloist Lauren Fadely's new virtual ballet school), but now there are even more options. Over the weekend a handful of pros stepped forward to share that they'll be giving virtual class via Instagram or Facebook Live. So stake a claim to your kitchen counter, and start organizing your schedule for the week.

Have you seen an option for online class that we've missed? Share it in the comments and we'll add it to this list!

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Peck in Balanchine's Tschaikovsky Pas de Deux. Photo by Paul Kolnik, courtesy of NYCB

At 11, while watching a performance of New York City Ballet's Nutcracker, Tiler Peck leaned over to her father and said, "Dad, I'm going to dance on that stage one day." It was a surprising declaration for a competition kid from Bakersfield, California. But her prediction came true: Peck joined New York City Ballet as an apprentice four years later. "It was the challenge that drove me," she says. "I always had natural ability to dance, but when it came to the School of American Ballet, I felt like a jazz dancer trying to do ballet. But I was going to get this. I was going to be a ballerina." Her mastery of timing and crisp lines quickly took her from being a 15-year-old apprentice to a 20-year-old principal. Now, nine years later, she's dazzling audiences at Lincoln Center night after night.

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Gillian Murphy spent some time in Canada this summer. Image via Instagram @gillianemurphy

We'll admit it: As excited as we are for fall performance season to start, we are in deep, deep denial that the end of summer is in sight. And we're also experiencing some serious FOMO looking at the vacation photos flooding our Instagram feeds from some of our favorite dancers and choreographers. So where in the world do they go to unwind before gifting us with yet another season of incredible dance?

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Including Dance Academy: The Comeback, naturally. (ZDF Enterprises)

We're deep in the lazy, hazy days of summer—and there's no better time to kick back, relax, and watch one of the many dancetastic movies that've come out recently. Which should you add to your queue? Here are eight must-watches.

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Just for fun
Including Dance Academy: The Comeback, naturally. (ZDF Enterprises)

We're deep in the lazy, hazy days of summer—and there's no better time to kick back, relax, and watch one of the many dancetastic movies that've come out recently. Which should you add to your queue? Here are eight must-watches.

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Peter Boal coaching PNB dancers in Opus 19/The Dreamer. Photo by Lindsay Thomas, courtesy of PNB

In a windowless subterranean studio under the New York State Theater, I pulled back an imaginary arrow and let it fly.

"Good!" said ballet master Tommy Abbott. "I think you're ready. Tomorrow you rehearse with Mr. Robbins."

I was slated to play Cupid in Jerome Robbins' compilation of fairy tales called Mother Goose. It was a role given to the tiniest boy who could follow directions at the School of American Ballet. In 1976, that was me.

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Isabella Boylston, partnered here by Zachary Catazaro, is Vail's artist in residence this year. Photo by Erin Baiano, courtesy of Vail International Dance Festival

When Damian Woetzel came to Vail a decade ago as artistic director, he brought the vision of creating an open artistic community.

"Dancers often go to festival gigs, arrive with their music and costumes, perform, get the check and go," says Woetzel. "It's very normal and efficient. But I was always more interested in collaborations, artistic development, working with new artists, so I tried from the beginning to create an atmosphere in which to experiment and try something new."

This month, the festival celebrates Woetzel's collaborative mission and its expansion during his time there.

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