"DWTS" Week 10 Recap: A Semi-Finals Showdown
We're coming down to the wire on "Dancing with the Stars," and it's getting harder and harder to decide which of the remaining couples should hang up their dancing shoes. This week, the contestants were put to the test with two routines: one required the pros to choreograph a dance to a song that they felt best represented their partner; the other required them to redo an old "DWTS" routine that'd received a perfect score (talk about setting the bar high). The five celeb semifinalists didn't disappoint–but some had a better night than others.
It looks like Frankie Muniz and Witney Carson have the best shot at catching runaway favorites Jordan Fisher and Lindsay Arnold. While Frankie's technicality was a little lackluster in his basketball-themed routine, the choreography was creative and brought a ton of energy to the stage (kudos to the brilliant Witney Carson). Frankie's lack of confidence continues to thwart the otherwise stellar performances by this darling duo. We hope Frankie can fix that issue in time for next week's finals.
At the semi-finals anything can happen–including Drew Scott in a kilt. He and partner Emma Slater opened the night with a tango to "I'm Gonna Be (500 Miles)," and though we're still scratching our heads over the performance, we will say that Drew has shown major improvement in a very short amount of time. Add that to his charisma and enthusiasm, and you've got a surprisingly formidable contestant.
One of the most moving performances of the night was Victoria Arlen and Val Chmerkovskiy's contemporary piece, which told Victoria's story through the eyes of her parents, who took care of her during her paralysis. The emotional piece was one of her best performances of the season, and proved just how far Victoria has come as a dancer who is willing to open up to the audience.
Sadly, Victoria and Val's inspired performance wasn't enough to keep them from going home. The elimination didn't sit well with a lot of "DWTS" fans who felt that Victoria outperformed Drew. But frankly, at this point in the competition, it's hard to see any of the contestants leave the dance floor for good.
Stay tuned for next week, when we find out who'll take home the mirror ball trophy!
Misty Copeland. Her name is synonymous with exquisite artistry and outspoken advocacy. And her visibility has made a huge impact on the ballet world. Ballet's relationship with race has always been strained at best, hostile at worst. But Copeland's persistent message and star quality have finally forced the ballet industry to start talking about racial diversity, inclusivity, and representation. "The rarity of seeing ourselves represented is sad," Copeland says. "The more we see every hue and body shape represented on the stage, the more possibilities young dancers feel they have for themselves."
Last month, we asked why there wasn't a Best Choreography category at the Oscars—and discovered that many of you agreed with us: Choreographers should definitely be acknowledged for their work on the super-dancy movies we can't get enough of.
Now, we're taking matters into our own (jazz) hands.
We've decided to create a Dance Spirit award for the best cinematic choreography of 2017. With your input, we've narrowed the field to four choreographers whose moves lit up some of the best movies of the year. Check out our nominations for best choreography below—and vote for the choreographer you think deserves the honor. We'll announce the winner on Friday, March 2.
Contemporary phenom Christina Ricucci has super-flexible hips, which means she can stretch her legs to unbelievable heights. But when she noticed herself making contorted positions in class, Ricucci realized she was approaching her extensions all wrong. "I went back to the basics in class, squaring my hips and using my turnout," Ricucci says. "I learned to create proper positions, rather than whacked-out versions of them."
Some dancers are so wonky they have a hard time supporting their high legs, while others struggle with limited flexibility. But no matter your facility, you can find a balance of stretch and strength to achieve your fullest range of extension. It's not about how high (or not) your legs can go: It's the quality of the movement, and how you get those legs up, that counts.
Yesterday, the dance community was heartbroken to learn that Jaime Guttenberg and Cara Loughran, both 14-year-old dancers, were among the 17 people killed on Valentine's Day in the shooting at Marjory Stoneman Douglas High School in Parkland, FL.
Once upon a time (until the 2014 Winter Olympics in Sochi concluded, to be exact), figure skaters had to compete to music without words. Before this rule change, a skater faced an automatic point deduction if the music even hinted at vocals. Understandably, there were *a lot* of Olympic programs skated to classical music, and you'd tend to hear the same music selections over and over and over.
There are plenty of current Olympic figure skaters who'd make beautiful dancers (first among them Adam Rippon, whose gorgeously choreographed long program won the internet, if not the gold). But today, as we wait for the women's figure skating competition to crown its new champions, we wanted to throw it back to one of the most beautifully balletic skaters of all time: Sasha Cohen.
The high-flying leaps of grand allegro are meant to be incredibly exciting. But at the end of an intense ballet class, when you're exhausted, it can be hard to give them the attention they deserve. Want to pump up your big jumps? Follow these 10 vital tips from Jennifer Hart, curriculum director and instructor at Ballet Austin.
"Whole, low-fat, or skim?" The question of which milk to drink has gotten a little more complicated lately, with a wide variety of nondairy milks popping up in grocery stores. To find out which ones are worth your milk money, we had registered dietitian Monika Saigal answer some FAQs.