Here at DS HQ, we're more than ready to be kicking off a new month (please please please tell us that March is going to finally bring us some warmer temperatures and pretty flowers...please?) and, fittingly, a brand-new issue!
The March issue of Dance Spirit is our annual Ballet Issue, and how lovely is this prima-in-the-making on the cover?
A little backstory...
I have been obsessed with Juliet Doherty for years. I saw her perform the role of Clara in the Radio City Christmas Spectacular and I fell hard for her gorgeous facility, sweet smile and perky onstage personality. At the time, Juliet was a competition dancer training at Fishback Studio of the Dance—her great-grandmother's studio—in her hometown of Albuquerque, NM. Now, at 16, Juliet's making big moves toward a serious ballet career: She's currently a level-seven student at the San Francisco Ballet School and she's performed as Clara in San Francisco Ballet's Nutcracker. Earlier this year she competed at the Prix de Lausanne in Switzerland. And let's not forget—she's a ballerina named Juliet. It's perfect.
We are so excited to feature Juliet on the cover of this issue. Not only is she a stunning dancer (as you can see from the cover—can this girl take a beautiful picture or what?), she's also super-smart (she was asked to give an inspirational TEDx Talk in 2012!), ultra-sweet and insanely humble.
Click here to read Juliet's cover story. And, as always, we've got plenty of extras for your viewing enjoyment: click here to check out a ton of outtakes from Juliet's cover shoot in L.A. with photographer Joe Toreno, and then watch a behind-the-scenes video from the shoot.
We love you, Juliet, and we can't wait to see what you do next!
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.