Alexandra Terry (photo by Rachel Neville, courtesy Terry)

The Misty Effect: Alexandra Terry, Former Second Company Member, Ballet West

Alexandra Terry didn't always dream about pointe shoes and tutus. Though she took dance class as a child, it was competitive gymnastics that originally captured her interest. (She credits the powerful strength that undergirds her ballet technique to years of repetitive routines on beams and mats.) At 13, Terry started commuting an hour and a half from her home in Connecticut to NYC, so she could study at the Joffrey Ballet School. After training with Karin Averty and Irina Dvorovenko, she realized that ballet was her calling, and following a vigorous summer intensive at Ellison Ballet, she transferred to that school year-round so she could fully immerse herself in the art.

Now, Terry is excited to be a part of the professional ballet world. "I was watching demi-soloist Katlyn Addison, who's also black, in rehearsal in 2018, and I got so emotional seeing someone like me out there performing a lead role," she says. While Terry appreciates the racial progress the ballet world has made recently, she also recognizes the need for a constant push towards diversity. "You look around the room in some auditions and you don't see anyone who looks like you, which is just so isolating," she says. "I think the ballet world needs to give every dancer a chance to work hard and prove herself, no matter what she looks like."

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Project 21 dancers (from left) Selena Hamilton, Gracyn French, and Dyllan Blackburn (Photo by Quinn Wharton; hair and makeup throughout by Angela Huff for Mark Edward Inc.)

How Project 21 Is Shaping the Next Generation of Competition-Dance Standouts

"I wish I had a better story about the name," says Molly Long, founder of the Orange County, CA–based dance studio Project 21. In truth, it's a play on the fact that she was born on the twenty-first of August, and 21 is her favorite number. "I was away on a teaching tour, the audition announcement was going live on Instagram the next day, and I desperately needed a name. Project 21 was just the least cheesy of the options I thought of!"

The fact that fans might expect the name to have some profound meaning speaks to the near-mythic status Project 21 has achieved on the competition and convention scene since its founding in 2014. Long's dancers are all wholly individual, yet jell seamlessly as a group, and are consistently snagging top prizes everywhere on the circuit. Each season brings a slew of new accolades, high-caliber faculty, and legions of devoted followers.

The industry has taken notice of the studio's unique ethos. "Molly gets through to her dancers in a special way, and they have this incomparable level of commitment to their craft as a result," says dancer and choreographer Billy Bell, who's worked closely with Long and her dancers. "That's what sets them apart—it's like a little dose of magic."

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Because this is stock art that exists in 2020. (Getty Images)

How to Dance in a Face Mask

There's a new must-have accessory for the dancers who've begun to venture back into the studio. Face masks are essential to protect your teachers and fellow dancers (not to mention their families) from coronavirus. But they definitely make dancing more complicated.

How can you prepare for—and adjust to—the new masked normal? Here's practical advice from Dr. Steven Karageanes, a primary care sports medicine specialist who's worked with the Rockettes and "So You Think You Can Dance," and Anna Dreslinski Cooke, a Chicago-based professional dancer who has experience dancing in cloth masks, disposable masks, N95 masks, and face shields.

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