Watching Kyndall Harris dance, you understand immediately why she was chosen for Janet Jackson's Unbreakable World Tour: Her musicality, energy, and natural stage presence bring to mind a younger version of Jackson herself. Kyndall's first major gig—with the Memphis Grizzlies junior dance team—came at the tender age of 6, and her star has only risen since. You probably saw Kyndall compete alongside Taylor Hatala on "World of Dance" last summer, and videos for big names like Jackson and Chris Brown have built her a solid YouTube following—more than 17,000 subscribers at press time.

"Always stay hungry, follow your dreams, and never forget to work hard."—Kyndall Harris

Fast Facts

Age: 14

Birthday: December 11, 2002

Hometown: Memphis, TN

Trains at: Various studios in L.A. and Memphis

Go-to stress relievers: Reading and playing with dogs Big Baby and Tiger

Photo by Romy Young Photography, courtesy Shontal Harris

Three words that describe her dancing: "Energetic, fierce, swaggy"

Dream project: "Anything for Beyoncé"

Favorite artist: Michael Jackson

Who would play her in a movie: Zendaya

Hidden talent: "My family says comedy, but I'm not too sure about that!"

Favorite gig so far: "Definitely going on Janet Jackson's Unbreakable tour, because I never thought I would do that so early on in my life. I'm very blessed.

So, it's Monday. And that means the struggle is super real right now. Which also means that just like everything else on Mondays, your hair is probably not cooperating. Which is a big problem for dancers, who need it to just. stay. put. through even the roughest of combos.

That's why we've gathered a few of our favorite #hairhacks to save you from the bedhead. Behold:

1. Hairspray + a toothbrush = a quick fix for flyaways

Plagued with annoying little stray hairs? Take your strongest hairspray, spray it on an (unused) toothbrush and brush those babies down without messing up the rest of your style.

2. Spray your bobby pins with hairspray

If your bobby pins are constantly slipping, sliding, and falling out, spray them with some hairspray before putting them into your hair. They'll stick much longer. And for even more grip, stick bobby pins into your hair with the jagged side down instead of up.

3. Wet your hair before styling

If you wet your hair to do sleek styles like super-tight ballet buns, your hair will turn out smoother and will lay tighter on your head. Hello, #flawless.

4. Updos work best on dirty hair

Hair is less likely to fall down when its been a day or two since you've washed it. The natural oil buildup makes it less smooth and slippery. So, if you've got an important performance or showcase coming up, maybe skip the shower and turn to some good old dry shampoo.

"Dancing with the Stars" was basically designed for Halloween episodes, what with its emphasis on stage fog and amazing-bordering-on-insane costumes. But while we were expecting lots of delectable treats from last night's Halloween spooktacular—including the first round of team dances, always a good time—we weren't expecting the ep's final trick: a double elimination that actually managed to shock the heck out of us. [Cue evil laugh from the "DWTS" producers.]

Before we get to that flaming poo-bag of a trick, though, let's talk about the candy. And let's begin with Jordan Fisher and Lindsay Arnold's paso doble, whose theme appeared to be a zombie-ish hybrid of Little Red Riding Hood and Twilight . Thanks to Jordan's brilliant "Mess" video , we know just how fantastic a hip-hop dancer he is, and it was fun to get to see him show off some of those skills at the top of this number before diving into a very passionate paso.

We can't remember the last time we were legitimately scared by a "DWTS" routine. But Frankie Muniz and Witney Carson's contemporary piece, about an intruder who may or may not just be in Witney's mind, gave us allll kinds of chills—and earned a perfect score from the judges.

We are such, such suckers for all things Phantom of the Opera , so we were rooting for Team Phantom of the Ballroom's paso-tango-waltz medley from the start. And the four couples involved—Drew Scott and Emma Slater, Frankie and Witney, Vanessa Lachey and Maks Chmerkovskiy, and Victoria Arlen and Val Chmerkovskiy—didn't disappoint: They paid homage to the iconic musical with a tightly choreographed number that was dramatic, well-rehearsed, even elegant. (Could that be the first time we've used the word "elegant" to describe anything that happened during a "DWTS" Halloween episode?)

At the end of the night, Terrell Owens and Cheryl Burke, Nikki Bella and Artem Chigvintsev, Drew and Emma, and Vanessa and Maks all found themselves in jeopardy. Then things got really scary: Both Nikki and Artem and Vanessa and Maks were sent packing. Booooo!

Off to drown our sorrows in fun-size Milky Ways. Until next week...

Happy Halloween, dance friends! Wearing costumes is part of our job description, so when we get the chance to create our own, it's no surprise that we get a little #extra (in the best way, of course). Check out some of our favorite dancers' spooktacular ensembles.

Harper Watters as Serena Williams

Janelle Ginestra and WilldaBeast as Sarah and Derek from Save the Last Dance

...and Janelle Ginestra and WilldaBeast as Arnold and Gerald from "Hey Arnold"

Juliet Doherty as a creepy cat

Chloe Lukasiak as Cher from Clueless

Isabella Boylston as Sylvie Guillem and James Whiteside as Natalia Makarova

Maddie and Mackenzie Ziegler as '80s kids

Moises Parra as Abby Lee Miller

There's an iconic moment in Kenneth MacMillan's Romeo and Juliet when Juliet sits on the edge of her bed, staring into the audience. She's completely still—thinking long and hard about her tragic situation—while the emotion of Sergei Prokofiev's score washes over her. If the dancer does it well, this dance-less scene can speak volumes.

As dancers, we tend to focus on mastering steps and speaking through movement. Yet the way we hold ourselves when we're not moving can also be a powerful way to communicate with an audience.

How can you make the most of those quiet moments onstage—and what happens if your muscles cramp, you have a crazy itch, or your mind starts to wander? We gathered tips from industry professionals to help guide you through.

Use Your Imagination

Keep your character in mind, and every pose will be infused with meaning. When Alvin Ailey American Dance Theater's Jacqueline Green approaches a role that requires holding still, she thinks about her character's background, motivations, and emotional state to help project the right feeling. "If you're onstage in a role where you have to be quiet or still, it helps to understand why you're doing what you're doing. It makes it more authentic."

The cast of "Groundhog Day" (photo by Joan Marcus, courtesy Boneau/Bryan-Brown)

Another useful tool is a mime technique called suspension. Commercial dancer and choreographer Dana Wilson describes it as an exercise of the imagination. "Pretend that your body is full of an energy source or color, something that is constantly moving," she says. "Even if your body is still, there's an energy within that idea that keeps you feeling very much in motion."

Stay Active

Just because you're holding a pose doesn't mean your energy dies. "A moment of stillness has to be completely active," says Ellen Kane, co-choreographer of Groundhog Day on Broadway. "What's living inside of you has to be a fully realized thought." Several moments in Groundhog Day play with the idea of stopping time. Dancers have to freeze mid-action, as they're waving to someone or blowing a kiss, and continue to communicate fully during that phrase. "They're never allowed to shrink back into the shell of their body," Kane says. "When the freeze is over, they're released into the fruition of that thought."

Keep from Cramping

Jennifer Goggans, program coordinator for the Merce Cunningham Trust and former company dancer, remembers once having to hold an attitude front onstage for about 45 seconds. "Because I was in plié on one leg, the muscles in front of my shin and ankle would start to get tight," she says. "The leg that was lifted would get so tired." To keep from wobbling or cramping, her physical therapist suggested she make tiny movements that no one would notice. "I tried to gently come up and come down in my plié so it would help the muscle not get stuck. It was very helpful advice."

Jennifer Goggans in Merce Cunningham's "Ocean," with Daniel Squire (photo by Tony Dougherty, courtesy Merce Cunningham Trust)

Another trick to prevent cramping is to breathe deeply, like you would in yoga, so that your muscles get enough oxygen. "Use your breath and hold everything from your center," advises San Francisco Ballet corps de ballet dancer Madison Keesler, who had a tough time dancing in the corps of Swan Lake (for eight months straight!) when she was with English National Ballet. "Your feet and calves might be hurting, but you can't put your focus there. Hold your stomach and back so that you take some pressure off the lower legs."

Be Present

Each moment of stillness is different, depending on the choreography and what you're trying to convey. But the more present you are in the pose, the more successful it will be. Your commitment will keep your mind from wandering during the long holds, to a point where even a relentless itch will become secondary. "Someone who is waiting for a count is less interesting than someone who's holding still but their body is full of the galaxy," says Wilson. "That type of imagination really does cross over to an audience."

A version of this story appeared in the November 2017 issue of Dance Spirit with the title "Standing Still."

We always love a good #tututuesday post. But when that post comes from an A-list Hollywood celebrity—and features some of our all-time favorite ballet dancers? That is next-level stuff.

Meet ballet fangirl Jennifer Garner. Yes, we've had a soft spot for Garner ever since she showed off her "Thriller" dance moves in 13 Going on 30 . But for the past two weeks, she's been highlighting ballet's finest with Insta posts that show a truly legit knowledge of world-class ballet—including its inside jokes. And now we might be in love.

Last Tuesday, the self-professed "ballet junkie" gave us a tribute to New York City Ballet phenom Tiler Peck, which included a callout to American Ballet Theatre "Cindies" (!) James Whiteside and Isabella Boylston, and a photoshopped cameo in Peck's Swan Lake debut.

This week, Garner narrated a pas de deux featuring Boylston and fellow ABTer Marcelo Gomes, and crashed a pic of Boylston and ABT bestie Lauren Post in epic fashion.

Garner's ballet love didn't come out of the blue: She studied the form for nearly a decade growing up. Once a dancer, always a dance obsessive.

Don't ever stop, Jen! Because we'll never get tired of the "Is this real life?" responses from the dancers (and companies) you're #instastalking:

In our "Dear Katie" series, former NYCB soloist Kathryn Morgan answers your pressing dance questions. Have something you want to ask Katie? Email dearkatie@dancespirit.com for a chance to be featured!

Dear Katie,

How do I know if I'm good enough to be a professional dancer? I'm one of the strongest dancers in my class, and my teachers like me. But I live in a pretty small town, so it's hard to tell how realistic my dance dreams are.

Amanda

Dear Amanda,

Many current professional dancers came from tiny towns! But, yes, it can be hard to judge your progress if you're around the same dancers day in and day out. My advice would be to take advantage of any nearby master classes, and to audition for as many summer programs as you can. Both will help you figure out where you stand in the larger dance world.

In master classes, evaluate the level of talent around you, and think about where you fall in the pack. Can you pick up combinations quickly? Do you feel completely lost when going across the floor? Are the other dancers above or below your technical level? Auditions will show you the same things—and there's the added element of the result: If you're getting into well-regarded programs, that's a sign that your training is on track. Audition judges and master-class teachers are also seeing your technique with fresh eyes, so they can give you feedback that will help you improve more rapidly.

For more of Katie's helpful tips and advice, click here .

Congratulations to the October Cover Model Search Editors' Choice video winner, Sydney Burtis! Catch her solo by clicking here , and enter the Cover Model Search here !

Scrolling your feeds endlessly can have a serious impact on your posture and alignment. "Since 2008 or so, I've seen a lot of heads and shoulders hunched forward," says Kim Fielding, a former dancer who created a Pilates class specifically to counteract the effects of technology. "Some dancers will overcompensate for this, leading to splayed rib cages and too much curvature in the lower spine."

Medical pros are now calling this set of symptoms "tech neck" or "text neck," and they can ultimately lead to neck herniations, rotator cuff injuries, and even foot and ankle problems. Here's how to keep your tech from hurting your technique.

Your Own Devices

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Fielding suggests thinking of your collar bone as a dowel rolling up and backwards to avoid a slumped, downward posture, without letting your rib cage splay open. "You can also hold your phone a foot in front of your face and use the opposite hand to text," Fielding says, "though sometimes people feel awkward doing that." If that's you, hold your phone in one hand instead, with your upper arm pulled in to your side to support the arm holding the phone. "This shifts the effort to your bicep, instead of your shoulders and neck," Fielding says.

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When you're using a laptop at a desk or table, stack larger books underneath the computer until it's up closer to your eye level. This hack also works if you're spending computer time at a standing desk, though Fielding recommends a balance of standing and sitting time for maximum body benefits.

On the Mat

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Foam rollers are a smartphone user's best friend. Spend some QT carefully rolling out your neck, upper and mid-back,
and sides (the area under your armpits) to soothe tech-related aches and tightness. "Notice where there's tension and think about how particular tech habits might be contributing to that discomfort," Fielding says. Classic cross-training, like Pilates and yoga, will also help open your chest and release your tensed-up shoulders and neck. Fielding notes that while rolling out and stretching can help, it's also vital to work on proper alignment and strengthen these areas.

Insta-Presence

Mindfulness is key when it comes to technology. It can be tempting to scroll through Instagram while stretching, but, according to Fielding, you're much better off simply focusing on the splits: "It's comfortable to distract yourself with your phone, but you need your hands free so you can properly support and align your neck and spine in the stretch." That goes for any stretch or exercise—you should focus completely on what you're doing.

And don't forget to take plenty of breaks from your screens! "It definitely helps to fix your phone posture, but also consider limiting your screen time," Fielding says.

A version of this story appeared in the November 2017 issue of Dance Spirit with the title "Technological Difficulties."

Few things are as magical as a new tutu. But what goes into the creation of this iconic ballet costume? We followed a National Ballet of Canada Swan Lake tutu—made for first soloist Emma Hawes'debut as Odette/Odile—from sketch to stage.

Photo by Victoria Schwarzi, courtesy National Ballet of Canada

Designer Santo Loquasto's sketch for Odette's Act II costume. In The National Ballet's Swan Lake , choreographed by James Kudelka in 1999, "Odette is much more powerful than she is frail," Hawes says. "The large size of the tutu reflects the role, and the way he wanted it to be danced."

Photo by Victoria Schwarzi, courtesy National Ballet of Canada

"One of the special things about this tutu is all the handmade fabric feathers on the plate and bodice," says wardrobe supervisor Marjory Fielding. "For the corps and principal tutus, we needed a total of 7,800 feathers! Back when the production first premiered, we had a volunteer day when people came in to help cut them out, and each volunteer signed his or her feathers."

Photo by Victoria Schwarzi, courtesy National Ballet of Canada

A close-up shot of the tutu's bodice. "The cut of the top is beautiful," Hawes says. "It has a big 'V' dip, and it looks wild in a way, very much like real feathers and real wings."

Photo by Victoria Schwarzi, courtesy National Ballet of Canada

A look at the intricate detailing of the skirt. "When you make a tutu, you're sculpting with fabric," Fielding says. "This tutu had 18 layers to sculpt, from the bigger top layers to the tiny ones, maybe half an inch wide, that go around the leg."

Photo by Karolina Kuras, courtesy National Ballet of Canada

Hawes getting hooked into her tutu. "That moment of putting your tutu on is a little bit sacred," she says. "Suddenly it's all very real. You're becoming this character. It's happening."

Photo by Karolina Kuras, courtesy National Ballet of Canada

"The wardrobe staff is amazing—so in-tune with our needs when it comes to fit," Hawes says. "A tutu is really an odd thing to wear, even if you're doing ballet. It's a very specific look, so the fit has to be just so."

Photo by Aleksandar Antonijevic, courtesy National Ballet of Canada

Hawes onstage in her new tutu, with corps member Christopher Gerty as Prince Siegfried. "Making a new tutu for a dancer having a debut, that's always a treat," Fielding says. "Being the first to wear a tutu the first time you do a role—it's a very special moment.

A version of this story appeared in the November 2017 issue of Dance Spirit with the title "A Tutu Is Born."

Alonzo King LINES Ballet's Madeline DeVries can move with both liquid grace and razor-sharp precision. A Southern California native, DeVries grew up training at the Santa Clarita Ballet Academy in Canyon Country, CA. She later studied at the Pacific Northwest Ballet School's professional division on full scholarship, and spent summers training with Houston Ballet, The Rock School, and The National Ballet of Canada. In 2012, DeVries moved to Germany to become an apprentice with Dresden Semperoper Ballett. She returned to the States in 2013, and danced with Whim W'Him and Coriolis in Seattle before joining LINES Ballet in 2014. Catch her performing during the company's home season this month in San Francisco, CA—and read on for The Dirt!

Where do you feel the happiest?

The beach by my house is my happy place (especially when accompanied by my boyfriend).

What's your go-to stress reliever?

A good night's sleep or a great coffee date with a friend.

What's your biggest fear?

Letting someone down or spiders

What are you most nervous about?

Showing up at the airport for a tour without my passport. (It's never happened!)

Who's your dance role model?

Louise Nadeau, now retired from Pacific Northwest Ballet. She had so much artistry and is such a genuine and kind person.

What's the most-played song on your playlist?

"Hey Mami," by Sylvan Esso

What's your most-watched TV show?

Definitely "New Girl." Schmidt is hysterical.

What's your favorite dance movie?

Save the Last Dance

Who can always make you laugh?

Shuaib Elhassan. He's my clowning-around buddy—never fails to make me laugh, even sometimes onstage!

What foods can't you live without?

Popcorn and avocados

Do you have any nicknames?

Butter, Koala Bear, Maddie Mad, Mads

Who would play you in a movie?

For sure Kristen Wiig

What's your biggest piece of advice for young performers?

There's always more to learn. Criticism is only an opportunity for growth! And never let anyone put out your light. You're uniquely and wonderfully made.

What are you most proud of?

Performing on the Mariinsky stage in St. Petersburg, Russia

If you could go anywhere in the world, where would you go?

I've been so blessed to travel all over the world. I would love to go to Rome, or back to anywhere in the south of France.

What's the strangest thing in your dance bag?

Six ChapSticks. Don't ask…ha! I guess I just always want to be prepared.

Do you have any pre-performance habits?

I usually spend some time in meditation/prayer. Also, Beyoncé.

Do you have any pets?

My golden retriever, Olive Joy <3

What non-dance thing would you consider yourself an expert at?

Making popcorn. Also, I'm an aspiring candlemaker.

What did you want to be when you were a kid?

A secretary. I remember pretending in my mom's closet with an old dial phone and pens and paper.

Do you have any bad dance habits?

My arms get too high sometimes. Awareness is the first step!

What's your dream role?

Christopher Wheeldon's After the Rain pas de deux

What dancer would you drop everything to go see?

Natalia Osipova

If you were a superhero, what would your special power be?

Teleportation. 13-hour plane rides are killer.

What's your favorite book?

Redeeming Love , by Francine Rivers

Who's your dance crush?

Robb Beresford

What would you be if you weren't a dancer?

Probably a barista, or a shop owner selling crafts and items from around the world.

Do you have any hidden talents?

Eating food with chopsticks. Knitting (especially on winter tour). I love puzzles!

If you could work with any choreographer, who would it be?

Ohad Naharin

What are your pet peeves?

I'm pretty easygoing—but loud chewing can really get to me.

What's your favorite ballet?

Onegin

Whether you've just started on the circuit or you're already the proud owner of several medals, dance competitions can be nerve-wracking. How can you make the most of the experience? Three former comp kids who've gone on to find major success in their careers shared their top tips.

Read more at dancemagazine.com!

This leotard from Bloch has it all. Beautiful, bold print? Check. Super-stylish, strappy back? Check. It's perfect for everything from long rehearsals to your next dance photoshoot. Make sure to "Like" Dance Spirit on Facebook , and enter below for your chance to win!

I'm definitely not the first to acknowledge that the dance world hasn't always been the friendliest place for those whose bodies are "too [insert normal, healthy body descriptor here]." For me, it was always "too tall," (hi, I'm over 5'10") but every single one of my fellow dancer friends can think of way too many times when they were directly told or indirectly made to feel that they were "too short," "too big," "too small," etc. to dance.

That's why it's so refreshing—and necessary!—when dancers themselves call out the unrealistic and exclusive beauty standards that too often leave people feeling left out of the dance community. That's exactly what this gorgeous, touching video for the song "Dancing With U" accomplishes.

Starring viral sensation Erik Cavanaugh , the clip to Marc Richter's song tells the story of a young boy facing difficult life circumstances who finds joy in dance, thanks to the help of an encouraging classmate. When the boy grows up, he discovers that insecurities and narrowmindedness mean that dance isn't always a safe place for everyone. I won't spoil what happens next, but rest assured that you'll leave on a deeply moved, completely inspired note.

Here at Dance Spirit , we have a proud and long-running tradition of highlighting super-dancey music videos. Today's new entry in the canon is especially, um, special though: Not only does it feature five up-and-coming dancers/choreographers you should definitely know, but their sweet moves are ANIMATED—making the final product a stunning new way of looking at dance.

Dance-animator extraordinaire Sydney St. Clare created this video for newcomer electropop songstress EZI's new single "DaNcing in a RoOm," off EZI's debut EP (out in January). Over the course of the deliciously moody and groovy three-and-a-half minutes, we get to see super-cool animated versions of Cree Cicchino from "Game Shakers," Irish dancer Kendal Victoria , ballerina Elena Sundick , commercial-dance diva Nikki Keeshin , and b-boy Darrian Composanto , all rocking it out in their individual styles.

EZI (real name Esther Zynn)—who grew up dancing, singing, and acting on Long Island—says she wrote the song when she realized that she feels "the most free when I feel like I'm dancing alone." Girl, join the club.

There are certain people in the dance universe who can just do no wrong. One of them is Ellen DeGeneres, the ultimate dance fangirl, who regularly features our favorite dancers (including her bestie, tWitch ) on her ever-fabulous TV show. Another is Tiler Peck, the insanely versatile New York City Ballet principal who we've never seen give a less-than-jaw-dropping performance, even when she's in tap shoes .

In a way, it was only a matter of time until Peck made her way to DeGeneres' much-danced-upon stage. But when the moment actually came—during last Friday's ep—it was even more epic than we anticipated.

Peck appeared on a segment called "What's So Great About You?", in which DeGeneres tries to guess some of her fans' special talents. Peck's pointe shoes may have been a bit of a giveaway, but that didn't matter: She wowed the pants off the audience with a perfect little routine to Portugal. The Man's "Feel It Still." And she earned a bazillion bonus points because she perfectly executed a bunch of double fouettés on what looked like a varnished wood floor , also known to dancers as a skating rink. She's Wonder Woman.

Watch Peck's bit at about 2 minutes in:

Are your moves smooth and sexy like Chloé Arnold's tapping Syncopated Ladies, or is your dancing bubblegum sweet like the girls of Suga N Spice? Behold, the answer:

We'll be honest: After 25[,000,000] seasons, we didn't think "Dancing with the Stars" had any more tricks up its sequined sleeves. But then, last night, the show snapped us out of our spray-tan-fume–induced stupor by bringing back some of our favorite alums for the trio round. Another chance to see Laurie Hernandez and Alfonso Ribeiro and QUEEN KRISTI YAMAGUCHI strut their stuff on the ballroom floor? Yes! Yes please .

Before we got to those trio routines, though, we had a whole round of standard-issue couple dances to get through. And while duets tend to suffer in weeks when all the attention's on the threesomes, Jordan Fisher and Lindsay Arnold's dynamite quickstep—which Carrie Ann described as being like "Bob Fosse and Austin Powers had a baby"—packed a psychedelic punch, earning a perfect score from the judges.

It wouldn't be Jordan's only perfect score of the night. (We all agree that the competition is his to lose at this point, right?) He and Lindsay teamed up with ever-suave alum Corbin Bleu for a trio salsa that was frill-free amazingness: no confusing abstract concepts, no pyrotechnics (well, minimal pyrotechnics; it wouldn't be "DWTS" without a little actual [fire]), just clean, fabulous, spicy salsa choreo.

Because everything Kristi Yamaguchi touches turns to gold [medals], she made what might otherwise have been a rather ho-hum trio with Lindsay Stirling and Mark Ballas into something special. Their Old Hollywood-inspired quickstep was classy and elegant and, like Jordan's trio, refreshingly gimmick-free. (Side note: Kristi's season of "DWTS" was nine years ago. NINE. YEARS. What.)

At the end of the evening, Terrell Owens and Cheryl Burke were sent packing, which was about right. What was not about right was the fact that Frankie Muniz and Witney Carson were also in danger. We do not want to live in a universe where the "Property Brothers" guy outlasts Malcom in the Middle. Wake up and start voting correctly, America. (Not that our track record has been great on that front recently...)

Til next week!

In our "Dear Katie" series, former NYCB soloist Kathryn Morgan answers your pressing dance questions. Have something you want to ask Katie? Email dearkatie@dancespirit.com for a chance to be featured!

Dear Katie,

I have a really bad habit: I bend my knee when I step up to piqué, especially during piqué turns. I feel like it should be a simple problem to fix, but I can't stop doing it. Help!

A fellow Kathryn

Dear Kathryn,

I think your problem is likely more mental than physical. The first few times you stepped up to pointe, or tried a piqué turn, you were probably nervous and hesitant. You bent your knee, maybe without even realizing it, and then that motion become a kind of crutch that made you feel more comfortable. Some people have trouble recognizing these kinds of bad habits, so I'm glad you're conscious of your bent knee—that's the first step toward fixing it.

Think about being confident, and projecting that confidence, when you step into a piqué turn. Go for it! Don't hesitate for the extra millisecond that allows your knee to bend. And pull yourself up as tall as you possibly can throughout the turn. With each step out, feel as if you're growing upward, which will help keep your knees straight.

For more of Katie's helpful tips and advice, click here .

Sure, we love a good over-the-top music video. But sometimes it's refreshing to find one that goes back to basics. And that's why we're obsessed with Grace VanderWaal's new music video, "Moonlight."

Relying solely on the song's unique sound and some phenomenal choreography by Kristin McQuaid (whose work has appeared on "So You Think You Can Dance" and "Dance Moms"), the vid proves that you don't 15 costume changes and a fog machine to make something powerful. To top it off, the song promotes a message that gives us all the feels, pointing out that while people may seem OK on the outside, you never know what they might be struggling with internally, and that it's important to accept people no matter what. So check out "Moonlight"—and don't be surprised if you suddenly feel like you have to drop everything and dance.