These days, tap dancers can reach huge audiences through social media, where videos from stars like Chloe Arnold and Sarah Reich have gone viral. But in the 1920s and '30s, the best way for tappers to gain a following was to have an act on the vaudeville circuit, which allowed them to perform in theaters across the country. Every tap dancer had their own routine, but there arose a desire for a simple dance that all tappers could know and perform at any time—especially so local dancers at each tour stop could join in. One of those dances became known as the BS Chorus.

Fake It Till You Make It

"BS" is a vulgar term meaning "nonsense" or "to fake something." Unlike the Shim-Sham Shimmy, another treasured piece of tap history, the BS Chorus requires more advanced technique. It's extremely challenging if done correctly. When it became popular in the 1920s and '30s, inexperienced dancers would try to fake their way through it—hence, "BS."

Although we don't know exactly who decided what steps to incorporate or the order in which they were originally performed, Margaret Morrison, a tap historian, performer, and co-director of tap teaching training at the American Tap Dance Foundation in NYC, believes the first two steps of the BS Chorus date back to the 1800s, when they were part of a style known as buck-and-wing—a predecessor of tap dance, which wasn't formally known as tap until the 1920s. The sequence was later popularized and presented often by The Copasetics, an ensemble of well-known hoofers formed in 1949.

Brenda Bufalino (photo by Deb Field, courtesy Bufalino)

"When they did it, it was so fast you couldn't even see it," says master tap artist, teacher, and choreographer Brenda Bufalino. "When we do it now, we do it at a reasonable tempo. They didn't take it seriously—but we do, because that's one of the few routines we've got in terms of tap background."

The Specifics

Andrew Nemr, an NYC-based teacher and choreographer who directs the company Cats Paying Dues, says the routine has four parts: an introductory time step, a cross-moving step, a flash step, and a big finish.

The first step is a traditional double time step, modeled after a signature move of legendary tapper Bill "Bojangles" Robinson. It follows the standard three-and-a-break structure: It happens three times, then concludes with a different step and rhythm that "break" from the established pattern.

Andrew Nemr (photo by Bret Hartman/Ted, courtesy Nemr)

The second step, known as the cross step or crossover step, is named after its appearance: Within the footwork, the left foot crosses in front of the right on a back flap, and then the right crosses over the left with a shuffle-hop-step—and vice versa. More rhythmically complicated than the time step, the crossover step also requires balance and an understanding of swing rhythms. It uses the same three-and-a-break pattern—and the same break—as the time step.

The second half of the dance builds excitement by including several flash steps—complex, athletic moves designed to impress the audience. A one-footed wing is featured in the third step, also a three-and-a-break, in which "the dancer pushes out of rhythms that have a lot of notes and are close to the floor, and instead begins to jump and use his body more," Nemr says.

The physicality of that step leads into the final step, a series of over-the-tops and trenches, where "the energy of the music takes over, and the focus is more physical," Nemr says. Like any good dance, the BS Chorus leaves the audience dazzled.

A Modern Update

As with the Shim-Sham Shimmy, there's no one correct way to execute the BS Chorus. Most variations occur on the break, a section of most traditional routines where the dancer can inject his or her own personal flair. The students at the ATDF learn a popular break from master teacher Derick K. Grant, which includes a series of shuffle-hops and finishes with a Maxie Ford.

"The most common variations I see are changes not of structure but style," says Luke Hickey, a NYC-based tapper. "Dancers can make the choice to throw in nuances that represent their particular personality or training."

Luke Hickey (photo by Josh Avon, courtesy Hickey)

Hickey says that he likes to add a salsa-like style to the crossover step, twisting his hips instead of keeping his body facing entirely forward. He also adds an element of surprise and athleticism to the flash step by landing each wing on his toe instead of the ball of the foot.

An Important Legacy

"Because there's a lot of experimentation and innovation happening in how tap dance pieces are conceived and presented today," Nemr says, "having something with the simplicity and clarity of the BS Chorus becomes even more important, especially from an educational standpoint." Morrison agrees. "It creates an excellent foundation for tap skills," she says, adding that it's a staple of the youth curriculum at ATDF. "Each section contains essential material that every tap dancer needs to know. Every professional rhythm tap dancer has learned the BS Chorus and has probably performed it."

No matter how you do it, the BS Chorus is an important dance to learn and keep alive: It's informed so much of tap dance and enriched how and what we teach. "We need to return the favor by doing it well and allowing it to teach us," Morrison says.

A version of this story appeared in the November 2017 issue of Dance Spirit with the title "No BS About It."

Sophia Lucia burst onto the dance scene as a tiny tapper with a crazy knack for pirouettes. ( She busted out a whopping 55 turns in 2013 to earn a Guinness World Record !) Thanks to her top-notch technique and unreal flexibility—not to mention a brief appearance on "Dance Moms"—Lucia became a household name practically overnight. Now, the teen turning sensation (seriously, watch this immediately ) and former Dance Spirit cover girl attends school full-time in addition to dancing, and is a bona fide Instagram superstar . Here's a peek at a few of her favorite—and least favorite—things.

1. What's the first thing you do when you wake up in the morning and the last thing you do before bed every night?

I go into my kitchen and make tea.

2. What are three things you eat every day?

Protein shake, green tea, and my mom's healthy meatloaf

3. What are three things you can't dance without?

Good music, a stretch band, and Lululemon leggings

4. In your very expert opinion, what's the best dance movie of all-time?

Dirty Dancing

5. If you were given an hour to take class from ANY instructor — living or dead — who would you choose?

Doug Caldwell

6. What's your favorite place you've ever performed?

Varna, Bulgaria

7. What songs are in heavy rotation on your playlist right now?

Anything by Harry Styles, "Mad Stalkers" by 21 Savage, Offset and Metro Boomin, and "New Rules" by Dua Lipa

8. Other than dance, what's your favorite way to work out?

Orangetheory is the bomb!

9. What's your favorite way to spend a Sunday?

Staying in my bed and watching Netflix with my best friend, Claire

10. What has been the single greatest moment in your dance career so far?

Winning the gold medal at the Varna International Ballet Competition, because I worked so hard and had had the toughest year of my life. So achieving that goal was the best feeling ever. That, or walking into my movie premiere and seeing my dancing on the big screen!

Anyone who follows enough dancers on Instagram knows that we love to cook (and, like all good Insta users, to post pretty pictures of the delicious things we make). But dancer-chefs were a thing long before the internets. And there's no better evidence of that than Balanchine ballerina Tanaquil Le Clercq's delightful Ballet Cook Book , which turns 50 years old this year.

Le Clercq was a gorgeous, leggy dancer (and Balanchine's fourth wife), whose career ended tragically when she contracted polio at age 27 and was paralyzed from the waist down. But polio couldn't silence her creative voice. In 1967, she published The Ballet Cook Book, a huge collection of recipes from ballet luminaries, interspersed with Le Clercq's witty commentary. There's Balanchine's sweet kasha and choreographer Frederick Ashton's bread pudding and dancer Jacques d'Amboise's "blender Bearnaise." It's seriously fabulous.

Le Clercq and d'Amboise at a signing for "The Ballet Cook Book" (Martha Swope for Dance Magazine)

Last weekend, Works & Process at the Guggenheim Museum put on a program celebrating The Ballet Cook Book 's 50th birthday, with a panel that included d'Amboise, fellow New York City Ballet legend Allegra Kent, current NYCB foodies Adrian Danchig-Waring and Jared Angle, and food scholar Meryl Rosofsky. In between the dancers' fantastic food stories—like the time Allegra tried to bring 40 pounds of California ice cream home in her suitcase—we saw excerpts from ballets touched on in The Ballet Cook Book , including a reconstruction of "Gluttony" from Balanchine's The Seven Deadly Sins . There was also footage of Le Clercq, dancing Mr. B's Western Symphony and Jerome Robbins' Afternoon of a Faun . It was a beautiful celebration of food, dance, and Le Clercq herself.

Unfortunately, since The Ballet Cook Book has been out of print for a while, copies are hard to come by (unless you have $1,100 lying around ). But some of the book is excerpted in Robert Gottlieb's Reading Dance , including this gem from Mr. B about "a true cook's"—or dancer's—"qualifications":

"No matter what he does, he must not rush, yet he must not be late, and the finished product must be exquisite. You need patience, and finally you have to appease your public's appetite. Besides this...the whole must be pretty and there must be a lot of it."

By the way: If you're obsessed with dancer-chefs, get excited for our February issue !

After 13 seasons, "So You Think You Can Dance" viewers probably thought they'd seen it all. From "Ramalama (Bang Bang)" to Bollywood, Travis Wall to tWitch, it seemed like there couldn't possibly be any room left on Mary Murphy's Hot Tamale Train.

Then came 19-year-old Lex Ishimoto. When Lex showed up at the show's Season 14 NYC auditions with an improv solo in lieu of a choreographed routine, the judges were shocked—and then brought to their feet by his show-stopping creativity. From there, the jaw-dropping moments kept coming. In week one of the live shows, Lex busted out a super-crisp tap (!) routine. In his Episode 12 solo, he pulled off a triple (!) tour en l'air. And in Episode 14, he and fellow finalist Taylor Sieve revealed that they'd been dating on the down-low (!!!).

To dance insiders, Lex's name isn't new: It first popped up in playbills when he joined the national tour of the musical Billy Elliot at age 11. Last year, he was featured in Sia's "The Greatest" music video, and he's toured with Travis Wall's critically acclaimed contemporary company Shaping Sound. But now, Lex is officially a household name as America's Favorite Dancer—and has a first-class ticket on that Hot Tamale Train.

"I Wasn't Born to Be a Dancer"

Like most of the 15 "SYTYCD" winners before him, Lex kicked off his dance career at a young age. "Between watching my sister perform and seeing You Got Served , I got hooked on dance," says Lex, who grew up in Irvine, CA, and began training at age 7 at West Coast School of the Arts in nearby Costa Mesa. "I wanted to do what the other kids were doing, but I wasn't born to be a dancer. I was pigeon-toed, and I wasn't flexible one bit. It took five or six years of hard work for me to be able to move like a normal dancer. I call those the dark ages for me, but it was worth it." Eventually, Lex began attending competitions and conventions, including JUMP, The PULSE on Tour, and Youth America Grand Prix. He trained in jazz, tap, ballet, and hip hop, and dabbled in Broadway during the Billy Elliot tour, where he was one of four boys performing the lead role. "That was a pivotal moment in my life," Lex says of the Billy tour. "I could definitely see myself doing Broadway again. I'm officially retired as Billy, though."

Photo by Toreno

Lex won Teen Best Dancer at The Dance Awards in 2014 and Senior Male Best Dancer in 2016. He moved to Boston and danced with Boston Ballet II for two years before getting hired as an assistant and choreographer with Break the Floor Productions, the parent company of JUMP, NUVO, 24 Seven, and The Dance Awards. Shortly afterward, he booked Sia's "The Greatest" video, and was tapped to go on tour with Shaping Sound.

At that point, most dancers would be ready to take a big ol' nap. But Lex was ready to try his hand at live television.

"This Was My Time to Show the World What I Do"

Lex is an OG "SYTYCD" fan. "I started watching the show when it first came out," he says. "I remember being a kid and seeing Nick [Lazzarini] on Season 1, and ever since then, being on the show was one of my dreams." He knew Season 14 was his shot. "I felt like this was my time to go out and show the world what I do," he says.

And that's exactly what Lex did, from the minute he set foot on the NYC audition stage. "We were all shocked and thrilled by Lex's audition," says judge Nigel Lythgoe. "We saw some excellent contemporary dancers this season, and I knew there would be a real battle in achieving a place in our Top 10, but I was certain Lex was going to be there."

Photo by Toreno

At The Academy, Lex was drafted onto Season 12 winner and resident tapper Gaby Diaz's All-Star team, a surprise to viewers who expected Gaby to nab a fellow tapper. But her choice was strategic. "Once I heard the All-Stars would be performing in different styles every week, I knew I wanted a dancer who had trained in everything," says Gaby, who had also performed with Lex as a fellow member of Shaping Sound. "Lex was the most well-rounded dancer out there."

"I Didn't Want to Show a Fake Side of Myself"

Despite his impressive work at The Academy, Lex faced significant criticism once the live shows began. While his technique and performance quality earned praise ("I knew from the first live show that he was a contender," judge Mary Murphy says), the judges worried that he wasn't connecting with the audience. And on a show where your fate is determined by audience votes, that connection is key. But Lex wasn't discouraged by the feedback. "I didn't want to show a fake side of myself," he says. "I may not have the brightest personality, but I know a lot of people are like me, and I thought maybe those people would connect with me." He thought right: Lex soared through all seven of the live shows without ever landing in the bottom three.

Lex and Gaby Diaz in Anthony Morigerato's tap routine "More" (photo by Adam Rose)

Though he made it all look easy, Lex faced a few challenges along the way, especially when it came to the physical demands of the weekly show. "I think because Lex is so great, his routines were always really difficult, and that started to take a toll on him," Gaby says. Old injuries—rotator cuff issues in both shoulders, a problematic right ankle, a bad back—started to flare up. "There was a point where I wasn't sure if it was safe to continue pushing him," Gaby says.

But Lex never faltered in his full-outness. He also says he never got nervous for the live shows, even during those final weeks when the contestants were performing up to five or six routines apiece. "The stage is my second home," he says. "I thrive on the nerves and pressure. I've grown up with it, so it's a natural feeling for me."

"He's Going to Change the Game"

Photo by Toreno

Right now, the Season 14 Top 10 are wrapping up their 39-city national tour. After that, Lex isn't sure what's next. Desmond Richardson has invited him to train with his company, Complexions Contemporary Ballet, and Lex says one of his dream jobs would be to tour with Justin Timberlake. But wherever Lex ends up, Lythgoe knows one thing for sure: "He's going to change the game and go down as a legend."

A version of this story appeared in the December 2017 issue of Dance Spirit with the title "The Lex Effect."

Set on a vibrant island recovering after a massive storm, Once On This Island follows the story of a young peasant girl, Ti Moune, who falls in love with a wealthy boy. Their divided worlds tear them apart, and Ti Moune sets out on a journey, guided by the island gods, to reunite with her love. The production originally opened on Broadway in 1990 and scored eight Tony nominations. This month, the show returns to the Great White Way—with new choreography by Camille A. Brown, the founder and artistic director of Camille A. Brown & Dancers and a four-time Princess Grace Award winner. Dance Spirit caught up with Brown to see what the process has been like.

What drew you to this project?

It's a beautiful folktale about the innocence of childhood, love, perseverance, and community. I love that the protagonist is a black girl. It's wonderful seeing a reflection of myself onstage and seeing this character live inside of this lovely story. It's important for audiences to see, as well.

Telling a black girl's story was at the core of my last concert work, BLACK GIRL: Linguistic Play . So I was in the right space creatively and intellectually.

What was your vision for the dancing?

I've been consulting with dancer and choreographer Maxine Montilus, who is Haitian-American and specializes in Afro-Haitian and Afro-Cuban dance. It's important for me to immerse myself in that world and to fully understand how it moves culturally. I study African-American social dances for my personal work and education, and it's fascinating to learn more about the origins of those dances. Specific dances we've focused on are Djouba, Contredanse, and Rabòday (known collectively as Konbit), and the Afro-Cuban Orisha dances: Eleguá, Shango, Ogun, and Oya.

"On This Island" Logo (courtesy Boneau/Bryan-Brown)

What has your process been like?

My process, whether I'm choreographing for my company or for the theater, always begins with research. I love research. Theater is much more collaborative than company work, so my theater work is about coming together and crafting the vision of the project collectively.

What do you hope audiences will take away from the show?

I don't think we see narratives of innocence through a black body as much as we should in the world. If I want audiences to walk away with anything, it would be for them to see young, black female bodies as children, as women, as vulnerable, as precious and as worthy as any other. And I want audiences to enjoy taking that journey with her.

If you looked up #GirlBoss in the dictionary, chances are there'd be a giant picture of Mackenzie Ziegler. The 13-year-old captured our hearts when she posed for pics with older sister Maddie during Maddie's 2015 Dance Spirit cover shoot , and since then, has totally come into her own. These days, Mackenzie's been busy with her budding singing and acting career, modeling gigs, and (of course), lots of dancing. Her latest endeavor? A super-cute activewear collection for Justice, with an inspiring video to go along with it. We caught up with Mackenzie to chat about her passion for clothes, her dancewear must-haves, and holiday plans.

Dance Spirit : What were your biggest inspirations with the line, and what do you love about fashion, and clothing in general?

Mackenzie Ziegler: I was inspired by the idea of fun! I dance all the time, so I wanted to create a collection that's perfect for dancing, while still super comfortable and super cute. I've always wanted to have my own clothing line, so I'm really excited about it.

DS : You obviously know a lot about wearing clothes that are both cute and functional in the studio and in real life. How did your dance experience inspire you in this collection?

MZ: I've learned from all my dance experience that comfort is key! I wanted the clothes to be functional, while still being super-cute. I knew it wouldn't be a problem because working with Justice on the back-to-school collection was great, so I knew it'd be the same for the Holiday collection.

DS : What are your must-have features when it comes to activewear?

MZ: Being able to wear something in my everyday life and the studio is awesome. There's this long sleeve shirt in the collection, that has a really cool back. I love it because I can wear it regularly, but can also wear it to dance, over a leo or with shorts or something—the versatility is important!

DS : What was your favorite part about filming the video?

MZ: My favorite part was probably the sets, which were so amazing in person! My favorite scene was the one around :29 seconds, when I was surrounded by lights. Also, I always love the outfit changes and the makeup! It's super fun.

DS : What are you most excited about for the holiday season?

MZ: I'm definitely going home to hang out with my friends and family! I'm so excited because I'm always on-the-go and working, and have been in L.A. a lot lately, so it'll be great.

What word would you use to describe American Ballet Theatre principal/fashion icon James Whiteside 's sense of style? Epic? Fabulous? How about...stellar?

Our favorite danseur has teamed up with NYC-based sneaker brand KOIO for "Starstruck," a new video that has a sneaker-clad Whiteside showing off his beautiful technique in a place "where the earth and the stars connect." Also featuring tattoo artist JonBoy and pro surfer Quincy Davis, and directed by Tyler Greco, it's a gorgeous intergalactic fantasy.

And this is fun: Sometime in the near future, you'll be able to own a piece of Whiteside's stardust. As he teased on Insta , he's created his own KOIO sneakers, coming soon. (If they're the ones he's wearing in the video, we need them RIGHT NOW.)

Check out an excerpt from "Starstruck" below, and then watch the whole thing on NOWNESS .

Find out what Lex thought of the "SYTYCD" judges and who teased him the most on set.

On Vanessa Hudgens:

"The fact that she danced on the finale? She's amazing! I wasn't expecting that one bit."

On Mary Murphy:

"She's always so energetic and gave really good feedback. Everything she says comes from a genuine place."

On Nigel Lythgoe:

"I was always most nervous to hear from Nigel. I worked with him when I was little on the TV series 'Dance School Diaries,' so I knew him and felt more pressure to impress him. Plus, he's a very honest British man—you never know what's going to come out of his mouth."

On Gaby Diaz:

"She's the type of dancer I want to be when I grow up. She can do anything and everything she's asked to do, and she always challenged me to do my best."

On host Cat Deeley:

"You can't not love Cat! She would tease me all the time, and loved to joke around with me right before my performances."

Want to hear more from the sensational "SYTYCD" winner? Click here!

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 dated a guy at my studio for almost a year, and we just broke up. It's terrible. I don't want to go to class, because every time I see him I feel awful. But I also don't want this breakup to affect my training. What should I do?

Jessalynn

Dear Jessalynn,

Having an ex in the studio can be a very difficult thing to deal with, especially as a young dancer. My advice would be to simply focus on yourself. I know that's easier said than done, but think of it this way: If you keep your head down and work hard, you'll end up at a good summer program or in a great company—and, more than likely, he won't be there. This situation feels terrible now, but it won't last forever, and your career goals are too important to sacrifice because you feel awkward.

You should be civil to your ex, but you don't have to go out of your way to be nice to him. During class, choose a barre on the opposite side of the studio, and go across the floor in a different group. Take it one class at a time. It's going to require a bit of a mental effort, but you can get past this!

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

Simone Botha Welgemoed is the ultimate dancer: She's performed with ballet companies, competed in dance competitions, and toured internationally on commercial gigs. She's currently a member of Bovim Ballet , while also juggling freelance jobs on films in her home of Cape Town, South Africa. But she's missing something essential to most dancers: hearing.

Weldemoed was born with profound bilateral sensory neural hearing loss, meaning she's completely deaf. At 22 months old, she received a cochlear implant, which partially restored her hearing. "Without my cochlear implant. I'd have been lost in a world of silence. I'm forever grateful for the operation that changed my life," she says.

So it's no wonder Weldemoed spoke out when Virgin Active, a fitness brand she models for, Photoshopped her cochlear implant out of an ad. After Weldemoed voiced her frustration, the company apologized and reproduced the photos with Weldemoed's implants intact. Weldemoed is determined to use this experience, along with her accomplished dance career, as an opportunity to educate people about the deaf community.

We talked with Weldemoed to find out how she dances deaf, and which ballet legends have given her the courage to defy the expectations of others.

What drew you to dance?

It has been a part of my life for as long as I can remember. My older sister took ballet classes, and I tagged along with my mother to watch. I kept hopping off my mom's lap to try out the mesmerizing movements. Little did I know that the ballet teacher, Natalie Swanepoel, was watching my every move. Eventually she told my mom that it was obvious to her that my body and soul wanted to be on the dance floor. So I began ballet classes at the tender age of two.

Photo by Vikram Bawa, courtesy Welgemoed

How are you able to dance without hearing the music?

To me, music is really just beautiful background noise. My eyes and sense of touch, along with my body rhythm and muscle memory, are the senses that allow me to perform in time with the music.

In rehearsal, a piece of choreography is rehearsed so many times that my body remembers how fast, slow, or sharp a movement has to be executed. When I'm performing in a group setting, I'm acutely aware of the other dancers. They're my ears.

When I perform a pas de deux, my partner takes charge. Using subtle cues and gestures, he will signal when I might need to speed up or slow down. I especially need this when performing with a live orchestra, as its rhythm and tempo tend to be slightly different with every performance.

During solo performances, I'll ask a dance friend to stand in the wings and direct me, to make sure that I start on time, reach the highlights in the music where the choreographer wants them, and end on time.

Welgemoed dancing with Henk Opperman in Bovim Ballet's "Private Pressley" (photo by Bill Zurich, courtesy Welgemoed)

Did you ever feel discouraged about pursuing a career in dance as a deaf person?

I've often been disappointed in people's reactions to my career choice, but I've never been discouraged. In fact, negative reactions made me more determined, because I realized I had something to prove.

Welgemoed and Casey Swales in "Spartacus" with Bovim Ballet (photo by Bill Zurich, courtesy Welgemoed)

What's one of your greatest accomplishments?

As a hearing impaired dancer, performing various lead roles and corps de ballet parts in Bovim Ballet is something that I take great pride in.

Who's your dance role model?

There are a few dancers I think of as role models. Margot Fonteyn didn't have great feet or technique, and yet she was one of the most captivating beings ever to grace a stage. Michaela DePrince, an abused war orphan with vitiligo, didn't let her circumstances limit her dreams of dancing. Misty Copeland's body was considered too athletic and her skin too dark for ballet, and yet she showed everyone just how beautiful her body was. These dancers not only beat the odds, but rose from them like a phoenix rises from the ashes. That's what I've been striving to do all my life.

(Photo by Inge Bruwer, courtesy Welgemoed)

What advice would you give to someone who might not fit the typical mold of a dancer but wants to pursue a dance career?

There is so much room for individuality. Don't give up until you find a way to make it work. Create your own opportunities and get creative about ways you can accentuate your strengths.

How can the dance community help make the dance world more inclusive for people with disabilities?

People with disabilities aren't asking for extreme measures to be taken. We just want a chance: a chance at life, a chance to prove ourselves worthy, a chance to show that we can excel in the best way we know how.

Food: Ramen

Movies: The Magnificent Seven and Inception

TV Show: "The Office"

Sneaker brands: Nike and Adidas

Fellow Top 10 contestant: "They were all fantastic, but I bonded the most with Kiki Nyemchek. We both love shoes and the same type of music."

Season 14 performance: The Anthony Morigerato–choreographed tap number with Gaby, from the first live show. "It was the only tap number of the whole season! And it was a good way to show that I can tap, too. I wanted to prove my versatility."

Want to hear more from the sensational "SYTYCD" winner? Click here!

You guys, the solution to "dad dancing" has been right under our noses all along: It's to hire American Ballet Theater principal / face of Nike David Hallberg as dance coach to the masses!

Earlier this week, Business Insider got the danseur of all danseurs (IMHO, at least) to get back to basics with their video producer Kevin Reilly. What was Reilly's skill level before this clearly life-changing lesson? "I hear constantly that I have no idea what I'm doing, that I am a terrible dancer," Reilly tells Hallberg. "I learned everything from the movie 'Hitch' and I need to improve on that."

Our new favorite dynamic duo cover the oh-so-essential step-touch, modified balancés, and—duh—bowing like a goshdarn ballet prince, all while sheepishly charming the life out of anyone with a beating heart. (Seriously, if you don't think this clip is the sweetest thing you've seen all week, you might need to check if you actually have a soul or not.)

Mr. Hallberg, what's your availability like to work with MY dad on his moves? This simply can't be the end of your coaching days—the dads of America need you!

Because what else are you supposed to do in the Netherlands but tons of windmills—in front of actual windmills?

Last month, to promote the 2017 Red Bull BC One World Final in Amsterdam, 70 b-boys from Italy, France, Brazil, and the Netherlands got together at the UNESCO World Heritage Site of Kinderdjik in southern Holland. Their goal? To set a new world record for the number of simultaneous windmills performed in 30 seconds.

Dutch hip-hop legend Tyrone van der Meer came up with the idea for the stunt: "The windmill is a classic breaking move and has a funny connection with the Netherlands," he explained. "That's how we came up with the idea for this world record. The breaking scene in the Netherlands is growing fast and we're very proud of that."

We have just one question: Where are all the b-girls who surely deserve spots in this all-star grouping?! Hopefully future breaking stunts put on by the Red Bull BC One World Final will "include women in the sequel." #werk

Convention classes are inevitably packed. To have the best possible experience while surrounded by hundreds of fellow convention-goers, put some thought into where you choose to stand in the room.

Start with a goal: "What people seek from class absolutely informs where they stand," says Dana Wilson, hip-hop teacher for New York City Dance Alliance. Hoping to win a scholarship or award? Trying a new style? Want to meet new people? These factors impact where you'll have the best class, so figure out your intentions before you enter the room.

Stand in the front if…

…"you're a go-getter and you're OK doing your thing in a confined space," says Kristi Fair, lyrical teacher for Kids Artistic Revue. Dancers who stand in front crave direct interaction with the teacher, and do their best work "when they're getting immediate feedback—when they're close enough for the teacher to say, 'You right there, that was great, keep it up!' " Wilson says.

You don't have to be a pro in the class style to stand in the front, but you do have to exude positive energy. "I would encourage dancers to stand in front if they're enthusiastic about improving at that style," Wilson says.

The downside? The front is the most densely packed area, so it can be tricky to do the combo full-out if it requires traveling or floorwork. If you choose the front, you have to be confident that when the class breaks into small groups, you'll be able to execute the steps without having practiced them.

Dana Wilson teaching at New York City Dance Alliance (courtesy NYCDA)

Stand on the side if…

…you enjoy having freedom to move around and you don't mind dancing on carpet. "I like dancing on the sides because I can move forward or backward freely," Wilson says. "I can head toward the front to see the steps, and then, without disrupting the class or other people, skirt along the perimeter and be dancing in the back of the room moments later."

Some conventions also have screens displaying live video of the instructor alongside the stage. "Standing in front of screens, you can get just as great of a view," says Al Blackstone, musical theater teacher at JUMP.

But don't forget the freedom on the sides sometimes also comes with a flooring challenge: "A reality of convention is that you are going to dance on carpet," Blackstone says.

Stand in the middle if…

…you want to get out of your comfort zone and meet new people. In the middle, "you're surrounded by energy," Blackstone says. Having 360 degrees of dancers around you means you have more resources. "The teacher isn't the only one who can help you," Blackstone says. "One of my favorite things when taking convention class is asking the person next to me for help."

Like the front, the middle can be tricky because it's jam-packed. Also, since dancers in the middle aren't close to the stage, you might get lost in the crowd. But that can also serve as practice for the professional dance world. "Dancing in the middle of the room is best for seeing what it might be like learning choreography at an audition, where you don't get to pick where you stand," Wilson says.

Al Blackstone teaching class at JUMP (courtesy Break the Floor Productions)

Stand in the back if…

…"you have a relaxed personality and you don't need to be in the spotlight as you learn," Fair says. "And if you're a more hands-on, physical learner who needs space to work out the choreography."

The back is also a good place to implement notes from teachers or judges. "For application of notes, I always try to get to the back of the room or a corner, where there's more space," Wilson says. Plus, the front row isn't the only place to get noticed: "The dancers in the back of the room who don't need me to push them are the ones I'm drawn to, because they are fully committed to dancing," Blackstone says.

However, if a class counts toward scholarship or award consideration and you're in contention, pick a moment to step forward. "I have seen brilliant dancers get overlooked when they audition in the back," Wilson says.

Ultimately, there's no rule that you must stay in a certain space. "Stand in front, learn the footwork, then move to the back and practice," Blackstone says. "When you feel really confident, take center stage."

A version of this story appeared in the December 2017 issue of Dance Spirit with the title "Finding Your Space."

From Dirty Dancing to Center Stage to Black Swan , there are a lot of epic dance movies out there. But how well do you REALLY know them all? Take our quiz to find out!

Safe partner-work demands you put in some time at the gym. Peter Frame—former principal dancer with New York City Ballet and founder of the School of American Ballet's strength training program—says, "Even advanced dancer forget about placement once they're lifting. They're doing the work, but you'll see shoulders and weight distribution out of whack." Want centered, controlled partnering? Grab a mat and dumbbells to try Frame's top three pre-partnering exercises.

Photos by Jonah Rosenberg. Modeled by Samuel Melnikov.

Lying Back Extension

"When you're lifting a partner, stabilization of the spine is the most important thing," Frame says. "This is a simple exercise to strengthen your back, preparing you to maintain a stable spine while moving your partner around."

1. Lie on your stomach on the mat, with your arms by your sides.

2. Focusing on your core, slowly lift your head and arms up off the mat. Don't arch your lower back, open your rib cage, or let your shoulders drift up.

3. Move your arms around to the side and then above your head to lift your torso up and away from the mat.

Advanced version! Try the exercise with a 3-pound or 5-pound weight in each hand.

Single-Leg Spinal Stabilization

According to Frame, "This is a classic way to build stability of the spine and strengthen the core."

1. Lie on your back with your arms on the ground and your feet and knees touching in parallel, close to your torso. Lift your buttocks and lower back by tilting the pelvis up slowly one vertebra at a time, with your arms resting on the mat.

2. Release one foot from the mat, extending that leg out so it's level with your other knee.

3. Bend your lifted leg, returning to the bridge position. Repeat with your other leg, 8 reps total.

Advanced version! Lift your arms off the mat, extending them in alignment with your spine.

Standing Shoulder Press/Bicep Curl

"This exercise brings spinal awareness, lifting and lengthening, and shoulder placement together," Frame says. "It mimics lifting a partner over your head."

1. Stand with your arms by your sides, holding 10–15-pound dumbbells (or whatever feels comfortable based on your age and strength level).

2. Bend your arms at a 90-degree angle, engaging the biceps and maintaining shoulder placement. Do 8 reps total.

3. Maintaining the 90-degree angle and parallel position, lift the upper arms so your hands and elbows are in front of you.

4. Straighten your arms for 8 reps, keeping your rib cage closed and spine aligned. Your hands should be slightly behind your head and your elbows should be in your peripheral vision.

A version of this story appeared in the November 2017 issue of Dance Spirit with the title "3...2...1... Liftoff."

Here at Dance Spirit, we're constantly in awe of Emma Portner . The powerhouse choreographer, dancer, and November 2016 cover star is never not busy, constantly diving into new projects, while posting a stream of choreo videos that are breathtaking, innovative, and genre bending. (Is it just us, or does everyone else get lost in her Instagram feed for hours on end? 🙋🏻 )

But her latest video, "You Don't Live Here Anymore," just might be our favorite yet. She dances an intense duet with her partner, actress Ellen Page, and it's filled with the raw, captivating emotional presence Portner has become known for. Do yourself a favor and watch it this very second:

What happens when legend Brian Friedman teaches at WilldaBeast and Janelle Ginestra 's fabulous IMMA SPACE ? A merging of the B Free and ImmaBEAST tribes that includes a mind-boggling number of A-list Hollywood dancers. Ryan Parma was there to capture the whole thing on film, and the result is basically the class video to end all class videos.

So, who do we see nailing Friedman's devastatingly fierce routine to Haiku Hands' "Not About You" in 10—ten!—different groups? Here's a very partial list (it's not even a third of the dancers involved):

Jade Chynoweth
Zack Venegas
Sean Lew
Richard "Swagg" Curtis
Tate McRae
Kaycee Rice
Bailey Sok
Trinity Inay
Kerrynton Jones
Josh Price
Tahani Anderson
Queen Brian Friedman himself

Naturally, they all came to slay. But we have to give a special shoutout to Venegas, who is both dance and hair #goals throughout.

Watch the whole thing:

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!

Look, guys, we know: It is too darn early for holly-jolliness. But the Rockettes appeared on the "Today" show this morning to promote the Radio City Christmas Spectacular , and we can't help it—as soon as we see that iconic kickline, we start daydreaming about sleigh bells and mistletoe and gingerbread lattes.

The ever-classic Spectacular opens tomorrow night at Radio City, and to celebrate, the Rockettes took to Rockefeller Plaza to perform their "New York at Christmas" number for the "Today" show cameras. (Appropriately, given the current weather in NYC, the soundtrack included "Baby, It's Cold Outside." Many, many props to those intrepid ladies for rocking less-than-toasty costumes in near-freezing temps.) We got not one but two kicklines, and infinite doses of holiday cheer. After the performance, we also got to hear from 12-year (!) Rockette veteran Danelle Morgan, who talked about all the schmancy new technological updates to the show this year—and about how her dance teacher was also a Rockette, awwww.

We give up: Happy official beginning of the holiday season, y'all. (Ready to go down the Rockette rabbit hole? Learn some of their most famous moves , see what a Rockette's typical day looks like , and discover some truly impressive Rockette stats .)