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Winter is “Snow” much fun

Winter is “Snow” Much Fun

It’s easy to be fashionable, warm and comfortable! Stand out in class with these amazing Knits by KD Dance. Mix and match with your favorite dance tops or leotards to create a look that is uniquely yours….because winter is snow much fun.


On Ellie (left) High waist roll down knit shorts by KD Dance and dance bra by Motionwear.

On Sydney (middle) Knit leggings by KD Dance and foil green dance bra by Capezio.

On Claire (floor) High waist roll down knit shorts and wrap sweater by KD Dance.

elliekddanceKnit Roll Down Shorts

 kddancesydneywhiteSweater Tights by KD Dance

kddancetopKnit Tunic by KD Dance


Lace of Luxury

This Week’s pics for Look of the Week!

Lace of Luxury

Keep it classic with a touch of Luxe Fashion with these beautiful lace leotards. Even wear them at auditions for that classy, edgy look.
By: The Dance World Editor 


  Ainsliewear “Greta” Tank Leotard    

chloe2 Ainsliewear “Chloe” Lace back leotard

lacecapezioCapezio Lace High Neck Leotard

Where any of these leotard with tights and your warm up of choice in ballet or pair them with great dance shorts for jazz and contemporary classes. Make a statement with your dancewear!

Healthy Food Choices

Healthy food choices for Dancers

By: The Dance Wolrd Editor

By Emily C. Harrison MS, RD, LD. via Dance Informa

If you are one of the many people who have had a hard time losing a few pounds using traditional approaches of counting calories and fat grams, then it’s time for a new approach. New Year’s resolutions give us an enthusiastic opportunity to seize the day, but how do we really make change happen and stick to it in a sustainable way?  “Sustainability” has become such a buzzword that can all too easily lose its impact or become cliche.  But making choices that are sustainable for our bodies, our busy lives, and the environment is exactly what we have to do to make a lasting difference.  The beauty of the sustainability approach, is that when you stop obsessing over calories, fat grams, and carbs, you open yourself up to making delicious food choices based on more positive criteria.

#1 Eat Real Food 

Before you make a food choice, ask yourself if it’s real food. “Eat food, not too much, mostly plants”.  Michael Pollan’s famous quote sounds so simple, but in this day of ultra processed food, we have to actually define “real food”.  This means fresh, unprocessed fruits, vegetables, beans, seeds, nuts and whole grains.  If the food label is longer than a typical tweet, or if you don’t recognize some of the ingredients, then rethink eating it.  This doesn’t have to be hard. Instead of a pop tart for breakfast, grab overnight oats out of the fridge.  Instead of cheese puffs from the vending machine, pack almonds and a clementine.  Instead of chicken nuggets for lunch, have a hummus, cucumber, spinach sandwich on whole grain bread with lentil soup.  Don’t stress about calories, simply plan ahead to aim to get a fruit or veg at each meal and snack.

#2 Eat Clean 

Eating real food (not from packages, boxes, cans, or plastic) automatically limits your exposure to some substances that have been linked to weight gain, learning challenges, and even sometimes cancer.   Packaged, conventional products often have more sugar, salt, fat, additives, preservatives, colors, dyes, GMOs, pesticides, herbicides, and nasty chemicals like BPA.  Bisphenol A (BPA) is a chemical found in the lining of canned foods, plastic packaging, and some drink bottles.  There are numerous studies linking BPA and the rising rates of obesity 1,2,3,9. The obesity epidemic is multifaceted and bigger than just our over consumption of calories, but chemicals, hormones, and antibiotics in our food are thought to be contributing factors 1,2,3,10.

When you consider what else could be in your food besides calories and fat you automatically begin to make choices that support a healthy weight.  Don’t be misled by healthwashing claims that your bag of chips are “natural”4.  The word “natural” on your food package isn’t clearly defined in the U.S..  Instead, take 15 minutes to boil some quinoa, toss with dried fruit, nuts, and some olive oil dressing and presto you have dinner without any packages going to landfill.  Throw some beans, onion, and green pepper in the slow cooker, serve with rice, and dinner will be waiting for you when you get home from a long day.  Make extra to save.  No packages required, the calories will naturally be lower than something from a box, and you limit your exposure to obesogenic substances.  The Centers for Science in the Public Interest and The Environmental Working Group have wonderful tools that allow you to know more about how substances can affect the human body 3,4,8,9.

#3 Your Food Choices Affect More Than Just Your Waistline

Your food choices affect others. When you make the decision to buy a burger and soda you choose food products that come from a very unhealthy system.  Sodas and even bread contain high fructose corn syrup which is genetically modified to withstand spraying of industrial herbicides. The meat is likely from a factory farm that routinely uses antibiotics which contribute to antibiotic resistant infections in people (in the U.S.). It is estimated that 90,000 people die each year from antibiotic resistant infections and resistance is a major public health crisis10. Children who live near factory farms have higher rates of asthma and farm animal waste runoff has been linked to e. coli outbreaks10.  Red meat production contributes heavily to pollution5,6,9,10. Choose a veggie burger instead, you’ll get less calories and fat but you also positively impact others on the planet.

Ultimately you are voting with your fork to decide what kind of future you want. This New Year, instead of worrying about calories, make a real sustainable difference by eating clean, eating less meat and dairy, and eating with the seasons. You just might be surprised how sustainable eating affects your waist line (and waste line) well after January’s burst of motivation has worn off.

Emily Harrison
Emily Cook Harrison MS, RD, LD
Emily is a registered dietitian and holds both a bachelor’s and master’s degree in nutrition from Georgia State University. Her master’s thesis research was on elite level ballet dancers and nutrition and she has experience providing nutrition services for weight management, sports nutrition, disordered eating, disease prevention, and food allergies. Emily was a professional dancer for eleven years with the Atlanta Ballet and several other companies. She is a dance educator and the mother of two young children. She now runs the Centre for Dance Nutrition and Healthy Lifestyles. She can be reached at


1. Association Between Urinary Bisphenol A Concentration and Obesity Prevalence in Children and Adolescents. JAMA. 2012;308(11):1113-1121.
2. BPA in food packaging tied to childhood obesity:, Overweight an Obesity:
3. Center for Science in the Public Interest: Chemical Cuisine, Learn about Food Additives:
4. Center for Science in the Public Interest: Eating Green.
5. Live Science:
6. Years of Living Dangerously:
7. Healthwashing:
8. CSPI Food Day: Food Impact Quiz:
9. Environmental Working Group.
10. Industrial Farm Animal Production in America: a report of the Pew Charitable Trusts and Johns Hopkins Bloomberg School of Public Health. 2010.

Defining a Pique Turn

 By: The Dance World Editor
What is a Piqué Turn?

Generally when a dancer is asked to perform a piqué turn in class, he/she understands that it is likely they are being asked to perform a traveling turn that begins with a step onto a straight leg, as demonstrated at the start of this combination (note: this video is an ad for an online teacher’s resource, however, I’m using the following video because the step is clearly performed, not for any advertising purposes):

What may not be clear to some students, however, is that the piqué turn has several variations. The young lady in the video begins her combination with two piqué tour en dedans (inside/toward the supporting leg). In fact piqué tour* (turn) can be executed en dehors (outside/away from the supporting leg), attitudearabesque, or sur le cou-de-pied. It is also important to mention that piqué can be performed without any turn at all. When the term piqué is combined with a pose such as arabesque or even an action like développé, the implication is that one should execute this pose or action by first stepping onto a demi or full pointe with a straight leg.

A Note on Terminology

Piquer is a french verb meaning “to sting, bite; to give a shot.” Piqué literally means “pricked.” Obviously this implies a quick and precise action and, although this element of a piqué is sometimes neglected, the step onto a straight leg should in fact be just that – quick and precise.

Piqué is also a term applied in ballet to an action of the leg usually found in exercises at the barre. It refers to a quick and precise rebounding of the toe from the floor, typically following a battement dégagé/tendu jeté, or a grand battement. In the following video dancers from Columbus City Ballet School execute such a combination.

Performing Piqué tour en dedans

As the en dedans version of piqué turns is the most common, I’d like to dissect the parts of this movement as well as offer some things to keep in mind during its execution.

  • There are several methods of preparing for a piqué turn. Some begin with a demi-rond de jambe, others with a dégagé to side or to the front. Your teacher will probably let you know which version he/she prefers, if not ask!
  • No matter what you are required to do with the working leg in preparation for the turn, the shift of weight to a straight leg is powered by a plié in the supporting leg. This plié should be well placed with the knee over the second/third toe and all five toes should have contact with the floor, providing a strong base from which to push off. It helps me to think of the elastic connection between my sits bone and heel during the plié, imagine it being pulled taut or spring-loaded like a sling shot ready to be released.
  • There is a subtle swivel of the pelvis on the hip that occurs during a piqué turn. As the working leg’s toes meet the ground, the facing of the hips is toward the direction of travel. Most students naturally make this adjustment without thinking about it but, for those that don’t, discussion of this detail may be helpful. Note: instructors are not wrong to have students practice piqué (without a turn) to the side (it is useful to practice piqué in all directions), however the piqué in a piqué turn en dedans actually steps forward, not side.
  • The reach of the working leg’s toe is also important in piqué. You must find the balance between reaching too far and not enough. This may be different for everyone. Too far and you will not make it to vertical before the turn must occur (in pointe shoes this can be dangerous), to near and the working leg will bend or the hip will lift. Keep the hips level!
The Turn
  • Arrive on the demi/full pointe in “one piece.” Engage the abdominals (as always) and be sure that the shoulders and the hips stay in alignment throughout the shift to the working leg. It is a common mistake for students to “leave behind” either the pelvis or the shoulders. Imagine a blanket stretched behind you, providing a push that supports your whole body as you lift to a shape perfectly balanced and stacked over the toes of your leg.
  • A related mistake I often see students make in all traveling turns, is the leaving behind of one shoulder (usually the one opposite the working leg) as they rise to demi/full pointe. This creates a spiral in the body which slows down the turn and often knocks the student off balance.  To combat this direct your mind’s eye to the diagonal connection between the hip and shoulder and think of maintaining this relationship as you turn.
  • Turnout of the lifted leg and the axis leg is essential during a piqué turn. Imagine the stripes of a candy cane wrapping upward around your axis leg which is long and straight. As you turn, don’t allow the knee to pull inward, leading the turn around. Instead, imagine the front of the hip has a beam of light that leads the way as the knee trails behind.
  • The hips should be level during the turn as well. Often the cause of a lifted hip in retiré is strength related, although sometimes flexibility is a factor. Practice slowly lifting the leg in retiré while facing the barre. Stop lifting when you feel the pelvis shift (your toe may not be all the way to the knee). Talk with your teacher about ways you can increase the height of your retiré without hiking the hip. I’ve found that students sometimes inhibit their retiré by gripping too much. Try allowing someone else to take the weight of your leg by holding it under the thigh just above the knee – feel how the hip can easily drop into place as though there is a weight on a string attached to your sits bone. Try to apply this same feeling of release as you then retiré on your own.
  • Be aware that a piqué turn does not include a full 360º rotation. In fact, it is more accurately somewhere between a 1/2 and 3/4 turn from the point that the working leg makes contact with the floor and then is replaced by the other leg during the coupé. This keeps the turn traveling along its intended path. A full turn will send you off course.
The Upper Body
  • The arms should never be behind the body during any part of this turn. I have witnessed students opening the initiating arm too much and also forgetting to take the closing arm with them as they shift weight to the working leg. These mistakes create that spiraling action mentioned earlier and is a very inefficient way of turning that will likely knock you off balance. In piqué turn the “follow” arm is very important and should close vigorously, not lag behind.
  • Spotting is essential directing the turn along its path. Spotting is probably a post all on its own but think of the neck as being long, soft, and supple as you spot. Something to remember when traveling piqué turns along a circular or curved path is that you will direct your attention to a new spot with each weight shift.
  • Your shoulders should stay relaxed and the back should feel wide.Students have a tendency to lift their bodies into piqué with the shoulders instead of creating force from the plié and utilizing the core. Imagine hanging like a tree ornament from a point at the top of your head, beneath this point your neck is long and your shoulders hang low and wide.  I often see shoulder blades pinching together as dancers rotate in their turn. Rather than thinking of creating a hoop that hangs from the front of your body, imagine a full circle created by your arms and back.
The Descent
  • As you shift weight back to the supporting leg from retiré, remember that the leg should stay lightly attached to the working leg. Think of drawing a line down the leg with the soon-to-be supporting foot. (Note that the toe should have been attached during the turn as well!)
  • Coupé means “cut.” This action of switching back to the supporting leg is another sharp and precise movement that shoots the working leg back to its preparatory position so that it is free to move on to the next turn or other subsequent movement. It replaces the working leg’s foot in space. A common mistake is to make contact with floor somewhere behind the working leg, which is likely to take the rest of the body backward. An aesthetically pleasing piqué turn is “tight,” without a lot of space between the contact points or placement of the feet as they travel across the floor.

Teachers, is there anything else that should be mentioned in regard to the performance of piqué turns en dedans?

Teachers, need some pointers on TEACHING a piqué turn? Click here for more on teaching pique turns.

NYC Ballet’s Teresa Reichlen

NYC Ballet’s Teresa Reichlen

By The Dance World Editor

By Gia Kourlas


Teresa Reichlen is a rarity at New York City Ballet, though for more than her angelic face, long legs and soaring jump, which manages to spring up and float in the air like silk. What’s unusual about Ms. Reichlen is that in the arduous quest to become a ballerina at a competitive and grueling company like City Ballet, her delicacy hasn’t turned into brittleness.

Paul Kolnik/New York City Ballet

Ms. Reichlen performing in Balanchine’s “Jewels.”

Since being named a soloist in 2005 she has preserved her poise and attained a new rigor in her technique. “It took me a long time to realize that you can try too hard onstage,” she said after a company class one day last month at the New York State Theater. “Sometimes you just have to settle down. I would always have good shows when I was really tired, and I think it’s because I just did what I had to do.”

She smiled. “Experience is a big thing,” she said, “and I guess I’m starting to finally have some of that after seven years.”

Her height makes her regal authority all the more apparent. Ms. Reichlen can’t hide. She is tall: 5 foot 9 before rising on point. While such stature does leave her out of the running for certain roles, it can also be an advantage. To enhance her dancing with a touch of rubato — a kind of teasing or playing with the music — she uses her elegant limbs to slow down moments or stretch them out like taffy.

Unlike other classical companies, City Ballet traditionally has a fair share of parts for tall women. (Suzanne Farrell, after all, originated many of them.) Since joining the company Ms. Reichlen has performed Balanchine roles in the repertory that are generally reserved for taller dancers or don’t require partnering: memorably the statuesque sexpot in the “Rubies” section of “Jewels,” which she will perform Friday and Saturday nights; Dewdrop in “The Nutcracker”; the second female lead in “Tchaikovsky Piano Concerto No. 2”; and the leader of the Wrens in “Union Jack.”

But she is also easing into pas de deux roles. When the company was in residence at the Saratoga Performing Arts Center last summer, she performed “Stars and Stripes,” opposite both Stephen Hanna and Charles Askegard, and last month she again danced the Sugarplum Fairy in “The Nutcracker.”

“She’s so tall, but it’s not hard to dance with her because she’s so light and right on top of her leg,” Mr. Hanna said. “She doesn’t lean to the right or to the left. She’s very willowy, but the thing that’s great about it is that she has this powerful jump that comes out of nowhere.”

Ms. Reichlen is often cast second or third in roles, often behind another tall dancer, Maria Kowroski, but she doesn’t consider her height a detriment as long as taller partners are available.

“I like to think that short girls have it easier because they have less to move, but I think sometimes I’m just making excuses for myself when things feel too fast,” she said. “I like being tall. It helps to be longer to have better lines. It’s easier to cover space. And a lot of amazing roles are created for tall girls that short people don’t have an opportunity to do, like ‘Rubies.’”

Ms. Reichlen, 23, is equally poised offstage. She’s not prone to making flighty pronouncements about ballet; she’s not a gusher. At Barnard College, where, she estimates, she has almost finished her sophomore year as a part-time student, her probable major is biology. “If I can ever fit those courses into my schedule,” she noted with a sigh.

She began dancing at 3 in her hometown, Clifton, Va., “at a little studio behind a grocery store.” Later, while studying at the Russell School of Ballet in Chantilly, Va., she learned of the City Ballet-affiliated School of American Ballet.

“It was infamous because a few girls had tried out for it, but no one had ever gotten in from my school,” she said. “So I was scared to even try.”

She was accepted after her first audition but put it off for a year, eventually moving to New York at 15 to study at the school. It was then that her growth spurt began. “I probably didn’t stop growing until I was 17,” she said. “But I was going through so many changes as it was, trying to adapt to the technique, that I didn’t even notice it.” In October 2000, she was chosen to join City Ballet as an apprentice. A year later she became a member of the corps de ballet.

Her success at City Ballet has surprised her. Originally she assumed that she would end up at Pacific Northwest Ballet, a company in Seattle that she said is more disposed to hire taller dancers. But ever since she was promoted to soloist, Ms. Reichlen has spent less time worrying about her height than about her performance quality. During the last couple of years she has focused on her projection.

Merrill Ashley, a former City Ballet star revered for her impeccable technique, has lately been working with Ms. Reichlen on her upper body and in building her confidence.

“I think there is a certain reserve there,” Ms. Ashley said. “But as each season goes by, I see her coming out of herself a little bit more. To some extent you just have to get out there and perform. I think she’s aware of the need to add her own personality without being false. It’s not easy for her.”

Ms. Ashley would like to see Ms. Reichlen tackle the coolly mysterious part in Balanchine’s “Emeralds” first danced by Mimi Paul. “It would take advantage of her long lines yet give her a chance to work on other aspects of her dancing, because the role is less about technique and more about presence,” Ms. Ashley said. “Dancers need parts that are other than what’s obvious. You want them to push a little beyond.”

Beginning last summer Ms. Reichlen did just that while performing with Christopher Wheeldon’s company, Morphoses. During the group’s City Center engagement in October it was apparent that she had blossomed, surpassing or at the very least proving herself to be an equal of fellow City Ballet dancers like Ms. Kowroski and Wendy Whelan. Even though Mr. Wheeldon is City Ballet’s resident choreographer, their paths had rarely crossed before he asked her to dance with Morphoses.

“I got a lot from that experience,” she said. “I had never really worked with Chris. He is very passionate about his ballets and getting the best out of his dancers, so he was pushing me a lot — I haven’t been pushed that hard in a while — which was great. He was very good at pointing out why Wendy is amazing, telling me, ‘You should watch this about her.’”

Mr. Wheeldon also told Ms. Reichlen that she needed to have a point of view when she danced. “Honestly, that was a very hard correction for me to take,” she said. “It’s not something you can just fix. Some dancers appear to have a whole story behind a ballet — it’s just the way they dance — and I’m not like that.”

For all the unruffled poise she seems to radiate onstage she doesn’t always experience it herself. “It’s funny because people tell me I look calm,” she said. “But I don’t always feel calm. When I’m the most stressed or angry I become really quiet. Maybe it’s my way of dealing. I don’t know if I hold it all in, but it’s just the way I am — in life and on the stage.”

New York City Ballet continues its winter season at the New York State Theater through Feb. 24; (212) 870-5570,


Top 10 Music Videos of 2014

By The Dance World Editor

By Chelsea Thomas of Dance Informa

2014 has come to an end, but what a year it was for dance in music videos! It seems the music and entertainment industry really leaned in close to the dance scene to not only garner inspiration for new projects, but to pick artists and feature companies in videos and productions. And of course, the dance scene did what it does best – amaze and inspire.

Now, it’s not like dance in music videos is new – far from it. (Michael Jackson’s iconic “Thriller” and Beyoncé’s popular “Single Ladies” should come to mind, along with dozens of others.) In fact, dance and music videos have had a happy marriage for a long, long time. But like any relationship, it has its ups and downs. Recently, dance has reclaimed its role in the spotlight and actually stolen the show.

Here is Dance Informa’s top 10 list of music videos highlighting dance in 2014, in no particular order.

Sia’s “Chandelier”

This video helped further propel Maddie Ziegler of Dance Moms fame into the limelight when it was released in May to great fanfare. Choreographed by Ryan Heffington, owner of the Sweat Spot in Los Angeles, “Chandelier” presents 11-year-old Ziegler in a skin-colored leotard and a platinum wig acting the part of a fully fledged mental case in a dingy, rundown house. She tilts, turns, jerks, kicks, leaps and pretty much goes crazy – all the while showing off her excellent extension and hyper flexibility.

Taylor Swift in Shake It Off
Taylor Swift as a ballerina in her “Shake It Off” music video. Photo source: Vevo.
Taylor Swift’s “Shake It Off”
Yet, perhaps the most popular music video of the year is Taylor Swift’s adorable and dorky “Shake It Off”, which has over 436 million (and counting!) YouTube views since the video’s release in mid-August. While an obvious choice for this list because of how much dance is featured, the real highpoint is the diversity of dance. The video cycles Swift through a variety of movement styles, everything from ballet, to hip-hop, to contemporary, to cheerleading, to tutting, to twerking. Directed by Mark Romanek, the video also had the creative input of choreographer Tyce Diorio and featured professional dancers like So You Think You Can Dance alumni Melissa Sandvig, Fik-Shun and hip-hop phenomenon Phillip Chbeeb.

Ed Sheeran’s “Don’t”
Speaking of Phillip Chbeeb, did you see him killing it in this video? Released in early August, this sinewy hip-hop dancer (also known as “PacMan”) shows off his many moves, popping, locking and high stepping in this rags-to-riches saga that was directed by Emil Nava. Perhaps you remember Chbeeb as a contestant on Season 5 of So You Think You Can Dance? If not, maybe you saw him in the 2012 movie Step Up Revolution or the latest Step Up All In.
With the guidance of choreography team NappyTabs (A.K.A. Emmy Award-winners Tabitha and Napoleon D’umo), Chbeeb uses dance to convey his journey from a guy down on his luck to one literally swimming in the life of luxury. (Also, shout out to Shaping Sound dancer Justine Lutz who was featured in this video and “Shake It Off.”)

Also, while we’re appreciating English singer-songwriter Ed Sheeran, we can’t bypass his awesome debut into the world of ballroom in his “Thinking Out Loud” music video. This video stands out for many reasons. First off, Sheeran who usually keeps a relatively low profile not only takes centre stage, but he actually does so dancing! The video, which received 2.7 million views in less than 24 hours, was choreographed by Nappytabs as well. It features SYTYCD Season 10 alum Brittany Cherry as Sheeran’s love interest.
According to Rolling Stone, Cherry actually spent five hours per day secretly training Sheeran for the music video while she was on tour with him earlier this year. His hard work definitely paid off.

The Veronica’s “You Ruin Me”
Australian pop duo The Veronicas released their emotive song “You Ruin Me” off their third studio album in September. The music video, which was filmed on location in Los Angeles and in Sydney’s State Theatre and Bangarra Dance Theatre, was inspired by ballet, and more specifically, Darren Aronofsky’s 2010 film Black Swan.
Directed by Matt Sharp and Tapehead, the video features ballerinas warming up in class and their dodgy instructor, played by choreographer Jason Winters, making some suspect moves on his dancers. While the scenes aren’t necessary filled with great, technically proficient dance sequences, they do bring viewers into the competitive, and sometimes dark, world of professional dance.
The Veronicas performed “You Ruin Me” on Australia’s X Factor in late September and the song was used for Dancing with the Stars on October 30.

Carrie Underwood’s “Something in the Water”
If Swift’s “Shake It Off” video gets the 2014 award for being the most fun and cutesy, then American Idol winner and country singer Carrie Underwood’s recent video “Something in the Water” gets the award for being the most touching.
“Something in the Water” features Underwood singing her gospel-influenced song surrounded by 12 dancers from Shaping Sound dance company. The dancers, who are outfitted in loose gray/off-white shirts and dresses, beautifully move and turn in ankle-deep water as the lyrics allude to baptism. Choreographed by none other than Travis Wall, this video will give you chills.

Sheena Grobb’s “Get Out Alive”
Another video that is sure to give you chills is this small-budget project for Canadian singer-songwriter Sheena Grobb’s heartbreaking “Get Out Alive.” Choreographed, produced and co-creatively conceptualized by Lindsay Nelko, it features SYTYCD all-stars Kathryn McCormick and Robert Roldan in a desperate, poignant pas de deux. Be warned that this video may make you want to curl up and eat cho

he Bynars’ “Time vs. Money”
One video that seemed to fly relatively under the radar this year was ballet-infused “Time vs. Money” by The Bynars. Combining ballet with the pop/rock sounds from this Boston-based indie band might seem a little odd and even forced at first, but once you start watching you’ll agree that this video is really quite neat.
“Time vs. Money” features dancers Kirsten Evans and Alex Lantz of Festival Ballet Providence in Rhode Island. The duo performs choreography by the 2009 Youth American Grand Prix Outstanding Choreographer, Viktor Plotnikov.
Conceived and directed by Shaun Clarke, the video’s most notable quality is its lighting. Shot in black-and-white, it uses contrasting bright light and heavy shadow to give it a classic, rock-and-roll feel. That paired with the actual choreography and the confidence with which the dancers deliver it colors it a gloriously punk moment.

OK Go’s “I Won’t Let You Down”
And the most epic music video of the year award goes to OK Go! Released on October 27, this ‘’eye-popping, retro-futuristic video” (as dubbed by Billboard) includes hi-tech scooters, umbrella-wielding dancing schoolgirls and one very large car park. And to make things even crazier, the ambitious video was shot in one continuous five-minute take by drone cameras!
Music video by The Bynars
Still from The Bynars’ “Time vs. Money” music video.
Directed by Kazuaki Seki, the video opens with the Grammy Award-winning four-piece band resting on Honda UNI-CUB scooters. The band members ride the scooters through a school and out into a car park, where all the real magic happens.
What’s most impressive about this massive dance spectacle? How choreographer Furitsukekagyou air:man ensured that each dancer’s umbrella opened, closed and twirled in perfect unison. You truly have to see it to believe it. Just wow.

Idina Menzel and Michael Bublé’s “Baby It’s Cold Outside”
Lastly, Idina Menzel and Michael Bublé’s “Baby It’s Cold Outside” was released in November. It features two adorable, fancy-footing youngsters in place of the celebrity singers. Choreographed by Lynn Page, known for her work on London’s West End and Broadway’s La Cage Aux Folles, it has the kids dancing and flirting away in a swanky hotel as they lip-sync the lyrics. I have a feeling we’ll be seeing the names Emily Carey and Harry Collett again one day down the road. In the meantime, enjoy this fun little dance number, reminiscent of days long ago when Fred Astaire and Ginger Rogers were hot and everyone wanted to be ballroom dancers on the silver screen.

Perpetual Motion




Perpetual Motion Dance Studio

Perpetual Motion Dance Studio is located in the heart of Westwood NJ and is directed by Danielle Brennan, owner and artistic director.

Danielle holds a BFA in Dance from Point Park University. After college Danielle performed with many regional ballet companies in NY, NJ, PA. While dancing, Danielle continued to teach and choreograph. In 2001, she began working for New York City Dance Alliance, 1 of the most reputable dance conventions in the US. As an NYCDA Convention Manager, she worked with dancers and choreographers from around the world. Danielle has been nominated and awarded many awards from both Helen Hayes Theatre and Papermill Playhouse for her work . She is also a certified Pilates instructor through Power Pilates in NYC and a member of Pilates Method Alliance.

Perpetual Motion offers dance classes for children and young adults across all disciplines.

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Fashion Leotards Bloch & Mirella

Fashion Leotards featuring dance brands Bloch & Mirella. These leotards give that class wear basic the perfect touch a fashion. They make great pieces for class, performance, and auditions. Click… and you shall find..

By: Danielle Hernandez A Dance World’s Editor

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Cozy Winter Wishes

By: Danielle Hernandez A Dance World Editor

This week’s picks are perfect for keeping warm in class this winter. Staying warm and properly warming up is crucial during the winter months as exerting cold muscles can lead to injury.  Here is a collection of some of our favorite pieces of warm ups and knitwear to add to your collection this season.


Shadow Stripe Wrap Sweater and Shadow Stripe High Waist Shorts by KD Dance.

These 2 pieces are the perfect addition to any dancer’s wardrobe. Wear them as featured or pair one or both over a leotard and tights.



Capezio Long Sleeve Knit Romper

Nothing says Prima Ballerina like a classic looking romper. This Capezio romper features thumb hole and dolman sleeves.

Sansha Jumpsuit



Sansha Knit Jumpsuit

All dancers, especially ballet dancers need a great jumpsuit as part of their collection. The top can be folded over for a different look and it’s the perfect piece when warming up at the barre.


Bloch Warm-up booties

These are a must have for any dancer- especially those taking multiple classes. These boots are incredibly warm, comfortable and can be worn alone or over your ballet and pointe shoes.

We’ve shared our favorites. Tell us which one you love! What is your go-to dance look this winter? Leave a comment.




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