It's been a dramatic ride for the ballet dancers on this season of "So You Think You Can Dance" so far. I was thrilled when three—three!—ballet specialists made the Top 20 a few weeks ago: former San Francisco Ballet dancer Daniel Baker, former Los Angeles ballet dancer and Come Fly Away cast member Chehon Wespi-Tschopp, and Joffrey Ballet School-trained Eliana Girard. They were even showcased together in a highly technical piece by Complexions  Contemporary Ballet's Desmond Richardson and Dwight Rhoden. (It wasn't my personal favorite, but anything that gets pointework on national television is fine by me.)

Initially, then, things were looking up for the ballet crew. But from that point on, the men, especially, struggled, and both Daniel and Chehon ended up in the bottom 6 at the end of this week's show. Chehon was saved by the judges; Daniel was sent packing.

With the exception of the phenomenon that is Alex Wong, ballet dancers have always had trouble on "SYTYCD." I think that's partly because audiences just expect more of contestants with strong technical training. Ballet dancers' failures on the show are more pronounced, and their successes less impressive, because audiences set higher standards for them. To be fair, ballet dancers do tend to have a hard time relaxing into other styles. But they're cut a lot less slack in hip hop routines than hip hop dancers are in contemporary routines, for example.

I'll miss Daniel, but here's hoping that Eliana and, in particular, Chehon, make it all the way this season. There's a reason the judges saved Chehon: Not only is a beautiful technician, but I think he also has that ineffable "it" factor. He just needs to stick around long enough (and stay away from the samba long enough!) for everyone to realize it.

Ballet Careers
Sisters Isabella Shaker and Alexandra Pullen. Photo Courtesy Alexandra Pullen.

This is the second in a series of articles this month about ballet siblings.

My mom was in the corps de ballet at American Ballet Theatre. A generation later, so was I. As if that's not enough for one family, my younger sister Isabella Shaker dreams of following in our dancing footsteps. Her endeavor, and her status as somewhat of a child prodigy, stirs feelings of pride and apprehension within me, since I have lived through the ups and downs of this intense yet rewarding career.

Ballet will always be my first love and the thing that brings me the most joy, and my dance career has opened endless opportunities for me. However, it's a difficult career path that requires a lifelong dedication. It's super competitive and can lead to body image issues, physical injury and stress. Most dancers will face some of these problems; I definitely dealt with all three.

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Ballet Stars
Photo by Gabriel Davalos, Courtesy Valdés

For decades the name Alicia Alonso has been virtually synonymous with Ballet Nacional de Cuba, the company she co-founded in Havana in 1948. Alonso died on October 17, just shy of what would have been her 99th birthday. In recent years, she had stepped back from day-to-day decision-making in the company. As if preparing for the future, in January, the company's leading ballerina, 42-year-old Viengsay Valdés, was named deputy director, a job that seems to encompass most of the responsibilities of a traditional director. Now, presumably, she will step into her new role as director of the company. Her debut as curator of the repertory comes in November, when the troupe will perform three mixed bills selected by her at the Gran Teatro de la Habana Alicia Alonso. The following has been translated from a conversation conducted in Spanish, Valdés' native tongue.

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Ballet Stars
Photo by Jayme Thornton

It's National Bullying Prevention Month—and Houston Ballet breakout star Harper Watters is exactly the advocate young dancers facing bullying need. Watters is no novice when it comes to slaying on social media, but his Bullying Prevention Month collaboration with Teen Vogue and Instagram is him at his most raw, speaking about his own experiences with bullies, and how his love of dance helped him to overcome adversity. Watters even penned an incredible op-ed for Teen Vogue's website, where he talks candidly about growing up queer. Catch his amazing anti-bullying video here—and, as Watters says, "Stay fabulous, stay flawless, stay flexible, but most importantly, stay fearless."

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News
Alicia Alonso with Igor Youskevitch. Sedge Leblang, Courtesy Dance Magazine Archives.

Her Dying Swan was as fragile as her Juliet was rebellious; her Odile, scheming, her Swanilda, insouciant. Her Belle was joyous, and her Carmen, both brooding and full-blooded. But there was one role in particular that prompted dance critic Arnold Haskell to ask, "How do you interpret Giselle when you are Giselle?"

At eight, Alicia Alonso took her first ballet class on a stage in her native Cuba, wearing street clothes. Fifteen years later, put in for an ailing Alicia Markova in a performance of Giselle with Ballet Theatre, she staked her claim to that title role.

Alonso received recognition throughout the world for her flawless technique and her ability to become one with the characters she danced, even after she became nearly blind. After a career in New York, she and her then husband Fernando Alonso established the Cuban National Ballet and the Cuban National Ballet School, both of which grew into major international dance powerhouses and beloved institutions in their home country. On October 17, the company announced that, after leading the company for a remarkable 71 years, Alonso died from cardiovascular disease at the age of 98.

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