Ballet is nothing without technique, but when a performance is accompanied by nothing more than that, it loses its allure. Not so in this 1983 clip of American Ballet Theatre's Cynthia Harvey in Don Quixote. Here, she's a breath of fresh air, striking the perfect balance between technique and artistry. She blends the clean lines garnered by years of training with the effusive personality of Kitri—neither aspect overshadows the other.

Although Harvey is surrounded by dancers, she stands out in part due to her sparkling charisma. She embodies Kitri's character so well that it's easy to forget that you're watching a performer. Although the tempo gets increasingly faster, Harvey remains steadfast in her movements, making them fuller and more dynamic. Watch the ease with which she transitions from her waltz turns into a series of chaînés and développés at 1:30. The energy and excitement she brings to each step is magnetic, creating lasting snapshots for the audience to take with them.

In May, Harvey became the artistic director of American Ballet Theatre's Jacqueline Kennedy Onassis School. In addition to her work with the En Avant Foundation, a non-profit committed to mentoring young dancers, Harvey remains an active contributor to the dance world, bringing notoriety wherever she goes. Happy #ThrowbackThursday!

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Health & Body
Emily Giacalone, modeled by Elizabeth Steele of The School at Steps.

In fall 2012, New York City Ballet associate artistic director Wendy Whelan, then a company principal, was taking morning class when her foot slid out from under her, causing her to pull the very top of what felt like her right hamstring muscle. "It shocked me from the inside out," she notes.

Whelan spent three months nursing her hamstring. But once she got back to performing, her right hip flexor began flaring up. "By the end of Nutcracker season, I could no longer bear standing in fifth position. I could not lift my right leg without severe pain," she says. "I couldn't imagine why or how this was suddenly becoming so debilitating." A sonogram revealed a complex labral tear in Whelan's hip.

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Courtesy Grishko ltd. (Moscow, Russia)

If you're one of the many American ballet dancers who loyally wear Grishko pointe shoes, you may have noticed something different about your shoes recently.

In the midst of a lawsuit, Grishko ltd. is now selling in the U.S. under the name Nikolay to reduce confusion and ensure that American dancers get the high-quality shoes they've come to expect.

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Ballet Stars

Carlos Acosta and Tamara Rojo both took The Royal Ballet by storm when they arrived at the company in 1998 and 2000, respectively. Virtuosic, enigmatic performers, the two forged a storied partnership over the course of their next decade together at The Royal. Now they've both gone on to lead the next generation of ballet dancers in England: Rojo has been the artistic director of English National Ballet since 2012, and Acosta will take the helm of Birmingham Royal Ballet in January. With this 2007 clip of their balcony scene from Sir Kenneth MacMillan's Romeo and Juliet, it's easy to see why they are already the stuff of ballet legend.

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Rachel Neville, Courtesy Audition Dancewear

When you dig through your collection of leotards before class, do you ever think about how they're made, or what they're made from? Chances are, most dancers don't, and Audition Dancewear wants to do something about that.

The company—run by two mother-daughter duos, Kathy and Caroline Perry and Shelly and Suzanna Lathrum—has begun making leotards from recycled materials to reduce their carbon footprint and raise awareness around plastic consumption. The result is a sleek line of leos that don't sacrifice style or function, and that use four or five recycled water bottles per leo.

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