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Healthy Eating: Vegetarian & Vegan Diets For Dancers

February 17, 2019 by 4dancers

I’m pleased to bring you an article on healthy eating for vegetarian and vegan dancers from a longtime IADMS colleague, Derrick Brown, M.Sc. A lifelong dancer, teacher, and choreographer, Derrick is currently co-program manager and lecturer in Dance Science at the University of Bern, Institute for Sports Science, in Bern, Switzerland. He also works in the Netherlands, as a research fellow at the National Centre for the Performing Arts, and as a guest lecturer in health at ArtEZ University of the Arts, and the Coronal Institute of Occupational Health, People and Work – Academic Medical Center, Amsterdam.
For dancers who choose a vegan diet there is often a lack of information that applies specifically to dance. Derrick is working to remedy that situation, and we are pleased to share his knowledge with you.

– Jan Dunn, Dance Wellness Editor


by Derrick Brown, M.Sc.

Is it just a hype?

Click, zoom in, swipe up, left, or right on any social media platform and eventually you will come across someone extolling the dangers of meat and touting the virtues of a plant-based diets. At first glance you might believe that the entire world has gone ‘green’. However in a study published recently (see below) that researched 334 dancers from 53 countries, we can see that of those who opt for plant based diet, only a minority are emerging when compared to those who also consume animal products. Vegetarianism provides a catchall term for a variety of diets, which exclude the consumption of some, or all-animal products.

Contrary to popular claims, appropriately designed and managed vegetarian diets contain foods nutritionally sufficient for health, well–being and physical performance. Vegetarian dancers can meet their protein needs from primarily or exclusively (vegan) plant-based sources when a variety of these foods are consumed daily and energy intake is adequate.

dancers
Figure 1Photo 90658777 © Andrey Burmakin – Dreamstime.com

However, the quality and timing of dietary intake is of key importance to meet the physical demands typical of high intensity, intermittent types of dance styles. Poorly planned, calorically restrictive and nutrient poor diets confer a host of deficiencies that diminish health and ultimately performance.

The current recommendations for dancers’ diets are:

– 55 % carbohydrate

-20–30% fat

-12–15% protein.

This recommendation is based on an omnivorous diet and is an acceptable start point for all dancers across different dance styles. Below are some simple examples that may aid dancers who opt for partially or all plant-based diets.

High-quality carbohydrates are the way to go. [Read more…]

Filed Under: Dance Wellness, Nutrition Tagged With: bioavailability, Derrick Brown, healthy eating for dancers, M.Sc., micronutrients, nutrition for dancers, plant-based diets, vegan dancers, vegan diet, vegan diet for dancers, vegetarian dancers, vegetarians, vegitarian diet

On Love, Ballet, And Sleeping Beauty

February 2, 2019 by 4dancers

Emma Love Suddarth
Emma Love Suddarth. Photo by Price Suddarth.

by Emma Love Suddarth

Emma LOVE? “Yeah I suppose it is a pretty great last name—thanks!” I can’t count the number of exclamations at the uniqueness of that last name. I can’t keep track of the number of love-themed gifts I received from secret santas over the years—not to mention the number of love-related puns I heard from friends, assuming they were the first. I never thought anything of it. It’s just a word after all, right? Saying goodbye to it as a last name five years ago (not to worry, it’s still there—just sandwiched as the middle now) made me think more on the word itself. As irony would have it, the very act of saying goodbye went hand-in-hand with the true weight of the word. It was an act of love.

More often than not, love is thought of through a fairytale-lens. Here at PNB we are currently deep in rehearsals for the iconic classic Sleeping Beauty—wicked fairies, sleeping kingdoms, flying nymphs, and one brave Price Florimund. It is only by true love’s kiss that he is able to defeat the wicked Carabosse and awaken the beautiful princess Aurora. Love is all-conquering. Even where the lovers might not “win”—Giselle, Swan Lake, Romeo and Juliet, to name a few—the love itself transpired effortlessly. According to many iconic movies, books, and songs, love is just a force that we are swept up into. It happens to us, whether or not we are truly aware.

sleeping beauty ballet
Pacific Northwest Ballet company dancers in Ronald Hynd’s The Sleeping Beauty, which PNB is presenting February 1 – 10, 2019. Photo © Angela Sterling.

Yes, love as an initial happening—i.e. “love at first sight”—may come about without direct intent. However, love in a deeper sense, as a continuous, ongoing force, is a decision. It requires participation. Think about anything you’ve ever loved. Pets? It might be hard to love them when they’re chewing up your favorite shoes or shredding your expensive new rug. But you choose to continue to. Ballet—or any other passion? It might be hard on those days when you just want to give up because you can’t execute a single step correctly. But you choose not to. A significant other? It might be hard when he or she makes you more frustrated than ever. But when you love that person in the fullest sense of the word—in a way that requires you as an active member—you continue to.

Along with the decision to continue something, comes the effort to maintain it. Relationships require work; passions require work; love requires work. For love to have moments of effortlessness, effort must be put in. Oxymoron much? One tangible metaphor to illustrate this idea is in ballet itself. As a dancer, think about the most special moments you’ve had on stage. I’ll speak candidly from a personal experience as the Siren in George Balanchine’s Prodigal Son. In one of the more iconic moments, slowly rising from seated atop the head of my coworker Matt—the son—to standing against the front of his shins, my feet not even touching the floor, I felt love; love of the character, love of the story, love of the music, love of ballet. That love felt effortless. However, thinking back on the process, the love wasn’t always natural. There was the constant pain of a golf ball-sized blister encompassing my entire heel. There were the numerous tears from rehearsals that felt like flops. There was the sheer exhaustion from hours and weeks of intense repetition. There was a continuous trail of blood, sweat, and tears that led to that point. When people say, “love is not easy,” I believe this is what they mean. More often than not, some of our most cherished moments experience a similar journey. That’s what makes them worth it. That’s what makes them precious.

Ultimately, we must allow for love. One of my favorite ideas about love comes from a C.S. Lewis quote, and addresses this very thought: “To love at all is to be vulnerable.” While it might seem initially defeating, vulnerability does not have to be a negative. Asking us to be vulnerable means asking us to be open—to be whole-hearted participants. In loving a person, we are opening ourselves up by placing our hearts in their hands, allowing them to play an equal part in the journey of that relationship. In loving a passion, we are opening ourselves up to critique and frustration, because through those can we learn to experience it at a deeper level and find greater appreciation for it. This “vulnerability” lays the foundation for growth, for depth, for richer love.

Watching PNB tackle ten intense studio runs of Sleeping Beauty this week brought many different forms of love to light. None of them were without intention. I watched ballet masters praise tired dancers at the end of the week for a job well done. I saw Auroras push through nerves, pain, even illness. I watched boyfriends and husbands pass snacks to their exhausted fairy-friend-nymph-etc. at every five-minute break. No, love is not easy. But it’s certainly beautiful.

And it’s certainly worth it.


See Pacific Northwest Ballet perform The Sleeping Beauty! Performances run from February 1st to February 10th.


Emma Love Suddarth
Pacific Northwest Ballet’s Emma Love Suddarth. photo by Lindsay Thomas.

Contributor Emma Love Suddarth is from Wichita, Kansas. She studied with Sharon Rogers and on scholarship at Pacific Northwest Ballet School, and attended summer courses at Central Pennsylvania Youth Ballet, Ballet Academy East, and Pacific Northwest Ballet School. She was first recipient of the Flemming Halby Exchange with the Royal Danish Ballet School and was also a 2004 and 2005 recipient of a Kansas Cultural Trust Grant. She joined Pacific Northwest Ballet as an apprentice in 2008 and was promoted to corps de ballet in 2009.

While at PNB, she has performed featured roles in works by George Balanchine, Peter Boal, David Dawson, Ulysses Dove, William Forsythe, Jiri Kylian, Mark Morris, Margaret Mullin, Crystal Pite, Alexei Ratmansky, Kent Stowell, Susan Stroman, and Price Suddarth. Some of her favorites include the Siren in Balanchine’s The Prodigal Son, Jiri Kylian’s Petit Mort, David Dawson’s A Million Kisses to My Skin, William Forsythe’s New Suite, and Price Suddarth’s Signature.

She is a contributor to Pacific Northwest Ballet’s blog. She is married to fellow PNB dancer Price Suddarth.

Filed Under: 4dancers Tagged With: Ballet, dancer, Emma Love Suddarth, george balanchine, Love, love of ballet, pacific northwest ballet, PNB, Price Suddarth, prodigal son, the sleeping beauty

The Mirror as a Training Tool in Dance Class

January 21, 2019 by 4dancers

Students in dance class with mirrored wall. Photo by Lori Teague.

I’m so glad to be able to share the following article from Sally Radell, MA, a longtime colleague in dance medicine, on the faculty at Emory University in Atlanta, GA. Sally’s research for many years has been in looking at how using the mirror affects the dancer — we have posted information on this topic from her before on this site. Sally recently presented her latest research at the October 2018 IADMS (International Association for Dance Medicine and Science) conference in Helskini. It was valuable information, and thought-provoking, to put it mildly! So here you go — take care and happy/safe dancing!  – Jan Dunn, MS, Dance Wellness Editor


by Sally A. Radell, MFA, MA

The process of building ourselves as dancers is a long and arduous process. Years of technical training are required and certainly the more efficiently we train the more successful we are at building the technical skills needed for professional performance.

Dancers should not underestimate the importance of how they feel about their bodies in the studio and how this impacts the quality and effectiveness of their training. In fact, research has shown that a dancers’ psychological health and well-being can improve or impede their classroom or stage performance.

The Mirror in the Dance Studio

One classroom tool that has caused some concern in the technique class is the mirror. It is so familiar in the dance studio that many of us take it for granted. Teachers frequently use it as a classroom management tool to visually bring the class together when teaching new material. The teacher has an optimum vantage point when facing the mirror, demonstrating the material with the same physical facing as the students, and simultaneously viewing them as they learn it. This provides for ample correction opportunities and can be an efficient use of time when teaching short classes. However, NOT using the mirror in teaching generally requires the instructor to face the class directly and do a mirror image demonstration of the phrase material. This requires more concentration and focus for the teacher. Whether or not to use the mirror in the studio can be a complex problem for teachers.

Students tend to love having a mirror in the studio. It provides students immediate visual feedback and a constant stream of information on ones’ alignment and performance of a dance phrase. The mirror also provides students an opportunity to fix their hair, examine how they look in their new tights and inevitably compare their body to those of other dancers in the studio. The mirror is a potent tool with distraction powers that can be overwhelming and difficult to manage for most students.

One cannot help but ask the question — is the mirror a helpful or harmful tool in the dance studio, or perhaps a bit of both? Most of the literature on this topic comes from dance instructors and their use of the mirror in the classroom. Opinions vary. Some instructors feel it is a useful tool to check and correct ones’ line or the performance of a particular phrase. There have only been a few formal research studies, primarily focusing on ballet, which tend to discuss the disadvantages of mirror use.

Dance students in mirrored classroom. Photo by Lori Teague.

Disadvantages of Mirror Use in the Studio

  • Students may develop high levels of self-consciousness and self-criticism from starring at their images in the mirror.
  • There is a high temptation for students to compare their physical images to other dancers (or the teacher) in the room which can lead a dancer to feel badly about her body.
  • The use of a mirror can lead to a dancer feeling “disconnected” from her proprioceptive body awareness which is needed for efficient training. This can delay optimum development of a dancers’ technical skills.

New Mirror Research

Further research has recently been done which probes a bit deeper into mirror use with dancers of various skill levels and in different styles of dance. For example, a recent study was done comparing beginning and advanced ballet dancers. The beginning dancers reported using the mirror enthusiastically, while the advanced level dancers discussed the importance of limiting mirror use in class in favor of focusing on the physical sensations of the movement to stimulate technical growth. However, both levels of students felt worse about their bodies by the end of the semester. This suggests that training on how to use the mirror sparingly and efficiently does not help a dancer feel better about her body in class. Perhaps the mirror is just too potent a tool to be used effectively at any level of dance training?

Other recent research compares the impact of mirrors on the body image of modern and ballet dancers in both mirrored and non-mirrored classrooms. By the end of the semester both the modern and ballet students in the mirrored classroom felt worse about their bodies. However, the students in the modern and ballet non-mirrored classrooms felt better about their bodies by the end of the semester. Overall, perhaps these results suggest that the negative impact of the mirror on a dancers’ body image can transcend styles, at least between modern and ballet styles?

As research in the area of mirror impact on body image grows, evidence is mounting on the potency of the mirror and its capacity to harm a dancer’s body image beyond the confines of ballet. I strongly encourage dance teachers and students to reconsider their use of the mirror in the classroom and explore alternate methods of achieving what the mirror seemingly offers. Without a mirror in the classroom dancers can fully focus on their proprioceptive learning and the sensation of movement in their bodies. This will ultimately keep their focus fully “in their bodies” which is the most efficient route to feeling good about themselves and developing the optimum technical skills required for professional careers.


Note: This post is an update to the previous post we have on the site, also authored by Ms. Radell. View that post here.


Sally Radell
Sally Radell, MFA, MA. Photo by Jon Rou.

Sally Radell is professor of dance at Emory University in Atlanta, Georgia. She holds a BA in dance from Scripps College in Claremont, California, an MA in dance from The Ohio State University, and an MFA in dance from Arizona State University. She came to Emory in 1987 to start a degree program in dance. The substantial growth of the program and success of this endeavor is one of her proudest professional accomplishments. Ms. Radell has been active as a choreographer, teacher, performer, administrator, dance critic, and somatic educator. Over the past twenty years she has conducted research on dancers, body image, and the mirror and has published in professional journals including Journal of Dance Medicine & Science, Research in Dance Education, and Perceptual and Motor Skills. Professor Radell has also presented nationally and internationally on this topic with different organizations including the American Association of Health, Physical Education, Recreation, and Dance and the International Association of Dance Medicine and Science. She is committed to the promotion of psychological wellness for dancers.

Filed Under: 4teachers, conditioning Tagged With: ballet classroom, dance class, Dance studio setup, Emory University, Mirrors in Dance Class, Mirrors in dance studio, sally radell, teaching ballet, teaching dance

Nutcracker and the Importance of Diversity in the Arts

December 18, 2018 by 4dancers

Joffrey's Nutcracker
The Joffrey Ballet performs The Nutcracker. Photo by Cheryl Mann.

by Luis Gonzalez

The Joffrey Ballet’s version of The Nutcracker is set during the 1893 Chicago World’s Fair. The first act is set in December during the construction of the fair and before the grand opening. This setting includes immigrants from different ethnic backgrounds, low income families, and single mothers; people who are in unfavorable circumstances but work diligently to give themselves and their children a better future. Personally, this is my favorite part of the ballet because in terms of narrative, it’s the part with which I resonate the most. I also think it makes an important point to promote diversity in ballet and to give a new medium to a perspective that is often not included in classical ballet. The basic plot of the story still follows a parallel trajectory as the original, but important changes were made by the writer Brian Selznick which help make the traditionally opulent and arguably dated story resonate with the vibrant and culturally diverse city of Chicago.

My family came the United States from Colombia to give me and my siblings opportunities which might have been scarce in our own country. Latino’s are extremely family oriented and often form very strong and dependent bonds with family members. In my family we all lived within close proximity of each other and took every opportunity to celebrate that. Some of my favorite memories from growing up in Colombia are of long dining room tables where once every two weeks the entire family would gather at my grandmother’s house. Despite that, my parents still made the sacrifice of leaving their parents and friends behind for a better shot at their children’s dreams. I imagine the people in the first act of this ballet made similar sacrifices and experienced similar or even more complicated paradoxes in making those decisions.

I’ve danced six versions of The Nutcracker and every version had something different and special to offer. I remember my very first role was a party child. We were dressed in lavish Victorian clothes and I remember having a great time pretending to be someone else. I had just moved to the U.S. and, at my request, started dancing ballet. I didn’t speak English, and I didn’t fit in culturally, but I loved ballet and that was all that really mattered. I am grateful for every experience I’ve had with dance and for having dance in my life. At the time, dancing was the outlet I was granted to express myself and all of the difficulties that I experienced through trying to adjust to my new environment. The art form helped me through bullying in school, through figuring out my sexuality, through heartbreak…but think of how much more it could do if kids growing up today were dancing through stories to which they could relate.

This idea of diversity also extends to the impact that it has in ballets without a story. I personally know many dancers who left the art form altogether because of the frustration of not being able to see a body type, a skin color, or an ethnicity which resembled their own. Stories like this version of The Nutcracker make an effort to be inclusive and to show young kids that ballet is not only an artistic medium for people who look a certain way, but there are many prejudice notions and exclusive biases still in the ballet world which need to be addressed. Although ballet is an aesthetic art form in which the line that your body makes is an integral component of higher quality work, I also believe that you do not have to be born with the perfect conditions to learn how to make a beautiful line.

The Joffrey Ballet’s Nutcracker. Photo by Cheryl Mann.

As an older dancer, one starts to understand that there is room in every character for personal interpretation and that you can pull from personal experience to enhance character development. As a child however, that kind of abstract thought is not often attainable. I look at the kids now that are in the children’s cast of Nutcracker, some of them immigrants or children of immigrants, and I feel so happy that they are in a version where they can see themselves directly reflected in the narrative of the story. They can ask questions about the story and maybe learn some things about how their ancestors helped shape the building blocks of the United States. They may not realize now how it affects their idea of normalcy, or the perception the hold of themselves and what they are capable of in the world now, but eventually I think they will look back and be grateful for having been a part of an artistic venture which strived to include the experiences and the influence that immigrants have had in this country.

I have always believed that art was a very powerful thing, and as with all powerful things, it is a double-edged sword. The arts have been historically used through centuries for many reasons; to celebrate a moment of joy, to maintain appearances, exert power, or just to give a medium of expression to whoever needed it. It may sound silly to say, but in many ways the people in control of art organizations still have power over the trajectory of people’s lives (especially that of developing young minds) and they must understand how that responsibility could be used for the better. As it was in my case, ballet could be one of the best gifts that a person ever receives, but I have also seen it have very negative effects on people’s concepts of self-worth, mental health, and just generally feeling excluded from something that they love.

The reason I think it’s important for us as dancers to start conversations about topics like these is because just like children are the future of the world, we are the future of dance leadership. Someday dancers in companies today will be in management positions in different capacities. Whether it’s the directorship of a company, a ballet master position, a choreographer, a teacher, or a school owner, there will be situations where we will have agency over situations that may seem small at the time. In those moments I think it will be important for us to remember how the arts have shaped our lives, and how different they might have been if we had not had them, as well as how negatively they have affected other people. Being mindful of biases and treating people with equity are integral parts of creating a more cohesive and progressive reality. Implementing these principles towards the leadership of the future can create an environment for people that capitalizes on the increase of gradience in the colors and tell stories both on and off the stage that unite us instead of divide us.


Mr. Gonzalez, is originally from Bogota, Colombia, where he grew up before moving to Atlanta, Georgia. His training came primarily from the continued direction of Maniya Barredo, former prima ballerina of Atlanta Ballet, and current director of Metropolitan Ballet Theatre. Mr. Gonzalez has received the Star Student award at Regional Dance America’s SERBA, been awarded 3rd place at the Regional Youth American Grand Prix competition in 2008, given first place pas de deux at the American Ballet Competition in 2013, and selected to compete as the only representative of Colombia in the 2014 Jackson International Ballet Competition.


Luis Eduardo Gonzalez
Joffrey’s Luis Eduardo Gonzalez, Photo by Cheryl Mann

Mr. Gonzalez began his professional career with The Houston Ballet II, where he had the opportunity to dance works by Stanton Welch, among other renowned choreographers, as well as tour both nationally and internationally. At 18, he joined Orlando Ballet where he danced for three years and performed roles such as the Jester in Swan Lake, Peter in Peter and the Wolf, Ghoul’s trio in Vampire’s Ball, Franz’s friend in Coppelia, and Cavalier in the Sugar Plum Pas de deux in The Nutcracker.

Filed Under: 4dancers Tagged With: Brian Selznick, Cheryl Mann, Chicago World's Fair, christopher Wheeldon, classical ballet, Diversity, Diversity in Ballet, Diversity in the Arts, Joffrey's Nutcracker, the joffrey ballet, the nutcracker

10 Questions with Billy Mustapha

November 10, 2018 by 4dancers

Billy Mustapha, photo by Ernest Von Rosen

A professional talent on the rise, Billy Mustapha hails from Calgary in Alberta, Canada and trained for a career in commercial dance as part of the Intensive Training Program at Vancouver’s Harbour Dance Centre. A standout for his ability to quickly absorb choreography and for his versatility, Billy was hired on the spot during a master class by choreographer Paul Becker for appearances as a dancer in ABC’s Once Upon A Time TV series. Billy has also appeared in major dance scenes for both film and television, working with well-known choreographers such as Kenny Ortega and Jamal Sims on Disney’s Descendants 3, and the television adaptation of the musical Freaky Friday under the choreographic direction of John Carrafa. Louise Hradsky, who worked with him on all three projects, says that Billy is “more than a terrific dancer. He’s a terrific person, with an infectious passion for making the best art he can.”

Billy will bring this passion for dance to upcoming work with international choreographer Megan Lawson, an artist who has choreographed for some of the biggest names and productions in the U.S. and Canadian entertainment industries.

From where/whom did you receive the most encouragement in dance? [Read more…]

Filed Under: 4dancers Tagged With: Billy Mustapha, dance advantage, Disney, Harbour Dance Center, High School Musical, John Carrafa, Kenny Ortega, Megan Lawson, Nick Lanzisera, Sarah Vigna, Tina Landon

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