Before each Pacific Northwest Ballet show at Seattle's McCaw Hall, the green room is full of stretching dancers—and massage therapists. “If a dancer is about to go out onstage but their calf is hurting, we get them on the table, loosen up the calf and send them out," says Christopher Kagen, LMP, who coordinates massage therapy services for the company. A preshow massage increases blood flow to the injured tissue and, Kagen explains, more blood means more oxygen and more energy. The presence of a backstage therapist highlights the importance of massage for dancers. “Massage helps to decrease tension in the muscles and increases the body's healing response," says Johann Howard, DPT, of the NYU Langone Harkness Center for Dance Injuries. Dance Spirit turned to the experts to demystify five different types of massage and what they can do for dancers.

Swedish Massage

If you have no specific complaints but want a generic massage, the pros recommend Swedish massage. “It's a full-body massage and you'll feel like dough on a bread board," Kagen says. Swedish massage can be part of a regular massage routine. There's just one caveat, which applies to all massage types: Cool down first. “You never want to work on a dancer who's still hot and sweaty from whatever they've just been doing," Kagen says. Doing so risks damaging tissues that are inflamed from exertion, which can lead to bruising or soreness.

Sports Massage

Sports massages are categorized by when they take place: pre-, intra- and post-event, where events are classes, rehearsals and performances. Pre-event massages are common, while intra- and post-event massages are less likely. Generally, sports massage is used as a form of treatment rather than relaxation. The bulk of sports massage for dancers addresses an injury or physical limitation—such as range of motion in the shoulders (particularly for men doing lifts) or reduced spinal mobility. Sports massage may include myofascial massage, neuromuscular masssage and trigger-point therapy. All three of these massage types can be either superficial or deep; in the latter case, they can also be called “deep-tissue massage."

Myofascial Massage

Myofascial massage, as the name suggests, tends to muscles and the connective tissues, called fasciae, that surround and nourish them. Fasciae can get torn and, under stress, stick to muscles, other fasciae, or tendons and ligaments, Kagen says. Myofascial massage unsticks the muscles and fasciae, so they can slide past each other with ease. Myofascial massage can feel like a gentle-to-deep stretch in the area being treated. Because it often involves stroking, myofascial massage creates friction, so you may also feel a warming sensation. Like other sports massages, it's used on injuries or limitations and—gently—as a preshow massage.

Neuromuscular Massage

“When a muscle is tight in the body, it's because your nervous system is telling it to be tight," Kagen says. This type of massage involves teaching nerves to relax so that they can, in turn, relax muscles and increase the range of motion in your joints. A neuromuscular massage might include guided stretching motions in which you push or pull (your head against your resisting hand, for example), or you might be more passive as the therapist works on you. This treatment massage is usually used between performances. Neuromuscular massage before a show risks throwing a dancer off by changing the way his or her body reacts to its own instructions.

Trigger-Point Therapy

This therapy involves identifying and dissolving muscular knots, which form at sites of injury and repetitive stress, and can then cause pain elsewhere in the body. Trigger-point massage can feel like prolonged pressure on the trigger point to release the muscle contraction. This is primarily a massage to treat injury, pain or limitation.

Deep-Tissue Massage

“Deep-tissue massage just means you're targeting deeper things, like ligaments, tendons and deep muscles," Kagen says. This massage can help relieve chronic muscle tension, says Jessica Labunski, LMT, of Athletico Physical Therapy, in Chicago. Like any sports massage, it can also be used to aid injury treatment or address limitations. It's the style that she, Howard and Kagen most commonly use on dancers. But deep-tissue is not a good choice for the green room. “You don't want to perform any techniques that would completely relax the athlete or create a drastic increase in range of motion, because they may not be used to the additional movement," Labunski says. In fact, because deep-tissue work can leave you sore, Labunski recommends leaving a few days between your massage and intense dancing.

Don't Stress It

Though dancers should avoid strenuous massage before shows or before they've cooled down, the choice of massage type is not something to agonize over. Your therapist will assess the situation and determine what would most benefit you. “Any style of massage will help you achieve easier, freer movement," Kagen says.

A version of this story appeared in the January 2017 issue of Dance Spirit.

The stability of the passé position is the heart of every good pirouette. "I wasn't always great at turning," says 12-year-old Sophia Lucia—showing off her skills in the Instagram post above—who holds the Guinness World Record for the most consecutive pirouettes (55). She's learned to go down the RAFT checklist (rectangle, arch, focus, tightness) before each turn. Her shoulders and hips should be level, so the outline of her torso forms a rectangle. Her arch should push over the second toe of her supporting foot. She should focus her eyes on a specific spot. "And there shouldn't be one loose muscle in my body," Sophia says. "I'm not tense, just compact, which holds the whole position together as I turn."

Assess your own passé position in a simple balance. Are you using your highest possible relevé? "You should feel a stretch through the top of your foot, like someone is lifting under your heel," says Stephanie Wolf Spassoff, co-director of The Rock School. The front of the hips should be flat and level; your core muscles should support your passé; and your back and shoulder muscles should support your arms. Be sure to draw your passé up to its fullest height. "In a good position, you'll feel taller than you've ever felt before," says Darla Hoover, artistic director of the Ballet Academy East Pre-Professional Division in NYC. Once everything's properly placed, you should be able to balance easily.

Your preparation is what sets that perfect passé in motion—and the key is a deep plié that gives you the force you need to get on top of your leg, according to Denise Wall, artistic director of Denise Wall's Dance Energy in Virginia Beach, VA. "Especially in fast-paced pieces, I see dancers bending their knees in plié without really connecting to the floor," she says. Feel your weight in the plié and push off the floor equally with both feet as you go into your turn. "Then find the quickest, most direct way to get from preparation to passé, and don't let the position lose integrity," Wolf Spassoff says. "There's a tendency for dancers to use a lot of force and go for as many turns as possible, but they literally throw themselves off balance. You have to be controlled and coordinated as you squeeze up to that position."

A strong spot will also help whip you around—but don't let your head go wild. "Your head is the heaviest part of your body, and it should drive down into the supporting leg," Wall says. Otherwise, the weight of your head will pull you off balance, causing you to fall out of the turn. "Your eyes should truly see something right from the moment of takeoff," Hoover adds. "If you have trouble spotting, practice by doing chaîné turns, which are simpler and naturally rhythmic, and put up actual targets to spot."

And don't forget about your arms. "You wouldn't want to be on a plane with a flapping wing," Hoover says. Engage your latissimus dorsi (lats), the large muscles that run down the back. If you're having trouble finding that feeling, start by pirouetting with your hands on your hips, keeping your elbows from moving. But don't let your upper body get stiff. "The arms don't have to be static," Wolf Spassoff says. "They should feel supported and buoyant—almost as if they're floating on water."

The foundations of a good pirouette may be the same for all, but because everyone's body is different, corrections for one dancer don't necessarily apply to the rest of the class. "I'd love to be able to say, 'Go take your pirouette vitamin,' like the answer is the same for everyone," Spassoff says. "But your body is unique, and you need to find out how to use it most efficiently for your turns." (Some of Spassoff's Rock School students are finding their own unique ways to multiples in the video above.)

Ask a friend to record a video of you doing a series of preparations and turns on both sides, and analyze what you see. Falling sideways? You might be hiking up your working hip as you draw your foot up to passé. Falling backwards? You might be raising your shoulders or throwing your arms behind you. Rewind, rewind and rewind again, looking for the keys that will unlock your perfect pirouette. When in doubt, check in with that passé position, and don't get discouraged. "A turn is a living thing you're molding," Wolf Spassoff says.

Everyone has moments of frustration. "The day before a performance, I ran my solo 10 times and wasn't getting my turns," Sophia remembers. "I had a meltdown. But my mom helped me be confident by reminding me how hard I'd trained." On days when your pirouettes aren't working, remember that you've already got the tools you need to fix them in your turning toolbox: science, strength and awareness.

Consistent turns are a must for aspiring professional dancers, but pretty much everyone struggles with pirouettes at some point. Luckily, since we're all beholden to the same rules of physics, there are concrete steps every dancer can take to reach his or her top turning potential. "Three is the new two when it comes to pirouettes, but the secret to turning is technique, not magic," says Bojan Spassoff, president and director of The Rock School for Dance Education in Philadelphia.

Falling out of your doubles? Aspiring to go revolution for revolution with your class's star turner? No matter where you lie on the turning spectrum, our 360-degree guide to pirouettes will help you improve.

A version of this story appeared in the October 2015 issue of Dance Spirit.

Moisture is the worst enemy of pointe shoes, and your sweaty feet start to break down those boots from the moment you put them on. Richmond Ballet artistic associate and school director Judy Jacob says taking the time to make sure your shoes dry out is the most effective and inexpensive way to make them last.

To get your shoes completely dry, try to rotate between pairs. "Students probably won't have five pairs of shoes, like professionals do," Jacob acknowledges, "but try to keep two pairs going at any given time." She recommends storing your shoes in a mesh bag, which promotes air circulation. If you only have one pair, using a blow dryer on them at the end of the day can help. Jacob has students who put cedar wood blocks in their shoes at the end of the day, too, because cedar draws out moisture. (The pleasant cedar smell is a nice bonus.)

Unless you're required to, don't pancake your shoes—the water on the pancake sponge will make your box and shank break down more quickly. And if you have to color your shoes for a role, use dye sparingly, to avoid overwetting.

For many years, dancers used wood shellac to harden the boxes and shanks of their shoes. And while some dancers still swear by that old standby, Jet glue has become a newer favorite. Originally created for building model airplanes, Jet glue is fast-drying and leaves shoes harder than shellac does.

But proceed with caution: Once you apply Jet glue, there's no way to remove it, and it can dramatically alter the shape of your shoe and the way it breaks in. Pittsburgh Ballet Theatre corps member Marisa Grywalski, who's a big fan of Jet glue, is careful to use it only on the insides of her Freeds (castle maker)—if applied to the outside satin, it can create a slippery situation. "I put it inside the shoe at the bottom of the tip, and then around the top like I'm making a little cup in the box," she says. "Then I glue on either side of the shank, until just below the place I like my shoe to break." Grywalski reapplies glue when her shoes start to soften, which can sometimes get her through one more rehearsal or show.

Always wearing through your box? Give darning a try. Grywalski has come to rely on darning to make her shoes last, because it keeps her from breaking down the platform and box around her big toe too quickly. (Check out her darning skills in the pic above.)

Darning is tricky at first, and it requires a bit of a time commitment, but it gets easier—and quicker—with practice. When Grywalski first started darning, it took her two hours to do both shoes; these days, she can complete a pair in 30 minutes. You can darn your shoes two ways: either by simply whip-stitching around the platform with thick thread, or by stitching your leftover drawstring cord to the crown of the platform. Grywalski likes the drawstring method, because she finds it softens less over time.

It'll take a while to figure out exactly where to position your darning stitches, so be patient. "It's just trial and error," Grywalski says. "If you don't like it at first, it might be because the darning is in a weird spot."

Every ballet dancer has a pointe shoe prep process that's akin to a sacred ritual. And while some modifications are meant to make feet look prettier, the most critical tricks help those precious shoes last as long as possible—because at $60 to $100 a pop, they have to. We rounded up some of the best hacks to keep your shoes from dying prematurely.

A version of this story appeared in the December 2016 issue of Dance Spirit.

As soon as I wake up, I drink some water and make coffee. And right before bed, I like to listen to relaxing music and do some light stretching.

Bananas, eggs, and spinach or kale.

Music, my Nalgene water bottle and a good pair of socks.

My all-time favorite movie is Moulin Rouge! But specifically for dancing, I'd go with Chicago .

Ohad Naharin

Torino, Italy

"Blind" by Hercules & Love Affair, "Cold Little Heart" by Michael Kiwanuka, and "Walt Grace's Submarine Test, January 1967" by John Mayer.

Yoga. I always use it to warm-up on my own, and I love taking yoga classes.

Relaxing! I love going to the park on a nice day or watching a movie and making dinner.

It was a great honor to receive the Presidential Scholar in the Arts award. It was my first time performing at the Kennedy Center in Washington, D.C., and it was an added bonus that it was alongside one of my best friends.

The first time you saw Ida Saki may have been on the October 2009 cover of Dance Spirit . At the time, 17-year-old Ida was a competition dancer from Texas, where she trained at Dance Industry Performing Arts Center. That same year, Ida won the coveted Senior Outstanding Dancer title at New York City Dance Alliance Nationals, and then enrolled at the Tisch School of the Arts at New York University. From there, she joined Cedar Lake Contemporary Ballet—she landed her second Dance Spirit cover with the group in 2014—and was named one of Dance Magazine 's 25 to Watch. Now, Ida performs nightly in Sleep No More in NYC. We sat down with the girl with the #flawless feet to pick her brain about her morning routine, her dance-related must-haves and what's on her current playlist.

What's something most people don't know about you?

"I have a life-sized Spider-Man cutout in my room that is staring at me right now."

What's your favorite food?

"A big steak with mushrooms and potatoes of any kind. I have had it every birthday I can remember."

Is there anything that makes you nervous?

"I can perform in front of thousands comfortably, but a flight to Europe can make me anxious."

What's the strangest thing in your dance bag?

"A room key from this amazing hotel I stayed in when I was in Sardinia, Italy. I can't part with it."

What's something most people don't know about you?

"I still collect Pokémon cards! (I have them displayed in my room HA HA)"

Do you have any pre-performance superstitions?

"I always have my lucky bunny in my dressing room. My dad gave it to me when I was a baby and it goes everywhere with me."

What's your most embarrassing onstage moment?

"It was during a matinee performance of South Pacific on Broadway for a bunch of students. I was wearing only a bathing suit, and I tripped and fell on one of the set pieces with my bare legs flailing everywhere. The kids were not forgiving with their laughter. I made it through the scene, but started bawling the second I got offstage. I was so embarrassed."

If you weren't a dancer, what would you be?

"Hmmm… Maybe a geisha, maybe a zoologist, maybe a pirate? So many fun things to be."

What's the strangest thing in your purse?

A jar of Nutella…DON'T JUDGE!

What did you want to be as a kid?

"A florist, a nurse or Julie Andrews"

Dancers are multi-layered, complicated people. Which is why it makes sense that there's a lot about our favorite pros that we don't know. Read on for the most surprising facts Dance Spirit has learned throughout the years.

Roald Dahl's classic book, Charlie and the Chocolate Factory , is getting reimagined with Broadway flair this spring! Opening April 23, the deliciously sweet new show stars Tony Award winner Christian Borle as Willy Wonka and Broadway newbies Jake Ryan Flynn, Ryan Foust and Ryan Sell as its trio of Charlie Buckets. With choreography by Joshua Bergasse, it also promises to be a whimsical dance whirlwind. We chatted with Emma Pfaeffle—who plays the spoiled, ballet-obsessed Veruca Salt—to get the behind-the-curtain scoop.

Dance Spirit : What was the show's audition process like?
Emma Pfaeffle: I was initially sent to an ensemble dance call. Joshua gave us one of his infamously difficult combinations, with triple turns and high kicks—but the one thing he stressed was giving plenty of personality and character. The casting director asked if I could hang in the waiting room and look over sides for Veruca Salt. Later that week, I got a call asking if I could read again. I was out of the room in 10 minutes, frazzled and filled with adrenaline. A week later, I got the call from my agent saying that I booked the role, which made me scream in jubilation on the corner of Second Avenue and Houston Street.

Tell us a little bit about your training. Are you a dancer who sings and acts?
I was always enamored of musicals growing up, but dance took precedence in terms of training. I went to a performing
arts high school in L.A. where my concentration was dance, but they offered a musical theater program as an elective. It was there that I really started to familiarize myself with singing and acting. My passion was and will always be dance, so I continued studying at the Conservatory of Dance at SUNY Purchase. It wasn't until my Broadway debut three years later that I really started to train my voice, because singing is hard. I'm still, to this day, very much a student of vocalization and acting.

Did you catch Pfaeffle in our February 2017 fashion feature? Photo by Lucas Chilczuk

What are you most excited about for the show?
I'm beyond excited to be playing a principal role, especially such a devious little brat of a child. I get to be a comedic, dynamic character who's also a dancer! I feel like the luckiest girl on the planet.

Is there anything you're nervous about?
While Joshua was creating Veruca's primarily balletic movement, I brought my pointe shoes in the spirit of trial and error—and it stuck. My last show was Finding Neverland , with Mia Michaels' contemporary choreography, light-years away from classical pointe. Getting back into the swing of ballet training and switching gears has been difficult. But I'm taking that nervous energy and using it to motivate me to work harder, train harder and ultimately fulfill my childhood ballerina fantasies.

Showing off those pointe skills Photo by Lucas Chilczuk

What's your favorite thing about Veruca?
The best part of Veruca is her insane confidence. She has no concept of the word "no." She's obsessed with ballet and being the best. Her maniacal need for more is what makes her such a great ballerina. She's never satisfied, and I think just about every dancer can relate to the notion of constantly needing to train harder and be better.

Why do you think audiences will love the show?
I have yet to meet a person who hasn't seen the original Gene Wilder movie or read the book. This story is embedded in our pop culture. We're lucky to already have a devoted audience who loves the story, so now it's our job as a cast to do justice to such a classic. The creative team of the show is Broadway royalty, so I anticipate that audiences will love it just as much as, if not more than, they loved the book or movie.

Charlie and the Chocolate Factory opens April 23 at the Lunt-Fontanne Theatre in NYC. Go to charlieonbroadway.com for ticket info.

A version of this post appeared in the April 2017 issue of Dance Spirit.

"I was 9 years old when I got my first pair of pointe shoes and I couldn't stop smiling. My teacher told me I was the exception to the rule—strong enough to start at that age. It definitely hurt at first, and dancing felt strange. But after a few private sessions with my teacher I got the hang of it and wanted to learn more."

"I was 11 when my teacher told me to buy my first pair of pointe shoes. I'm an overachiever, so when I was allowed to take pointe class, I was excited to be at the level of the older dancers whom I admired."

"Pointe shoes are such a beautiful part of the ballet aesthetic, and when I got my first pair, it felt like a true breakthrough on my path to becoming a ballerina. I remember it wasn't the most comfortable feeling, but I think I was on such a high that I was willing to withstand the pain. It didn't take long to realize that there was a whole new vocabulary of dance that became available once I had my pointe shoes on. I think my first pair lasted me a year. Now I wear through a pair per day!"

Nothing compares to that magical moment when your teacher says you're ready for your first pair of pointe shoes. We asked four A-list pros to recall the moment they learned they could start pointe.

A version of this post appeared in the March 2013 issue of Dance Spirit.

It's awesome to have a guy to support you—but you still have to maintain all your technique. "Be strong and on your leg," Nowakowski says. "You can't give up if you get tired, the same way you wouldn't if you were dancing by yourself."

Your partner's strength matters, but only to a certain extent. In a classical context, Nowakowski says, "It's more about weight shift and feeling if your partner is on her leg in pointe shoes."

The better you know each other, the better you're going to feel when you're dancing together. Obviously, if you're in a company setting you'll have more time with your partner than if you're, say, dancing on a reality show. But as someone who's done both, Nowakowski affirms: "Partnering takes repetition and experience. If you're professional enough, you'll make it work."

Communication is key. When Nowakowski was paired with dancers of different styles on "SYTYCD," the two of them would talk about their differences, as well as the strengths they had in common. "Open communication builds your chemistry and reinforces the idea that this is a team effort," he says. "Make sure your partners know you have empathy for them."

Real talk: Most of the time, the audience is watching the girl, not the guy. So the primary goal in every male dancer's mind, Nowakowski says, "is to make you look stunning and feel comfortable and relaxed."

There are a ton of variables to address when dancing with a partner. And while every girl wants to make her partner's life easier, there are some mistakes us ladies make without even realizing it. Dance Spirit spoke to Jim Nowakowski, former Houston Ballet dancer and competitor on Season 12 of "So You Think You Can Dance," to get an idea of what your partner is actually thinking in pas de deux class.

-Create a French braid—crossing the strands over, not under, as you go—from the top of your head to the nape of your neck.

-Braid the remaining tail of hair (as best you can) in a standard braid.

-Tuck the tail under and use hairpins to secure it, creating "X" shapes with the pins for security.

Chuck's Tip: Have slippery and/or dramatically layered hair? Wet the ends before beginning the braid, to keep them from sliding or sticking out.

-Create a deep side part.

-Grab two small pieces from one side of the part and twist them together.

-Keep picking up new pieces of hair as you twist along the side of your head, pinning at intervals to keep the twist from unraveling.

-Repeat on the other side.

-Make a ponytail, incorporating all remaining hair, at the base of your neck.

-Roll the tail upward and use hairpins to secure it at your nape.

-Gently pull the ponytail roll and the side twists together, so they look like one seamless twist.

Chuck's Tip: Hide any leftover ends by tucking them into the side twists.

-Create a part along the top of your head from ear to ear, dividing your hair into two sections.

-Pin the front section out of the way.

-Create a small French twist with the back section by making a low ponytail and then pulling the hair upward as you twist it. Tuck the ends into the top of the twist.

-Unpin the front section of hair and create a deep side part in it.

-Twist the hair on one side of the part into a rope.

-Tuck the end of the rope under itself and pin it to the top of the French twist.

-Repeat the previous two steps with the hair on the other side of the part.

You got a lob, and it's adorable—but it's probably also un-bun-able. How can you keep it out of your face for class? We asked hair pro Chuck Jensen to create three dance-friendly updos that are perfect for shorter hair.

Not that you needed another reason to dance, but here's a pretty nifty one: A study recently published in the journal Frontiers in Aging Neuroscience says getting your groove on might be good for your brain. Well, specifically for older peoples' brains. But the brain benefits of dance seem to be pretty impressive.

How'd the research team figure that out? They gathered a pool of test subjects in their 60s and 70s and divided it into three groups. One group began a walking regimen; one started a stretching routine; and one started taking dance lessons. (Specifically, country dance, in case you're wondering.)

After six months, the researchers found that members of the dancing group had better-looking "wiring" in the fornix, a part of the brain that's involved with processing speed and memory. The specifics of their findings are, unsurprisingly, a little technical, but if you're scientifically inclined, you can read the full study .

Here's where the fornix is, by the way.

Basically, because dance stimulated them cognitively and socially as well as physically, it boosted their brainpower more than other forms of exercise.

Dance: Good for your body, good for your soul, good for your noggin.

Kaplan recommends washing your sports bra after every use if you sweat a lot, so the sweat doesn't break down the bra fibers. But if you only wore it for a less sweaty activity, then you can skip a wash.

Like pointe shoes, keep a few bras in rotation so you aren't relying on only one to get you through a busy weekly dance schedule.

You might think of sports bras as a super-durable garment—you just throw it in the washer and dryer, and it's fine, right? Not quite. We asked Lori Kaplan of Bra*Tenders in NYC for her expert tips on prolonging the life of your sports bras.

Don't be fooled by the sound of Parris Goebel's voice. The 25-year-old choreographer and dancer from Auckland, New Zealand, speaks in sweet, soft tones, her demeanor almost demure. But listen carefully to her words and you'll realize that Goebel, who recently relocated to L.A., fully embodies the take-no-prisoners attitude that makes her larger than life on-screen. From her effortless cool in Justin Bieber's "Sorry" video to her explosive performances with the Royal Family and ReQuest crews, Goebel goes full-out in everything she does—and says.

"I always speak my mind," Goebel says, softly but firmly. "That's a big thing for me. In dance, the person you are is a part of your product—your personality, what you wear. You can't just be you half the time. You have to be you morning until night. It's not something you switch on; it's a lifestyle, a mindset. Take it or leave it." That unabashed self-assurance is one of the reasons everyone from Bieber to J. Lo to Cirque du Soleil wants Goebel on their team. Here's how she solidified her spot as one of the hottest choreographers in the business.

(Photo by Joe Toreno)

Growing Up Goebel

Goebel may be a relatively new face on the U.S. dance scene, but she's been in the industry her entire life. The youngest of four kids, Goebel attributes much of her born-to-entertain personality to her parents and siblings. "My family was fun, outgoing and loving," she says. "I was always free to express myself, and my parents noticed how much I loved to dance at a very young age."

By the time she was 8 years old, Goebel was enrolled in tap, jazz and ballet, but something wasn't right. "I didn't like anyone forcing me to move a specific way," she says. "I just wanted to move the way I wanted to move." So at 10—after being inspired by Missy Elliott, Michael Jackson, Usher and Beyoncé videos—Goebel enrolled in a hip-hop class. Immediately, she was hooked. "I loved the sounds, the lightness, the music and the freedom of it," she says. "There was no right or wrong. I knew I'd found my calling."

Life outside the studio wasn't easy for Goebel, though. Half Polynesian and half European, she was "the only brown girl" in an academic school populated almost entirely by Caucasians, and was bullied for looking different. "I was the only one with darker skin, a rounder nose and different features, and I was picked on for that," Goebel says. "I looked like a Poly girl, and I didn't fit in." At 15, she dropped out to pursue dance full-time.

(Photo by Joe Toreno)

Building the Empire—and The Palace

After leaving school, Goebel was unsure of her next move. "I wanted to join a company, but there were only two near me," she says. "One was an all-boy crew, and the other one wasn't very good. I had two options: Join something that wasn't up to my personal standards, or do my own thing." Goebel went the do-my-own-thing route, in spite of her initial concerns. "I asked my dad, 'Who's going to choreograph?' He said, 'You!' I said, 'Who will mix the music?' He said, 'You can.' So I got my friends together to train in my auntie's garage." And that's how ReQuest was born.

Goebel's father, Brett (who's also her manager), realized the group needed an actual studio to rehearse in. In 2009, he founded The Palace Dance Studio in Auckland. "We wanted a space that would allow Parris to be creative 24 hours a day," he says. "We called it 'The Palace' because our mantra is 'Crowns up.' It's all about self-empowerment and making sure our students believe in themselves." Today, The Palace is home to six crews—including ReQuest and the Royal Family—and has regular studio classes for all ages and abilities, which Goebel frequently leads herself. (Now that she's based in L.A., she live-streams in.)

(Photo by Joe Toreno)

Goebel's initial goal for ReQuest was just to have fun with friends. But after a year together, the all-girl group started competing annually at Hip Hop International. "It was an opportunity for a bunch of girls from New Zealand to be seen by people all over the world," Goebel says. "We got to showcase what we had to offer and what makes us unique." The crew's first performance earned them a standing ovation. Before long, they were getting gold medals at the World Hip Hop Dance Championships—and attention from some very high-profile performers.

(Photo by Joe Toreno)

The Life-Changing Calls

Goebel's first big break came in 2012, when Jennifer Lopez's team, impressed by one of her clips on YouTube, called to ask if Goebel would choreograph something similar for Lopez's Dance Again world tour. Goebel, who was only 20 at the time, said yes. "After that, it was so surreal: Artist after artist kept calling," Goebel says. She quickly booked jobs with Nicki Minaj, Janet Jackson and Rihanna, in addition to competing with ReQuest on "America's Best Dance Crew" in 2012. Then came the call of all calls: Justin Bieber's manager asked her to choreograph every video for Bieber's Purpose: The Movement album. Goebel was given a small budget and three weeks to make it all happen. "I pretty much got to do whatever I wanted," she says. "They gave me a timeline and told me to just go for it."

Goebel's first step was to immerse herself in the music. "When I create, I try to just let the music inspire me," she says. "I listened to the songs on repeat and tried to let my imagination run wild." As she solidified her concept for each video, Goebel reached out to the friends she thought would be perfect for each one.

In the end, Goebel brought in more than 60 dancers to create the 13 videos—including the ReQuest dancers she used for the "Sorry" video, which now boasts more than 2 billion YouTube views. "I remember Parris calling us into the studio and saying, 'We're gonna do something, but it's confidential,' " says Althea Strydom, a longtime ReQuest dancer. (You know her as the "Bulls-jersey girl" from the "Sorry" video.) "She said it was for Justin Bieber, and we all lost our minds. The whole process was so fun—it always just felt like I was hanging out with my friends in the studio."

Challenging as the huge Bieber project was, Goebel always kept her cool. "If she's stressing out, she'll never show it on the outside," Strydom says. "She always seems to have everything in control, and she makes her dancers feel confident and comfortable." In fact, Goebel has a stellar reputation throughout the industry for her professionalism and work ethic. "She always wants to get it right, and asks all the right questions," says Napoleon D'umo, who first met Goebel at a Monsters of Hip Hop convention. "And her own performance quality is just beyond—when she dances, the entire room lights up. She has this glow, this aura."

On Fame, Fortune and Freedom

A different artist at Goebel's level might have let the fame go to her head. But Goebel has been largely unaffected by her high-profile status. "From day one, I've always put in the same amount of work," Goebel says. "When you're working hard, you have no time to be big-headed. The only thing that's changed is the number of people who know my name. Yes, it's all cool, but I'm still me, working my butt off. That's what keeps me grounded."

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To Brett, Parris is "a unicorn that was dropped off on the front porch"—because she's completely, utterly true to herself. "She wears what she wants to wear, listens to what she wants to listen to and says what she wants to say. She won't take a job that doesn't sit right with her, and if she turns it down, the artists usually come back stronger to get her," Brett says. "People always ask what her secret to success is. It's no secret: Work hard, then work hard again."

A version of this story appeared in the May/June 2017 issue of Dance Spirit.

This week's #FridayFire goes out to the one and only Misty Copeland. Video of a very young Misty performing on pointe after just ONE YEAR of training has surfaced, thanks to one Gary Junken .

So let's get those numbers clear: This video was taken 20 years ago. It's of 14-year-old Misty, dancing her variation on pointe after 1 year of training (!!). I will never get over her natural amazingness. #Goals for days.

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Philip Chbeeb directed, choreographed and starred in the music video for Elliot Moss's "Without the Lights." He represents of violence in an abusive relationship, tainting the image that dancer Erica Klein has of herself. "Without the Lights" was released in October, which is Domestic Violence Awareness Month.

Talia Favia's choreography to James Bay's 'Let It Go' portrays the emotions a couple experiences while breaking up. Danced by Chaz Buzan and Courtney Schwartz, the choreography is athletic, innovative, and emotionally relatable. We spoke to Favia and director Tim Millgram about the making of this video in our April 2016 Issue .

Though this video began production before the mass shooting in Orlando in June, it was released as a tribute to the 49 people who lost their lives that day. Choreographed by Tyce Diorio, it features Will Johnston and Kent Boyd as a couple who care for each other deeply but might be ending their relationship. This video was Diorio's way of exploring love as a vulnerable and brave thing to commit to.

You know Jaja Vankova from Season 12 of "So You Think You Can Dance": She was labeled a Street dancer in the Stage vs. Street format, but constantly blew us away when she was challenged with a more technical dance. Her concept video, "Nightdare," explores the nightmares and terrors of a child. The choreography seems to be a collaborative effort between Vankova and her dancers—a majority of whom are fellow "SYT" alumni.

A'Drey Vinogradov's video to OneRepublic's song, "Kids," takes place in an urban setting with a group of young dancers. The paint gives the whole thing a nostalgic, carefree feeling, which matches the vibe of the track.

In this video, set to "Easy" by Son Lux, choreographer Tom Richardson chooses a pretty simple setting and lets the dancing do the talking. As the song repeats, "Pull out your heart to make being alone easy," Richardson explores how we're supposed to move forward after we've been hurt.

Why limit dance to the stage? Dance and film are made for each other—and these days, technology allows choreographers to create pretty incredible things for the camera. We've rounded up 6 of our favorite dance concept videos for your viewing pleasure.

Welcome to the new dancespirit.com—a completely addictive way to enjoy our top-notch dance content.

It's got all the stuff you've always loved: gorgeous images of your favorite dancers, internet-breaking viral videos, thoughtful technical advice for dancers of all styles, effective health and wellness tips, crazy-good giveaways. And now there's a lot more of it—right at your fingertips.

We've invested in the latest technology to produce a brilliant digital experience, using the powerful tools for social discovery and engagement developed by our partner, RebelMouse. They know what they're doing, guys.

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"Breakfast is half a bagel with three eggs and two pieces of bacon," Upshaw says. "I like to have a full breakfast to make sure I give my engine enough fuel."

"Time for some sunflower seeds," Upshaw shares. "They really help keep my energy up until I break for lunch. I also drink a lot of water throughout the day. Warning: It makes you pee a lot."

"Sometimes during rehearsal we get treats," Upshaw says. "Today it was Dunkin Donuts."

"It's always so hard for me to figure out what I want to eat for lunch because there are so many options near the theater," says Upshaw. "Today I chose Green Symphony , which has fresh protein shakes and smoothies along with a variety of food. I got a Funky Monkey shake—it's banana, peanut butter, and rice milk—and a curry chicken salad wrap with avocado."

"Nothing fancy tonight," says Upshaw, who didn't have to perform in that evening's show. "Chicken breast with Brussels sprouts and couscous."

It's a known fact: Tricia Miranda is Queen of the Viral Class Video . While her vid to Nicki Minaj's "Anaconda" got over 30 million views on YouTube, her choreography to Missy Elliot's "Where They From" got just as much attention from non-dance outlets . This video features some of our favorite dancers, including Josh Killacky , Kaycee Rice and Aidan Prince Xiong .

Galen Hooks' choreography is so simple, yet so powerful. All the dancers—especially Hooks herself—are invested both physically and emotionally in every movement. Plus, pulling that all off in heels is no mean feat.

To be honest, it'd be hard for this list NOT to include a video with Jade Chynoweth front and center. No matter what style she's doing, she's the star of the show. And she's at her best doing Brian Friedman's technical, athletic, sensual choreo.

This video came out in July 2015; we were obsessed with it then and we're obsessed with it now. Two of its teeniest dancers, Tahani Anderson and Sheadan Gabriel, went on to compete on "So You Think You Can Dance" last summer—this video was just a sneak peek at their phenomenal talent.

Everyone knows that if you're going to choreograph to Beyoncé, you have to do it justice. And WilldaBeast, who has a whole Beyoncé series , never disappoints on that front. Be prepared to watch this over and over and over again.

How crazy has the rise of the class video been? Within the past year or so, we've basically come to expect that L.A.'s top commercial choreographers will put out a new internet-breaking vid every week. Here are five of our all-time favorites. (And be sure to read a whole lot more about the class video trend in the May/June issue of Dance Spirit .)

Yo current "Dancing with the Stars" competitors, we're really happy for you, and we're gonna let you finish, but last night Alfonso Ribeiro and J.T. Church had one of the best "DWTS" opening numbers of ALL TIME.

Seriously: If those two had a spinoff show in which they did nothing but dance their way through magical Disney fairylands, we would totally watch that. (And shoutout to J.T.'s equally adorable partner in crime, Gracyn French .) Thank you, Mandy Moore, for conjuring up this glitter-dusted Disney Night goodness:

On to the actual competition! In a surprise to pretty much nobody, rising favorite Normani Kordei continued her leaderboard domination, thanks to her ferociously fierce paso doblé with Val Chmerkovskiy to Mulan 's "I'll Make a Man Out of You." For good measure, the duo was accompanied by Donny Osmond in his very sparkliest blazer, because why not.

Also unsurprising: The consistently excellent Simone Biles earned the second-highest score of the night for her contemporary number to "How Far I'll Go" from Moana . Strong and energetic as her performance was, though, we have to admit that we spent about 30 percent of it dying over singer Auli'i Cravalho, who's straight-up incredible.

While many of the other competitors gave fair-to-decent performances (we were especially into Heather Morris and Alan Bersten's sweet Frozen number ), we'd like to use this space to discuss one of the stranger things we've ever seen on television: Nick Viall and Peta Murgatroyd as Not Sexy Pinocchio and Very Sexy Jiminy Cricket, respectively. Somehow it almost...worked? Never underestimate the power of a good pair of lederhosen, friends.

After the parade of Disney delights, Real Housewife Erika Jayne and partner Gleb Savchenko were sent packing—about right, but also a bit of a bummer after their strong Finding Dory- themed waltz . (Any Finding Dory performance that does NOT involve giant fish costumes is a win.) We cheered up quickly, though, when we heard that next week's theme will be Boy Band vs. Girl Group. 'Til then!

If you lived for Megan Fairchild in On the Town and Robbie Fairchild as An American in Paris , get stoked. Next March 23, a revival of Carousel is opening on Broadway, featuring the talents of no fewer than three New York City Ballet stars.

As reported by The New York Times , Justin Peck will choreograph this revival, Amar Ramasar will play seductive baddie Jigger Craigin and Brittany Pollack will take on the role of Louise Bigelow, a young woman trying to move on from her parents' troubled past.

Speaking of troubles, a lot of people are wondering how this revival—the fifth (!!) since the original 1945 production—will address the, um, problematic aspects of the Rodgers & Hammerstein musical's tragic plot. Carousel follows a young, innocent millworker named Julie Jordan, who falls hard for the town bad boy, a carnival barker named Billy Bigelow. Cue alllllll of the heartbreak, including domestic violence and other hallmarks of a toxic romantic relationship.

Personally, I can't wait to see how Peck addresses these possibly controversial elements, especially since he says he's "hoping to both pay homage to what Agnes de Mille did originally, and to extend the show further into new territory." No real specifics have been revealed yet, but traditionally there's a HUGE dream ballet in the second act centered on Jigger (Ramasar) and Louise (Pollack). Get excited, Broadway bunheads!