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Riley Weber is back on the podcast. Since leaving a corporate dance brand job, Riley has been speaking more openly about how the influencer side of the dance industry actually works. In this episode, we talk about how influencer income works, from per view payouts to brand collabs, and what actually happens behind the scenes of a sponsored post.

We also talk about brand ambassadorships for dance students. What it means when a brand sends a 12 year old free leotards in exchange for content, who benefits from that arrangement, and what it can do to a child's sense of self worth when it gets tied to follower counts and engagement.

If you have ever wondered whether your dancer should pursue a brand deal, or whether a large following actually helps with getting hired by a company, this episode covers it.

Find Riley on socials: @rileythomasweber

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Jenny and I are taking a much needed vacation with our families so we're rereleasing one of our most popular episodes. We sat down with Francis Veyette, former principal dancer with Pennsylvania (now Philadelphia) Ballet, Co-Founder of the Veyette Virtual Ballet School and Rehearsal Director & Outreach Manager for Indianapolis Ballet. In this episode, Fran breaks down loaded terms like potential, facility, and body type, offering a practical understanding of what they mean. He also shares insights into the qualities dancers need to thrive in the ballet world. For anyone who has ever scratched their head when they heard people refer to potential or facility, this interview is a must-listen! You can learn more about Fran on his website.

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If you've been paying attention, you've noticed: Japanese dancers are everywhere. Winning competitions, yes, but also filling the upper ranks of major ballet companies around the world. We've been wondering for a while now what is actually going on over there. Turns out, Kenta Kura has some answers.

Kura spent nearly three decades inside the Royal Ballet, first as a soloist with the Royal Ballet, then as the first Japanese permanent teacher at the Royal Ballet School. In 2023, he came home to Japan with a clear mission: bring that world-class methodology to K-Ballet Academy, and change the equation for Japanese dancers who have long had to leave the country to access professional-level training.

In this conversation, we dig into how ballet training is structured in Japan from the ground up, what the Kumakawa Method is and why it matters, and how K-Ballet Academy's Pre-Professional Course functions as a direct pipeline into K-Ballet Tokyo. We also explore what it takes for Japanese dancers to build careers abroad, the mental and emotional preparation that journey requires, and what it was like for Kura to be the only boy in his ballet school in a small Hokkaido village, until he stepped onto that international stage and felt, for the first time, like he truly belonged.

His advice for young dancers is as simple as it is hard: allow yourself to make mistakes. Stay hungry. Stay curious. And believe in your own potential more than anyone else does.

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Your dancer has decided to pursue the college path. But which program is the right fit? What's the real difference between a BFA and a BA? What does a video pre-screen actually need to accomplish? And when tuition can tip into six figures, how do families make smart financial decisions?

Francisco Gella and Julie Friedrich of Francisco Gella Dance Works are back for Part 2, and they get specific.

We cover BFA vs. BA, which programs they think are doing strong work right now, how to approach video pre-screens, the three types of financial aid available to dancers, and what happens if your dancer gets a company offer after already committing to a school.

The 2026 workshop schedule will be announced by August 1. To be notified when registration opens, email collegeprep@franciscogelladance.com.

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Does your dancer need elite training to have a shot at a top college? But what does elite actually mean? Is it competition wins? A company-affiliated school? The right summer intensives? And does the answer look the same whether your dancer is pursuing a BFA or a non-dance degree?

College and career specialists Francisco Gella and Julie Friedrich of Francisco Gella Dance Works have guided hundreds of dancers down both routes.

This is Part 1 of a two-part conversation.

In Part 1, we dig into the real differences between the BFA route and the academic route. We talk about why your school's college counselor may not understand this world and what "Olympic level" actually means when elite universities evaluate a dancer's background. We also look at why competition results carry less weight in academic admissions than many families expect, and a distinction that confuses a lot of families: the difference between a dance portfolio and a dance supplement, and what each one is actually for.

The 2026 workshop schedule will be announced on or before August 1, 2026. If you are interested in receiving an announcement when registration for the Fall Virtual Workshops opens, please email collegeprep@franciscogelladance.com.

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In this host-only episode, we draw on our combined years of navigating ballet summer intensives to break down how to make the most of every program -- for your dancer and for you. We talk through what to do before your dancer leaves, how to handle drop-off day, and what to expect once they're there. We also get into the stuff nobody warns you about: what a scholarship really signals, how to handle the tap-on-the-shoulder conversation about year-round enrollment, navigating roommate issues, and what to do if your kid gets in trouble -- and yes, we are speaking from experience on that last one.

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American Reportory Ballet Artistic Director Samantha Dunster and Executive Director Julie Diana Hench join us for a conversation that gets refreshingly honest about the post-graduate pipeline, the job market, and what it means to truly prepare dancers for professional life.

We dig into the structure of Princeton Ballet School from youngest students through the trainee program, how the school and company function as a single organization, and what actionable feedback actually looks like in practice. We also get into ARB2, the tricky math of a large trainee cohort and a tight job market, and a genuinely moving conversation about hunger, artistry, and what it means to inspire an audience.

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The corrections never stop. The casting is always uncertain. And somewhere along the way, many dancers learn to keep all of it behind a smile, because showing weakness feels like handing someone a reason to replace you.

Josh Spell, Kari Brunson Wright, and Rachel Coates have all been in that studio. As former professional dancers (Josh and Kari at Pacific Northwest Ballet, Rachel at Kansas City Ballet), they understand this from the inside. Now, as licensed therapists and coaches, they've built the ILUMN Collective, an app and platform designed to give dancers the kind of mental and emotional tools to help navigate the often stressful times that inevatably arise during ballet training.

In this conversation, the three founders get specific about what's actually happening in the minds of pre-professional dancers: the perfectionism that hardens into an inner critic, the body image challenges that develop quietly, the disembodiment that can take years (sometimes decades) to recognize and reverse. They talk about why gratitude culture in ballet can become a mechanism of control, what it looks like when a wellness program is real versus when it's just a sign on a door, and why giving dancers mental health tools without also educating teachers and directors is a little like handing someone a TheraBand and calling it physical therapy.

For parents, there's a lot here too. How do you talk to a kid who's been trained not to show struggle? What's your role when the school has the authority and you're just the ride home? And what does it actually mean to be part of the care team, not just a spectator?

Intrested in trying the ILUMN Collective's app? Check out our Summer Intensive Essentials Guide for an exclusive discoount.

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