World of Dance

From the outside, World of Dance looked like a confident next step in my career. In reality, it came at a time when I had almost walked away from dance entirely.

I had just left my ballet studio because the environment had become unhealthy for me. At the same time, I was going through a lot of personal changes — physically and mentally — and I needed space. I took several months off and seriously questioned whether I even wanted to continue dancing. But even during that time, I couldn't ignore it. I still felt the need to move. That's when I realized dance wasn't something I could just turn off — it was a part of me.

So I made a decision to come back, and not cautiously. I decided to audition for World of Dance. I began working with my mentor, Josie Walsh, which became a turning point in my training. She helped me expand beyond the structure I had always known, introducing visualization, musicality, and a new approach to movement. More importantly, she helped me discover ballet fusion in a way that felt authentic to me. I owe her a lot of credit for who I am as a dancer today, and if it weren't for her, I don't know if I would have found that direction.

With her choreography, my partner Marcus and I trained consistently and built a piece that felt different — something that actually represented me. When we arrived at the competition, there was already pressure. People I had trained with before were there, and it brought up a lot of comparison. Then we found out the stage was made of pixelated computer screens — it felt like glass. I was dancing on pointe. There were no adjustments made for that.

I had to problem-solve on my own. I added rubber to multiple pairs of pointe shoes, used excessive rosin, and did everything I could to create traction. Even then, it wasn't stable. The first time I tested the stage, I slid across it. And then I had to perform on it 24 hours later.

We were also working long hours, and there wasn't much understanding of what pointe requires physically. My feet would swell significantly, but I kept going. We made it to the next round, and because of our score, we were placed in a position where other competitors could choose to go against us. Eva Igo chose us for the duels. Going into that round, I knew the odds weren't in our favor. But I also knew I had a choice in how I showed up.

So I focused on the work. No overthinking, just committing fully to what we had prepared. When we performed, it was one of the strongest performances I had done. Afterward, we were left standing on stage while production paused. It lasted around 30 to 45 minutes. It was clear they needed time to figure out how they wanted to handle the result. At that moment, something shifted for me. For the first time, I wasn't focused on the outcome. I wasn't waiting for validation. I was simply proud of how I showed up. That feeling was new. We made it to the next round.

You won't always be in ideal environments. You won't always feel supported. And sometimes, you'll have to adapt in real time without anyone adjusting things for you. What matters is your ability to stay grounded in your work and trust how you show up — regardless of the circumstances.

This experience is a big part of why The Pointe of You exists. Because dancers are constantly placed in high-pressure environments — physically, mentally, and emotionally — without being given the tools to navigate them. I know what it feels like to have to figure things out on your own. I also know how much the right guidance can change your trajectory — not just technically, but mentally.

The Pointe of You was created to give dancers that support. Not just to improve their training, but to help them build confidence, self-awareness, and the ability to handle any environment they step into — whether it's ideal or not. Because at the end of the day, success isn't just about the result. It's about knowing you can trust yourself in the process.