NEW YEAR'S RESOLUTIONS: MAKE THEM LAST MORE THAN A WEEK

New Year's resolutions can be a good thing, but as I saw on social media recently, New Year's resolutions are more often than not the week's to-do-list. With a new year, we all have a chance at a fresh start! How exciting and awesome is that? This year will be my "weed the garden" of negativity, procrastination, and of things unhealthy: physically, mentally, and spiritually. One of my favorite quotes of ALL time is from Ferris Bueller. Ferris says, "Life moves pretty fast. If you don't stop and look around once in a while, you can miss it." This year, I'm going to look around. It is time to continuously be aware. Its time to be thankful not just for the big things, but for the little things and chose to enjoy life and all it's blessings. Things won't always be joyful, but you can chose to find joy in all things. It is time to be present!

This brings me to dance life, studio life. I am reminded of words that were told to me early on in my teaching career. A very wise man by the name of Joel Ruminer said, "If you are going to set an example, make sure to do it in front of an audience."  Bad apples...people who are never happy, and always seem to find fault with others. They are out there. None of us are perfect, and none of us on this planet know it all. We all deserve a little mercy and grace, and we should extend those things to others. But, we don't have to continue to play a role in the drama. Consider how life could be if a "weeding the garden" happened and positivity filled the building. Unfortunately, sometimes you have to make an example to get everyone and everything moving in a better direction.

New Year's resolution Number 1: Practice Better Communication. Another wise thing Mr. Joel said was, "If you believe everything your child says about me, then I will believe everything your child says about you." WOW!!! Now that's a statement, isn't it? We all know how young minds and their way of thinking can be altered by emotions. Children of all ages find security and comfort in talking to their dance teachers, especially when they are upset with friends and family. Emotions can jump in and people can say things that aren't exactly the truth because they story is heighten by how they feel at the moment. Unfortunately, some parents can behave like children by setting a terrible example for others. If a situation such as this arises, don't ever assume it is completely accurate. Assumptions create many other problems, and gossip causes even more. Instead of creating something out of possibly nothing or making matters worse, kindly go directly to the studio owner, parent, or fellow dancer instead of everyone in the class or lobby. I promise you, the situation can be taken care of more effectively if you'll do that instead of gossip to everyone else first. Better communication is a great step towards creating a healthier environment.

New Year's resolution Number 2: Stick to your Guns. Studio owners remember;  one bad apple really does spoil the bunch. One bad apple can take great apples and make them just is rotten. The stench can take over the room. As hard as it may be, it is best to weed the garden when the first weed pops up. It may be the best student in the class. It may be one of your sweetest students with four siblings, but it is not worth that one parent or one student destroying your studio or taking five other families with them spreading lies all over town. This goes back to Mr. Joel's advice. When you weed the garden, make sure you have an audience. There are two reasons for having witnesses. Number one is that no one wants to be shamed in public. Expelling someone professionally, and kindly with a witness may be enough to keep others from following the same path. The second reason is that the truth cannot be skewed by anyone.

New Year's resolution Number 3: Be the Positive Change. In the new year, stop and think about how you can be a positive influence and contributor to change for the better, not just for your life, but also for those around you. I like to call this "stop the drama". Let's go into the New Year gossip free and full of love! Let's all walk in to the dance studio and in to dance competitions with the goal of being the best you can be while appreciating others being the best they can be! Going back to the basics of good manners and respect of others will make a WORLD of difference within the dance community. Treating each other with kindness and compassion, in addition to showing a little grace and mercy, is the way to go. If you want a positive environment, you must set the standard and encourage it. You can still expel someone and show them love and forgiveness. Love and forgiveness doesn't mean you have to tolerate the bad behavior, but you do have to remain kind. After all, a person should know what the outcome will be if negative behavior continues if they have been warned.

New Year's resolution Number 4: Put Others First. Sometimes it's not bad behavior by anyone, but a studio may no longer be right for a dancer. The studio may not offer the program or classes needed or desired. This may because of enrollment. It may be because there aren't enough dancers interested in taking a class to provide it. It may be that the distance is just too much and they need a studio closer to home. Instead of creating a tense situation, go to your studio owner and explain in a respectful and kind way. If it is lack of a class or such, you never know, with good communication, the program, and/or class you so much desired may be added to the studio. It just may have been that the owner wasn't aware of the desire. When there is mutual respect and honest communication, everyone can still love one another and hug when they see each other without awkwardness. After all, isn't it about the children, what is best for them, their education and growth? Just because a student needs to switch studios, it doesn't mean that they didn't get where they are without the instruction and guidance from the teachers that got them to the current point. It doesn't mean the love is gone. (Now, I'm not talking about the student who has been at 5 studios in 5 years. Studio hopping is a topic to take on another day.) It is important to remember, dancers and parents, the grass isn't always greener on the other side. You may realize that you were better off at your original studio. If communication was good, and everyone ended on good terms, the door is open for you to return. And studio owners, what good advertisement is it for you that a student returned because the grass wasn't actually greener?

New Year's resolution Number 5: Be Kind. Some, not all, of the social media websites are very disturbing to me, as they have become more of a gossip site and a place to spread rumors and accusations rather than share knowledge and information. Before you post things in the new year, stop and think to yourself, "Is this kind, beneficial, truthful, and 100% accurate?"  You can still post a less than raving review without being spiteful. For example, if you have a poor experience with a dance competition, you may want to post your experience, but it also may be a good idea to contact the company and politely explain what happened. You may get a better understanding of the company and it's staff, AND get answers. Good communication works well for everyone! When you post in a not so spiteful way, your review, in my opinion, is taken just a seriously as the detailed good reviews because you don't come off as "just a bad sport". This goes for reviews on any business. As my husband says, "You catch more flies honey..."

As we go into the new dance year, let's enter the year with respect. Respect not only for the art of dance but respect for your studio owners, teachers, clients, fellow dancers, fellow dance parents, guest artists, and dance competition staff. Love, respect, manners, and common courtesy combined with joy, kindness, compassion, peace, gentleness, patience, forgiveness, and self-control all while striving for excellence. Sounds good to me and that's the path I chose for 2017! Let that be your theme of this new dance year too. One by one, we can truly make a difference in the dance community.

Dance hard. Dance smart.

Meredith
thecompetitiveedgebymeredith.blogspot.com

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QUALITY NOT QUANTITY

I have said numerous times over the years, "Quality not quantity." When I first began judging over 20 years ago, I wrote it on score sheets. I preached it to my students and to dancers at competition. I STILL preach it today. It's not about what you attempt to do, but rather what you execute correctly.

Some people have this preconceived idea that a competition piece scores well because of the amount of technical elements and tricks that are in the choreography...Wrong!  There are many facets to the overall score. The costuming and overall appearance subconsciously has an effect on the outcome of the score, as well as the dancer's confidence, energy level, and connection. The technical success during a piece is vital to the score. In addition, the way in which the dancers transition, and the overall execution of the piece have a large impact.  How clean a routine is has a huge effect of the score!  Sometimes, parents and dancers find it easier to blame the teacher and/or choreographer for not putting enough elements in the routine. They may blame not placing at competition on that, rather than looking at the totality of the piece and the dancers themselves. When this happens, the pressure to add more and more can create an entirely new problem. The problem: pressuring the teacher to add more to the dance, and pressuring the teacher to teach things for which the dancers are not technically ready.  If an outside choreographer is used, this can create unnecessary pressure for them to put in skills or a style in which a dancers aren't ready. You cannot successfully get from A to D without mastering A, B, and C first. (I will post on this subject another day!) Too many elements can be put in the number, and/or they may be elements the dancer just isn't ready to do in a performance. The routine can then score poorly because of elements that are not executed properly. Please remember that sometimes less is more.

On the subject of technical elements that dancers are not yet proficient; often times skills are placed in choreography to "give them something to work on". In my opinion, this way of thinking is backwards. I believe that a dancer should work hard, and that elements should be given to them to perform as a reward for mastering technique. Choreography shouldn't be used as a trial and error time to put pressure on the dancers to see if they can get new technical skill in time for performance. By operating this way, you are gambling. What if the dancers don't successfully master the skills in time? If they aren't ready to perform an element, then the choreography must be changed. Changing a set piece opens a big can of worms. The number doesn't look the same, dancers have to stress about new parts, formations can be different, and the list goes on and on. Reward dancers by adding the technical elements to choreography AFTER they are mastered. If you want something in a piece next year, work on it this year so they are ready.  Other forms of competition parallel this.  For example, a coach would never instruct a basketball player to try things in a game that they can't even do in practice, such as dunking or 360 degree spin moves.  The results of doing that in a game would be a disaster and make the player look very foolish in front of the spectators and their own team mates. The same goes for dance. 

As you prepare to go into the competition season, take a good look at your dancers. Are they still falling out of their turns or extensions? If so, take it out! Now! Give them time to work on perfecting the piece so they will not be worried about last minute changes. You can't be scored on something you didn't do, however, points are taken away for something you attempt but don't do correctly. Work hard to master skills THEN those skills can be used in next year's choreography.

Dance hard. Dance smart.

Meredith
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BLURRED LINES

Categories at dance competitions have become very blurry in recent years. Sometimes I find myself frustrated thinking, "Are there any solid true-to-form pieces choreographed anymore?" As educators, it is our job to train the next generation, and to make sure they are knowledgeable in the distinct forms of dance knowing the difference between styles. When choreographers begin to blur the lines of dance categories, or teachers enter routines under the wrong category, we begin to confuse the future of our dance world, and different art forms can begin to die. Dancers today are the teachers and choreographers of tomorrow. Yes, there is evolution which is wonderful. Everything must grow, and change is a part of life. But evolution does mean kill; it means the gradual development of something, especially from the simple to the more complex form. There is a category and a place for everything to be appreciated. Each choreographic work just needs to stay true-to-form and/or compete under the right subject. There is also a category called "open" that is a perfect place for blends of styles.

The difference between lyrical and contemporary needs to be clearly defined in each piece at dance competitions. I know I am not alone here when I say I have even seen contemporary dances that were entered into the jazz category. I have also seen straight jazz numbers entered in musical theater. There is a big difference between these forms of dance, and sometimes it almost feels as if routines are placed in whatever category they can manage to be in so that dancers can compete the same genre multiple times. The answer may lie in teaching and/or choreographing in a more diversified range of subjects and styles so the dancer has an opportunity to grow in more than one area. Instead of having two contemporary pieces, maybe consider having one contemporary and a solid lyrical or jazz piece. This would help the dancer to be more well rounded, and also help with keeping the categories free of these "blurred lines".

I was taught that lyrical dance is a fusion of ballet and jazz choreographed to the lyrics to tell the story through movement and to express the emotion of the song. I was taught that contemporary, short for contemporary ballet, is a fusion of ballet and modern pushing the envelope and evolving the shapes to make the piece more abstract in form. Both can still express a story line and emotion, but contemporary is modern in nature and can have a more raw and pure feeling incorporated in the movement . With contemporary, sometimes it seems to be just a blend of, for lack of a better word, junk. Seeing a piece on television and trying to emulate the style, sometimes doesn't turn out to be what the choreographer or dancer was intending. As choreographers, I think that evolution and development of style is necessary, but we need to stay in the same lane, so to speak. We need to stick to a category instead of running all over the place. If the piece calls for a blend, and sometimes it is very appropriate to do so, there is a category for that called "open".

Jazz is not contemporary. They are two totally different styles. Jazz doesn't necessarily have to be "high energy and upbeat". For example, a dance to a song such as "Feeling Good" is still jazz, but it's not the fun shake-your-shimmy jazz. This is another category that sometimes seems to lose it's way. As I wrote a couple of weeks ago, I am so excited that I have begun to see more traditional jazz and real jazz slowly returning to the competition circuit. Hopefully in the near  future, this confusion of jazz and contemporary not be an issue, partly because judges will have the opportunity to score a jazz placed in the right category higher than a misplaced contemporary routine helping to end this trend.

Keeping the categories clear and defined helps our future teachers and choreographers understand the differences of each subject, gain appreciation for the differences, and insures the life of what we love so dearly: DANCE in all it's forms. Diversity is what makes life interesting. If we were all the same, how boring would life be? The same is true of dance. With this separation, the education of the dancers will greatly improve. If we continue to train in each distinct form and choreograph in each style individually instead of blurring the lines so much, each genre has the opportunity to evolve, grow, and challenge us in a new way. If we continue to blur the lines with the generations we are raising, what will happen to diversity? It will all become one and the same. How sad would that be? How boring would dance become? It is my personal hope that the diversity in dance will come back.

Enjoy the journey of dance. Enjoy training and dancing a variety of styles. Dance is hard work but it's also meant to be fun and entertaining. Diversity keeps the spirit and excitement alive and well.

Dance hard. Dance smart.
Meredith
thecompetitiveedgebymeredith.blogspot.com

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Dance Hard. Dance Smart.
Meredith
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LET'S STOP SANDBAGGING LEVELS

Oh the drama levels can create! Levels are a great idea and were created with the best intentions in mind.  However, not everyone agrees on level placement. Although not everyone can walk away with a top 10 placement, when used correctly, levels provide a balanced playing field for all dancers at competitions. I wholeheartedly believe dance competitions can be for everyone, and I am thrilled that there are a multitude with a leveled system.

Every competition is different. That’s what makes the dance competition season so exciting! As far as differentiating them with levels, some don’t have any levels. Some have two, and some have three, whereas another may have five levels. Each competition’s way of determining a dancer’s experience level may vary. While some suggest the years of competition experience, others may base the levels off hours in the studio, or the number of routines competing. I could be wrong, but I believe, most or all have a clause stating to take the dancer’s ability into consideration. THAT IS THE KEY RIGHT THERE! Take the ability level into consideration.

First and foremost, you must be completely honest with yourself and your dancer(s). Sit back and look at the dancer(s) from an outsider’s perspective. Don’t think about others, or who will be competing against who. After all, aren’t we constantly posting things on social media like the Mikhail Baryshnikov quote, “I do not try to dance better than anyone else. I only try to dance better than myself”? If we are honest and approach competition with this in mind, I believe, leveling would overall be more consistent and balanced. When approaching leveling dancers this way, it is pretty clear what experience level a dancer needs to represent.

Just because a dancer may compete in one level at one competition that may have, let’s say 5 levels, doesn’t necessarily mean you should level down to try to find the equivalent when competing at a competition that has let’s say 3 levels. You cannot compare 2 or 3 levels to 5 levels. That is like comparing apples to oranges. A good rule of thumb is to be honest about the ability level of each dancer, regardless of age, hours in the studio, or years of competition experience. Yes, take the hours in the studio into consideration but there are some dancers who excel with less hours and they need to compete up a level, just as there are dancers who could take 20 hours a week and never have the ability of an upper level dancer. By putting ALL the guidelines into play, and accurately evaluating the dancer(s), you can assign each dancer to the proper experience level, regardless of age. You will be doing your part to keep the playing field balanced and as it was meant to be. Yes, everyone loves to win. No one loves to win more than me, in anything! But is it really a win when you level a dancer, or group of dancers, down? In my opinion, no, it’s not.

Some people are genuinely afraid to move their dancers up. Don’t be afraid! Keeping them in a lower level than they need to be in doesn’t help them in their progression, doesn’t teach them to win AND lose gracefully, and doesn’t earn you respect from your peers. If you are uncertain, ask a friend that is a fellow dance teacher or dance parent. They will be honest and help you make the right decision.

One of my favorite things to say is, I like to keep it real. So, I am just going to put it out there and say what others may be thinking. I am aware there are some competitions that have more of an issue with leveling down than others, but please do not let those competitions make you do the same thing at another competition. If you have ever complained to a competition director, staff, or owner, or if you have ever complained to another studio owner, teacher, parent, dancer, etc., about a dance being in the wrong level in your opinion, then please don’t be guilty yourself and part of the leveling problem. Like my mother, and grandmother, always told me, “Two wrongs don’t make a right.” If everyone starts doing the right thing, perhaps the leveling controversy will come to an end.

I encourage everyone reading this to do their part to make the system right at every competition they attend this year, not by complaining, but by doing the right thing themselves. In the process, we as adults have the opportunity to make a difference in the next generation. Through dance competitions, we can teach good sportsmanship, honesty, work ethic, respect of self and others, along with how to appreciate the talents of others. Almost every form of competition, whether it be golf, tennis, basketball, swimming, almost everything has the issue of “sandbagging”, which means claiming to not be as good as you really are to take the advantage. Dance, unfortunately, has not been immune. As I teach my son, life isn’t fair but what exactly is fair? It is my responsibility as his parent to teach him how to handle chaos and things that just  seem “unfair”, because that is how the big world works. No matter how perfect and “fair” I want his life to be, it’s not going to be. The only way to ensure that the “sandbagging” issue does indeed improve, is to do your part in the honesty department. Trust me, win or lose, you will earn the respect of your peers.

If you are pushing your students into the professional world, push them into the highest level, even if they are young. Don’t hold back! I always say to students in my classes, “Your body will only do what you demand it to do.” Expect them to strive for excellence. If you teach your child or your students to strive for excellence, they will. Teach them it’s not about the trophy. One of my dance teachers always told me to find the best dancer in the room and dance by them. I did. It pushed me to do better. The same can go for competition.

Dance competitions are just like dance studios. There are many quality ones out there. There is a place for everyone, but you may find not all competitions are right for you, just like all dance studios aren’t right for everyone, or vice versa. If you don’t agree with the way a certain competition suggests leveling or the way a certain competition and the clientele are accustomed to doing experience levels, you may need to pick another. I’m not saying one way is better than another, but I am saying not all ways may work for you, and that’s ok.

I love the competition industry and there really are some amazing people who work in this business with hearts of gold. If you have already registered and have doubts about where you placed your dancers, I encourage you to revisit your entries and make the necessary adjustments. It’s not too late! If you haven’t registered yet, I hope you sit back, put your personal feelings and emotions to the side as you register for each competition. I wish everyone a fun, exciting, educational, and dance-life changing year! I hope this turns out to be your best yet!

Dance hard. Dance smart.

Meredith

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JAZZ IS BACK!

I recently attended a dance convention to continue my education, and support a wonderful dancer with whom I have had the honor and privilege to watch grow up and who was there teaching his own classes and working as an assistant. While I was there, I decided to enjoy the two evenings of competition. I was beyond thrilled to see the return of jazz! In the midst of beautiful lyrical, and moving contemporary, there it was....traditional jazz. Not contemporary in the jazz category but JAZZ! Real jazz! There were even some tap and musical theater numbers in the mix. It was so refreshing! I appreciate all forms of dance and not only was it nice to entertained by all of these performances, it was wonderful to see different dance forms recognized in the awards ceremony.

The final class I attended was very informative. The class was called, "The Judges's Perspective". Personally, it was good change of pace, because I am usually the one doing the talking about judging. Having the opportunity to hear fellow educators, I greatly admire, talk about their views was nothing short of amazing. They reinforced some things to me, gave me some ideas, and also reassured me of what is in my heart and mind. Their thoughts on the style subject just so happened to match mine. JAZZ IS BACK! They want to see a variety dance forms compete too!

For years, I have heard judges say things such as, "Oh, we have 10 solid hours of lyrical and contemporary," yet many teachers who are also judges are just as guilty as others who saturate these two categories without competing other styles, such as true jazz. Knowing how they feel as adjudicators when they have to "sit through hours" of these two categories, has always baffled me. Now don't get me wrong. I absolutely love lyrical and contemporary. Over the past few years though, it has seemed like there has been tap and some musical theater but very little jazz. It is delightful to see the trend begin to change and see the return of straight jazz! The change of pace is needed and desired. When a variety of styles are showcased, the competition event itself has a better flow, and the day stays interesting for all. I personally have always appreciated a wide range of music and styles. Creative ideas, different takes and plays on music are very entertaining and valued.

Two summers ago, I was talking to a well known West Coast teacher who said, "I need an old school jazz teacher. My students can do amazing turns and tricks but can't pas de bourree." I knew then and there, the jazz trend was on it's way back. I hoped I wasn't wrong, as I have waited on this to pendulum to swing once again for quite some time.  It appears that IS happening. Once I saw jazz compete and place at a predominantly contemporary convention/competition, and heard two other educators say these words, "Jazz is back" in the Judges' Perspective class, I knew it was "game on". My instincts were right!

I encourage everyone to incorporate diversity into your competition selections to keep the weekend fresh, and most importantly to keep your students growing. Giving dancers the opportunity to perform a variety of dance forms only makes them more adaptable and well rounded. It's a win-win for everyone!

Overall, I would say there has been some jazz at competitions, but not much. It's wonderful to see upbeat, fun, and energizing numbers during dance competitions! JAZZ IS MAKING A COMEBACK and that's fantastic! For me in my classes, my choreography, and my heart, it never left. I'm excited for the future, and eager to see what "trends" are in store for the next few years!

Dance hard. Dance smart.

Meredith
thecompetitiveedgebymeredith.blogspot.com

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IF EVERYONE GREW UP IN A DANCE STUDIO...

Sometimes I say, "If everyone were raised in a dance studio, the world would be a better place." I certainly believe that many good principals and life lessons are taught and enforced inside the walls of dance studios. Lessons that live on inside souls forever that can carry on for generations to come. Many life lessons I personally learned at home and at church were reinforced by my dance teachers without me even knowing it. Inside those walls things like self-respect, common courtesy, love, respect for others, manners, work ethic, drive, determination, self belief, self worth, discipline, how to work as a team, and how to put others before yourself are not just taught but the expectation of living out these principals are expected and demanded. These values are priceless in the art form and in life. They are necessary for success.

Inside a dance studio, there is gender, but then again there isn't. What I mean is that men do things in dance that women don't, as women do things in dance that men do't. For example, using 3rd position. I was trained that women use 5th and men use 3rd, BUT we all had the same expected of us. There really isn't age. Discipline, manner, and respect, etc., are taught and demanded regardless of age. Technique is taught based on readiness not age. The only limits set are the limits one sets on themselves, so never set limits on yourself! There isn't race. We are all humans. We are all people. We love. Period. There isn't judgement of failure. Everyone is there is help you succeed. When you are down, there is someone to encourage you, to pick you up, so once again you can try your best. We are all dancers and teachers striving for excellence, and to help one another.

Dance competitions provide another wonderful opportunity for dancers to learn valuable life lessons. In a day and age driven by instant gratification, it can be easy for dancers to become focused only on themselves and the awards they receive. In the studio, educators can teach that competitions are about growing from each performance, learning from the judges' critiques, as well as learning from watching others. Dance competitions provide the opportunity to teach appreciation of others, and their hard work. Take time to appreciate the art form, and the dancers that surround you. It is important to remember that everyone has worked hard for their moment on the stage. Take time to appreciate the "prop dads", the parents who paid the entry fees and paid for the costumes, the competition staff, the teachers working ending hours, and the venue staff. This is an excellent opportunity to watch others, applaud for others, and congratulate others. Sportsmanship is a priceless lesson to learn. At some point in life everyone will win and everyone will lose. People must learn how to do both gracefully. Dance studios and dance competitions are a great place to learn these lessons.

Dance studios should be kind. Dance studios should be loving. Dance studios should be a safe place and a place to grow as a dancer, teacher, and human begin. I believe in dance. I believe dance, dancers, and dance teachers can make a difference in this world. How wonderful would the world be if we just were all just people loving and encouraging each other striving for excellence? So today, and everyday, make a difference.

Dance hard. Dance smart.

Meredith
thecompetitiveedgebymeredith.blogspot.com

*Originally published November 11, 2016 on Dance Apps Inc.'s app with NappyTabs, Dancer's Toolbox. You can read more from Meredith on the app under Dancer's Dish.

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3 - 2 - 1 GO!

Sometimes it feels like a race to get in to the dance competitions you wish to attend because many sell out so early! You may have some competition pieces finished and some you may just be starting. It may still be up in the air who is even doing solos this season. But ready or not, registrations are open and it is time to get to work! Some of you have general questions about registering early, scheduling, and levels. Leveling students is an entirely differently ballgame that I tackle in a separate post!

REGISTERING EARLY IS THE THING TO DO! DO NOT WAIT!

Since many competitions have begun a trend of selling out months in advance, do not hesitate when it comes to registration. As soon as you make your final decision on which competitions you will be attending for the year, start looking for the date in which they will open registration. Once it is open, START TO REGISTER! If you cannot put all of your routines in at once, I suggest you call the competition to let them know how many routines you will be bringing if there is not a space to do so in the online registration. You want to secure your spot because you don’t want it to sell out without you! You also need to update your rooster, and/or enter your dancers to let the competition know you are serious about attending if you cannot register your routines at the time you reserve.

Yes, it can totally be misleading. Many websites have in their rules language such as, “Entries are not complete without payment”. That is a yes and no statement. Some competitions will hold your place without a full payment until it either:

A) sells out
B) begins a waiting list of others because others want in
C) until somewhere around 45 days out from the actual event date
OR
D) They may require a deposit to ensure that you will complete the registration, reserve your place, and/or make the payment in full by a certain date.

These are details that may vary from competition to competition. One thing that will not vary is this: GET YOUR ENTRIES IN OR AT LEAST GET STARTED as early as you can. Let them know are coming, but DO NOT register for a competition that you have not fully committed to attend. You can always go in and edit, add to, delete, make change to your registration at a later time. (SIDE NOTE: If you have fully committed to attending a competition’s national finals, a courteous and thoughtful thing to do is let them know now.)

IMPORTANT! Yes, editing and changes happen but please DO NOT WAIT until the week prior to or the week of the competition event to make your changes. I repeat, PLEASE do not wait until the last minute.  Be accurate, timely, and considerate with your edits and changes to registration. A good rule to follow: make them as they occur. Another good rule to follow: read all competition emails immediately and thoroughly, especially when it contains information about an event in which you are competing. This will save you headaches and so much time in the long run!

WHAT DO I DO IF THE COMPETITION I WANT TO ATTEND IS SOLD OUT?

There are two things you can do if an event sells out before you have time to register. You can chose another location for that competition to attend, or you can ask if there is a waiting list before moving on to your second choice. Some have waiting lists and if a venue is available, they have enough staff to produce another event, and they have enough studios and acts to host a second location, they just may do so. Some have a waiting list for the unfortunate situation that someone doesn’t make a payment by the date provided.

SCHEDULING

Once you finally get your entries in and the season is starting to get underway, the scheduling panic may hit. Questions such as, “When will petite solos perform?” and “When will senior groups perform?” just may be questions that are unanswerable months in advance, and sometimes unanswerable weeks in advance. Some competitions list a suggested time table on their website in the rules. Please check the rules of each competition before calling the office. If you call, you may end up frustrated because you will not get a firm answer. MOST OF THE TIME, schedules are set once all of the entries are in, and within a couple of weeks (1 to 3 weeks) of the competition. The reason they are set at this time, even when the competition has been sold out for months, is because of changes studio owners and office managers make to registration. This is another reason it is very important to get all of your changes done, and to double check your entries, before the actual deadline date. Many competitions may vary their schedule pattern from city to city depending on the number of entries in each division in order to make “everything best fit” so to speak in the amount of time allotted for the event. Some may have a set pattern. If they have a set schedule, it will be on the website. If they do not, then the person on the other end of the phone will most likely not be able to give you a definite answer months in advance, sometimes weeks in advance, on scheduling. When putting a competition down on your calendar, it is best for everyone to block off the entire weekend.

Please trust me when I say that the competition owners and the entire competition staff really do want everyone to have a fantastic time. Every event is different depending on the breakdown of the routines entered for that specific competition. A lot of time, consideration, and effort goes into the event planning and scheduling. Please remember many, not all but many, people working in this industry are or once were dancers, dance parents, dance teachers, and/or studio owners themselves.

Competition can be such a great experience and wonderful learning tool. I hope everyone has a fantastic competition season!

Dance hard. Dance smart.

Meredith
thecompetitiveedgebymeredith.blogspot.com

*Originally published November 4, 2016 on Dance Apps Inc.'s app with NappyTabs, Dancer's Toolbox. You can read more posts from Meredith on the app under Dancer's Dish.

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YOU PERFORM LIKE YOU TRAIN: There is a Time and a Place to Show Your Individuality

Dance is a very personal art form, yet it is very structured. There is a time and place to show your individuality. Technique class is not the time to be “yourself”. Group classes, such as your jazz class, really may not be the correct time to work on individually either. Sometimes, these style classes are used to train dancers to pay attention to every single detail, and used to make sure the dancers can transition from technique to choreography applying what they have learned using the skills in "dance" (in practical situations and choreography). These classes are meant for training. Training in a specific style with specific technical elements, learning to dance with others, and how to follow detailed instructions are learned here. Taking the liberties and freedoms to express yourself as an individual dancer and grow in that realm is a necessity that definitely has a time and place, but not while you are training as a technician and to dance alongside others.

TRAINING IS IMPORTANT. You cannot skip the fundamentals. It is the FOUNDATION upon which everything is built. You perform the way you train. If you don’t have the technical skills to back up the style, what do you have? Style is nothing without technique, but also technique is nothing without style. These are two things you must fuse together with great artistry, articulation, and passion. When competing or performing with a group, you must dance as one. The easiest way to clean a number is to learn it clean. The easiest way to learn choreography clean is to train clean. HOW YOU TRAIN IS HOW YOU PERFORM. 

What do I mean by training clean? The way you learn a technical element is the way you will perform that element; plain and simple. Everyone should go into the element exactly the same and finish the element exactly the same…..with the same expression, such a smile. Attention to detail is important and shouldn’t be overlooked at any time for any reason. For example, in a progression across the floor for a pirouette, the focus should be on EVERYTHING not just the pirouette itself. This is prime time for creating technically sound dancers who can stay in straight lines, keep their arms strong and placed at all times, and dance as one even with intricate footwork and directional changes. A BIG KEY TO BEING A CLEAN DANCER: FINISH ONE STEP BEFORE YOU BEGIN THE NEXT! I can’t stress this enough. Often times, a dance is messy because dancers anticipate what is coming next so they move quickly from step to step without completely executing anything. This, in conjunction with multiple dancers showing individuality, produces one hot mess. In progressions, every detail should be taught in a manner that the dancers look the same coming across the floor group by group. This will carry into the way they learn combinations center floor. Combinations center floor should continue training the dancers to be alike. Progressions and center floor combinations ultimately lead to choreography. If this practice is mastered in across the floor and center work, choreography will be so much easier! The dancers will already understand the process, and it will be like second nature. They will learn choreography clean no matter who the choreographer is. This is just like ballet training whether it be at the barre or center floor. Everything comes from ballet, so why should training in another subject be taught differently?

On the subject of dance competitions, a clean number will always score well! It is easy on the eye. The message, if any, comes across in a clear way. Formations are understood and appreciated. The judges are not distracted. If you are competing a solo, clean is still the right option. When a number is clean, there is never a question about what something was meant to be.
Three simple examples:
1) Was that meant to be a coupe’ or a passe’? The foot placement was somewhere in between.
2) Why did you just take two random steps? Were they meant to be there or did you just stumble? I cannot tell partly because your arms were swinging. Should they be placed? If you were taking two steps, you need to walk with determination and clarity.
3) Everyone’s arms need to match. There are different arm placements and I don’t know where they should be. The same goes for your feet. Everyone has their feet in a different place so it looks very messy.

It all comes down to training. TRAINING. TRAINING. TRAINING. Train clean. Remember, energy does not come before effort. Put in the effort to make everything correct and the energy will follow. It will come naturally. If you put in energy first, the effort will not be there, and well, your dancing will just be uncontrollable movement! EFFORT FIRST! The energy follows! That’s what it means to dance smart! Dancing smart produces not only good dancers but clean dancers.

Whether you are wanting to work professionally in the industry as a dancer, or you are working towards competing in a dance competition, or towards a performance of any kind, you are learning choreography that literally is a thought pattern and vision inside the choreographer’s head. You, the dancer, are bringing someone else’s vision to life. With that being said, when performing someone else’s vision, you must remain true to the choreographer’s direction and their artistic vision. Unless specifically told, dancers must keep their lines, angles, and movements exactly alike to avoid chaos and distraction. Dancing as one keeps the number clean, the choreographer’s vision clear, and makes it enjoyable for the audience to watch. If you are performing a solo, you may ask your choreographer if you can take artistic liberties to show your individuality.

BOTTOM LINE: Choreography is one's ideas, thought patterns, and movements. Choreography is nothing without educated dancers. Dancers must be able to properly execute the mechanics of the elements and style to which they are given.  It is imperative that dancers have training and education, regardless of their level of commitment. Everything one learns in technique classes, including ballet class, is applied in choreography. Training and performance go hand in hand. You cannot separate the two. If you train clean, across the floor and center floor, your performances will be clean. You will have a solid technical foundation. You will know how to function as one. You will know how to work well with others. You will also know how to follow directions and execute choreography exactly as directed. When you have a strong fundamental background, you can explore movement and individuality in a private lesson, or a different class such as improvisation. There is a time and place for everything! 

Dance hard. Dance smart.
Meredith
thecompetitiveedgebymeredith.blogspot.com

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TO ASK, OR NOT TO ASK? THAT IS THE QUESTION

When to ask questions and when to figure it out on your own is as much of a life lesson as it is a dance lesson. Dance teachers have the wonderful opportunity to guide dancers in training and dance etiquette, but also in life lessons, respect, and manners. It to be an honor for teachers to help shape the next generation. While teaching, there are times of joy, laughter, pride, and also frustration. 

Often times, a dancer may think of questions to ask instead of listening to instruction. How do we as teachers address this is a positive way? How do we as dancers know when it is appropriate to ask questions? What can I do as a parent to support my dancer and their teacher?

FOR THE TEACHER:

Most of the time, if you have a dancer asking a million questions, this dancer is the "over achiever" and "people pleaser". They are trying hard to do things correctly and want the teacher to know they are trying. The often want to be reassured that they are being noticed. On the other hand (prepare yourself for my southern bluntness), they may be a dancer who asks questions just hear themselves speak. Addressing when it is and is not appropriate to ask questions in a positive way, helps all the students in the class understand the importance of listening. Reinforce the fact that you will be watching all of the students in the class, and that everyone will receive your attention, whether they notice you watching them or not. We teachers have eyes in the back of our heads, don't we? We see everything! They also need to understand that multiple questions are a disruption to the class and can cause the class to lose focus. As teachers, must do our best to set our students up for success in life as well as on the dance floor. A conversation like this is always a positive learning experience if addressed in the right way. In my opinion, it is a good idea to have this talk each dance year in all classes. This is a wonderful life lesson as much as a dance lesson.

FOR THE DANCER:

As a dancer, it is your job to be on time, to be prepared, to LISTEN and follow instructions with an incredible amount of effort. Although dance is fun and most of the time you are with friends, it is not social hour. It is a time to learn work ethic and persistence. It is a time to work on your technique, your choreography, flexibility, strength, endurance, etc. As a dancer, you must be focused and disciplined, regardless of age. 99% of the time, your question will be answered by the teacher during the instruction, either by explaining the details or by corrections that are given to the class or an individual. One of my teachers taught me at a very early age that if a correction is given to the class in general, or to a specific individual, to apply that correction as if the teacher was speaking directly to me. "Always assume the teacher is correcting you," she would say. That is good advice that I carry with me to this day. If it is clear that the teacher is moving on having not addressed your area of concern, and your question cannot be answered by watching others in the class, then it is appropriate to raise your hand and ask. It is so important to exhaust all efforts to find the answer yourself before disrupting the class flow. This teaches independence and responsibility while increasing your reasoning and listening skills. All of these things can be applied throughout your life.

FOR THE DANCE PARENT:

The teacher really is on your child's side. Dance teachers wear multiple hats. We, I speak for myself too, are "different" in a lot of ways, but I know I can speak for all of us when I say we wouldn't have it any other way. Dance Teachers are often times counselors and confidants, role models, second parents, and/or many other things to your child. Dance teachers care about their dancers both inside and outside the studio. When they are stern in class, they are trying to help them be successful not only in dance but in life. Please help your child to understand the importance of listening, following directions, and reinforce what the teacher is trying to accomplish. Just like school teachers need a parent's support for a student to excel in academics, dance teachers need a parent's support for a student to excel in the art form. We, and I speak to myself too as a parent of a son in competitive athletics, have to remember "fair" isn't everyone getting the same thing. "Fair" is everyone getting what they need in order to be successful. 

Together, the teacher, dancer, and dance parent, can create a wonderful learning environment. Dance is for everyone and should be fun! As exciting and fun as dance can be, remember that a dance studio is a place of learning. It is a school. Education and proper training are important. Teachers have to maintain control of their classroom to create a positive environment that is conducive for learning. Dancers have to be focused. They must put in tremendous effort. Parents have to support the teachers of the studio they chose. Teachers, encourage and inspire your students today! Dancers, encourage and inspire those around you today! Parents, support and encourage you dancer and their teacher today! Your attitude makes a difference to those around you. SMILE. LAUGH. LEARN. ENCOURAGE. Make a difference in someone's life today ... because it's important. 

Dance hard. Dance smart.

Meredith
thecompetitiveedgebymeredith.blogspot.com

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ANNOUNCEMENT! THE COMPETITIVE EDGE BY MEREDITH ON DANCER'S TOOLBOX

I'm excited to share the announcement released Friday, October 28, 2016 from Dance Apps Inc.

"Dance Apps Inc. is excited to be partnering with Meredith Pennington, Dance Mogul Magazine, and other voices in the dance community for a weekly blog! Check it out in our app with NappyTabs, Dancer's Toolbox, in the 'more' tab!"

I am excited to be a part of this and already have my first post up, "There is a Time and Place to Show Your Individuality". I will be writing for them weekly and I will also be posting more often on here, The Competitive Edge by Meredith. I am so grateful to all of you from all over the world who have taken the time to read and support my blog! Please take time out to follow AND subscribe to The Competitive Edge by Meredith for the latest news and posts updates! Also, please go to the app store and download this awesome free app for your phone. I will certainly appreciate it. 

I love what I do. I love all things dance! It is a part of my soul. Thank you for going on part of my life's adventure with me.

Dance hard. Dance smart. And with a very grateful heart,
Meredith
thecompetitiveedgebymeredith.blogspot.com

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SHOULD I COMPLAIN OR SHOULD I BITE MY TONGUE?

When it comes to your child or student, and a parent or teacher believes their child or student has been wronged, feelings can get hurt and sometimes things can escalate to the point where things are heated. As a parent of child currently involved in competitive athletics, as a former studio owner and teacher who took dancers to several competitions a year, I understand! I understand for ALL points of view! But when should you get involved and actually make a complaint and when should you bite your tongue? It's important to remember that as a parent and as a studio owner and/or teacher, children's little eyes (no matter their age), are on you, and you are setting an example that will stick with them for a lifetime. Dance teaches so much more than technique and choreography. Dance teaches life lessons. This is why it is so important that we as adults watch our behavior in any dance environment as we are shaping future generations. Our choices and behaviors as adults will make an impact in how these children behave today and as adults themselves. Our choices and behaviors as adults will make an impact on the attitudes these children have today and as adults. It's like the children's song says, "Be careful little eyes what you see. Be careful little ears what you hear. Be careful little hands what you do. Be careful little feet where you go. Be careful little mouth what you say." I have learned that children don't miss a thing!

When you are thinking of voicing a complaint, or present questions to your teacher and/or studio owner as a parent about something studio, class, or competition related, or as a studio owner to the competition director, there are a few questions to ask yourself before proceeding. Is your complaint subjective and/or emotionally based, or factually based? If you say it is factually based, do you have hard core evidence to support your claim or do you have hearsay or a subjective opinion to support your claim? It is important to remember that hearsay is gossip and not reliable fact. Also, keep in my mind that a subjective opinion is an opinion. At a dance studio, the ruling subjective opinion is that of the studio owner. At a competition, as far as a score is concerned, the ruling subjective opinion is that of the dance professionals that are seated on that particular judging panel, otherwise, in my subjective opinion for my blog, it is score tampering. I know that I have disagreed on a few occasions at competitions, but I had to sit back, go away by myself, and evaluate the situation as a whole taking my emotions out of it. I had to look solely at the facts. As a studio owner, sometimes that was difficult as I was tired and had parents that disagreed as well. Emotions were high, but I had to look at the facts without my personal opinions attached. Sometimes it was hard to go against my clientele and not complain to the competition director, but it was not the right thing to do based on the facts. By the time we got back to the studio, my clientele would have had thought about it and agreed with the decision. All would be well. If something needed to be addressed with the dancers, it would be discussed then at the studio. As a parent today with my child in sports, I find myself in the same situation at times. I have to do the same thing today as I did then. Evaluate the situation based on the facts not how I feel as "mom". I am glad I had the practice as a studio owner because I admit, it can be tough.

On a side note, I was fortunate enough to have a wise woman guide me and become my mentor when I was a young studio owner. She had already owned a successful dance studio for many years. She encouraged me and gave me invaluable advice. Although she lived in another state, she was only a phone call away. One piece of advice she gave me was if a problem was discussed in my lobby or anywhere else with anyone else before it was address with me, not to address the problem when it was finally brought to my attention. My chin hit the floor at first, but she was right. Gossip is always wrong and this was no different. If you are a parent, I encourage you to go directly to your studio owner without the "lobby talk". This will help your relationship and will ensure the best possible longterm solution to whatever the issue may be. I still have wonderful relationships to this day with the parents that had to sign that piece of paper. (Yes, they signed a contract about this so there was no confusion on the issue.) The mutual love and respect will be there forever....and ever....and ever. 

I hope this help if you find yourself in a situation where you are considering questioning a decision at a dance competition or at your dance studio. Dance is for everyone and should be a wonderful overall experience. That overall experience will be combined with successes and failures that should equal to one big gigantic victory overall. That total victory will help each child to grow into an amazing, strong, well round person! 

Dance hard. Dance smart. 

Meredith
thecompetitiveedgebymeredith.blogspot.com

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