SO YOU HAD A BAD COMPETITION EXPERIENCE...WHAT DO YOU DO?

Unfortunately, most studio owners, teachers, dancers, or dance parents can say that they have had a bad competition experience at one time or another. Competitions should be fun, inspiring, and educational. For the most part, they are! But sad to say, sometimes, things just don't go as one would hope. Here are some things to consider before deciding never to return to a competition after a less than stellar experience.

1. If you didn't like the results from the judges, is that really a reason for a bad experience? If the competition was organized, ran smoothly, and the staff was helpful and kind,  is it worth not attending in the future just because of 3 peoples' subjective opinion on that given day? For the most part, competitions use different people to judge, and chances are good that those same judges will not be back in your city the following year. One of the great things about competition is learning to lose as gracefully as you win. It's a great outlet to teach life lessons that will live on in the dancers far after high school graduation, when they leave the nest and the studio. Before voicing judging complaints, make sure to take a step back, take emotion out of the equation, and look at the entirety of the situation. Did you watch the entire competition, and did you watch objectively? Sometimes, we can be blinded by love and emotions. If the results really didn't come out the way you truthfully believe they should have, please keep in mind that the art form in its self is subjective, just as judging dance is subjective. You could replace one judge on the panel, and you would more than likely get a different outcome.

2. If the critiques were lacking in substance, let the owner, director, or office staff know. If you can let someone with the company know, they have to opportunity to listen to that specific judge's critiques and address the judge about the situation in a way they deem most appropriate. No one on either side wants less than optimum judging commentary. Problems can't be addressed by the competition if they are unaware of the issues. Give the company a chance to right the wrong for the future. You will be helping the company as well as your peers!

3. If another studio is the reason for your bad experience, don't let them be the reason you don't return the following year! Share your experience with the owner, or director. Talk to them about possible solutions and see if something can be worked out. No one wants anyone to have a bad weekend because of someone else.  Also, if the problem is with a fellow studio, is it fair to blame the competition for those problems and your bad experience?

4. Letting your families know you wish to boycott a competition before the weekend is over, and talking negatively about any situation during an event can make it worse with your students and families.  This can, of course, create an even more stressful environment for you and your business. Stay positive and keep lifting them up. Go directly to the competition privately to address your concerns. This way you continue to build morale with your students and their parents.

5. You catch more flies with honey. When discussing concerns with someone from the company, make sure to listen as much as you speak. Instead of thinking about what you are going to say next while they are talking to you, listen earnestly to what they are saying. Be kind, not ugly. Have a good conversation, and more can be accomplished. If you are kind, they will be more than happy to talk everything over with you. (On a side note, just as studio owners, teachers, parents, and dancers may talk, the people inside the competition industry may do the same if asked. No one wants a bad reputation, and wants to be known for being unreasonable and nasty.) If after talking to the company and the feeling is mutual for you to continue your patronage, give it one more try. You never know. The next year, this same competition may end up being your very favorite! ... And you could make a wonderful friend and cultivate a really good relationship through tough discussions. Positives CAN come from negatives! If you have another terrible experience, then you know not to return, at least for a while.

I hope you NEVER have a bad experience at a dance competition, but if you do, I hope these things help. Remember to always to keep a smile, stay calm, and you can make it at least a little better!

I wish you the most fantastic competition season! And remember....

Dance hard. Dance smart.

Meredith
thecompetitiveedgebymeredith.blogspot.com

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5 IMPORTANT THINGS TO KNOW ABOUT TITLE AT DANCE COMPETITIONS

Whether or not to enter the title competition, or which dance to choose for the title competition, can be a tough decision. Title criteria can be slightly different from the adjudicated and overall competition. Some competitions choose to score them on the same variables, but others may have an entirely different score sheet. One thing remains a constant for most judges to which I have spoken: title is more about overall presentation, and pageantry. Here are just five things to consider when thinking of entering your performance in the title competition.

1. Is the piece you are considering well-rehearsed and performed with exuberance? A title contestant should be rehearsed to perfection, leaving no details unpolished. A tremendous amount of confidence and energy is needed for success in this category. A dancer cannot be confident if the choreography hasn’t been rehearsed well.
2. Does the costume compliment the dancer and the piece? For title, costuming is very important. A costume adds to the overall appearance of the piece. The costume needs to fit the subject matter, music, and style, as well as fit the dancer like a glove. The costume and all accessories must be secured. A costume malfunction can tarnish the overall presentation, therefore, effecting the score. The same goes for props and the usage of the props.
3. Is the dancer able to perform all the technical elements in the piece with proficiency? With title, it isn’t so much about how difficult the skills are, but rather how well each element is executed. The piece must be clean as a whistle. There is no room for error! Each bobble effects the overall aesthetics and presentation for which a dancer is overall scored.
4. Is the piece entertaining? Most of the time, thought provoking dances may not be right for this category. The piece needs to be easy on the eye. The dancer must be believable in the performance, having high levels of showmanship and emotion.
5. Does the choreography make full use of the stage? A dancer needs to command the entire stage keeping each transition and traveling step smooth.

Think of the title as the total package. The title winner may not be the most technically advanced  dancer performing the hardest elements.  Rather success is a combination of overall performance where costuming, outstanding showmanship and stage presence is just as important as the execution. Think of the Martha Graham quote, “Great dancers are not great because of their technique. They are great because of their passion.”

Dance hard. Dance smart.

Meredith
thecompetitiveedgebymeredith.blogspot.com

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IT'S ALL IN THE DETAILS

Details! Details! Details! It's all in the details. Just like you make sure to dot every "i" and cross every "t" before moving forward with a contract, the same needs to be done with a piece before it is performed for the public. Costumes need to be fitted property, headpieces should be secured, makeup should be appropriate for stage lighting, music should checked, and the piece should be clean and easy to watch.

When it comes to competition pieces, what the judges see is more important than what anyone else sees. Most of the time, they are seated right at the foot of the stage, and the view from there is quite different from the majority of the audience. Before putting a piece on the competition stage, or any stage for that matter, try sitting on the floor in front of your dancers to see exactly what they see. What you will notice is that the piece looks much different from this perspective. From the judges' angle, you notice many more details than when you are standing in front of your class. For example, you may notice dancers using a variety of preparations for turns, using opposite feet on transitions, dancers using a turnout vs. some using parallel. You may also notice different arm and hand placements. All of these things need to be corrected prior to the performance for a clean and polished look. Even if the movement happens quickly, if it is even slightly different, the piece will not be clean. An important detail that is often overlooked is head placement and facial expressions. Head placement and facial expressions should match. This also includes focus. Where are the dancers looking? They need to look in the same direction. I suggest that you watch solos from the floor too. Soloists need to be secure in the same details as duets, trios, and groups.

When working on costuming, remember that details make a difference in the overall performance. Costumes that fit property, and match the theme and style of the piece well, only enhance your performance. Adding beautiful bead and trim work, rhinestones, appliqués, etc, usually add to the overall appeal, and they catch the eye of the judges and audience.

Dress rehearsals are incredibly important for numerous reasons. Here are just a few;

• Dancers are able to become comfortable with their costumes, and how to adjust with quick changes
• Costuming problems can be identified and solved
• Parents or helps have an opportunity to understand how to aid with quick changes
• Teachers and choreographers can make sure that the staging works and have an opportunity to make necessary adjustments
• Music edits can be checked so they are ready for submission.

Whether dress rehearsals are held on a stage or in a dance studio, they are invaluable to a successful performance and/or competition. It is a chance to pay attention to the details.

When you have a clean, well-rehearsed number that is costumed appropriately for the piece, neatly with all accessories secured, you have a performance that is enjoyable to watch, well received, and memorable! You have to pay attention to the details in training, in rehearsals, in costuming, and even in music selection to be the total package! It's all in the details!

Dance hard. Dance smart.

Meredith
thecompetitiveedgebymeredith.blogspot.com

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