TRAINING STRONG DANCERS IN THE AGE OF INSTANT GRATIFICATION

I see it from coast to coast. Dancers who want the reward without the sacrifice. Dancers seem to want to advance without putting in the proper training and taking the steps to move forward with correct technique. This, I believe, is partly because we live in a society were instant gratification runs rampant. I see knees inverted and hips lifted in almost every extension executed as well as legs coming forward instead of remaining in second in 99% of a la seconde turns. I see dancers attempting technical elements and choreography styles they are not yet ready to tackle. They want it and they want it now....and to make a living, some teachers just agree to give them what they want in order to keep the peace. I understand, but where do we as educators draw the line and try to change the negative trend in society with our dancers? The world doesn't always give us what we want, and in the real world, we have to work for everything. Shouldn't we teach this life lesson through dance too?

Dancers these days, not all but many, don't have the attention span, or sometimes work ethic, to work on the fundamentals. Fundamentals are essential and they have not changed. The basis of all advanced elements and movements have the same derivatives as they always have for decades passed. Styles may change and vary, but technique never changes. It is still necessary to teach isolations, weight transfers, and transitions, while constantly working on body placement, balance and elementary turns. These are the things are allow a dancer to continually grow in skill level and movement quality. We know this as teachers, but unfortunately, some dancers and their parents don't understand this concept.

In a day and age of instant gratification, it can be hard to make a young dancer or a teen dancer understand the importance and value of these types of classes. It can be very hard to hold their attention and keep them focused. Changing up the your thought process of teaching these classes can be the key to success! It can keep you, the teacher, from becoming bored, just as it can keep the dancers on their toes! Fundamental technique classes can be the most challenging and interesting classes a dancer can take if taught correctly. It can be tempting to just give them what they want instead of what they need, but don't give in! Working on the basics and fundamentals are crucial to development! If we all stuck to our guns, dancers wouldn't be able to just studio hop down the street to a new teacher who would just give them what they wanted.

Balance is something that can always improve. Beginning each class with balance is a great way to center the body and focus the mind. From there, moving into a basic turn and balancing immediately following the rotation is always a challenge. Moving basics across the floor, individually and in simple combinations, allow students to focus on proper technique, finding stability and working body placement all while keeping their attention AND keeping them motivated.

I am amazed at how many students I come in contact with or see perform that cannot execute a simple rib isolation, yet they want to learn advanced contemporary movements. Isolations should be taught! Sadly, I have found that more often than not, they are not.  Exercises can be basic center floor and grow into advanced combinations across the floor which are worked on weekly in class.

Whether it be formation transitions, how dancers transition from movement into a preparation for a turn, shifting their weight, or transitioning to or from the floor, transitions are a big problem with choreography. Do not overlook working on these areas moving across the floor or center floor combinations. I suggest, teachers sit in the floor and observe where the students are placing their feet in these transitions. How they train is how they will learn choreography. How they learn choreography is how they will perform. It is much easier to make sure they train alike than to go back and have to clean these details in every piece.

I suggest not changing the combinations until they are mastered: Vaganova ballet class 101 style. My ballet teacher, Madame Majewska, would not move on to the next lesson until the lesson we were on was mastered. Training is important. Again; how a dancer trains is how they perform. How a dancer progresses depends on how they are trained. Don't skip the fundamentals because we live in a day and age of instant gratification. As teachers, we must adapt and teach on the level of our students to get the most out of them. We must set our students up for success not failure. This means making them do things they may not want to do. The truth of the matter never changes: without the training, you can't succeed. We have a responsibility to the next generation of dancers. But dancers have a responsibility too. They must respect the art, their teachers, and realize they are the teachers of tomorrow. It is all "the circle of life". Even if they never dance past high school, dance teaches so much more than choreography and technique. Dance teaches life lessons. There is also another unfortunate truth. As the saying goes, you can lead a horse to water but you can't make him drink. We, as teachers, must provide a quality education and be good mentors. It is entirely up to the student if they accept and apply the knowledge. If they choose "not to drink", you can still lay your head on your pillow at night knowing you have done your job and done it well. If only all dancers and their parents realized that going back to the foundation produces tremendous growth at a more rapid rate. Can I get an Amen?

Dance hard. Dance smart.

Meredith

thecompetitiveedgebymeredith.blogspot.com

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IT'S TIME TO PLAN FOR THE UPCOMING DANCE YEAR

Believe it or not, NOW is the time to start planning your summer intensives, fall workshops, choreography, and for the next dance year as a whole. You may be in the midst of competition season and preparing for your upcoming recital, but you must think ahead. It is time to audition for next season's competition/performance group, and you need start selecting music for choreography. The time has come set dates with outside choreographers and guest teachers. Summer camps and class schedules should be in the works, if not already available for registration. Recital hasn't even happened and you need to think about next year's theme, as well as next year's teachers and class schedule.

Here are some tips and things to consider when planning your upcoming dance year. Remember: no one plans to fail, but they do fail to plan.

1. It's time to advertise those summer camps and classes! If you are new to the summer camp idea, or need fresh ideas, begin searching online. Parents love to have activities scheduled for their children when they are out of school!
2. It's never to early to start thinking about music! No one knows your dancers like you. Even if auditions haven't occurred yet, you still know what works best for your dancers. Start compiling your music selections now. If you do, and you book outside choreographers, you can tell them what music you are already using. If you haven't held auditions already, get them scheduled so you can get the word out.
3. If you are booking outside choreographers for your competition teams, or guest instructors for classes, workshops, or intensives, contact them now! Prime dates for guest artist are July and August. These dates, and even September dates, go very quickly.
4. When booking outside work, remember that the cost isn't just for their time at your studio. The cost includes preparation time and work hours, including finding music, editing music, watching videos that you may send of your students to help in the perfect selection of materials, choreography prep, and any scheduling and correspondence time they may spend working on the job. It may look expensive for the time spent physically with your students, but they spend HOURS, DAYS, AND SOMETIMES WEEKS preparing to come and work with your students. Don't forget you should be paid too! You are the one handling all the details, and you will be the one at the studio working the entire time the guest is there. You should be paid as well. Sometimes parents forget this important fact. You may not be teaching the class, but you are working and have spent hours working to make it all happen.
5. YOU are your students' weekly teacher. YOU train them. YOU clean all the dances. Outside choreographers and guest teachers just supplement your students' education. Guests in your studio are just that: guests. Guest cannot magically transform your dancers. This is important to remember. Supplemental education is also important. Having your dancers experience a different atmosphere, different teaching methods, extreme conditions of working incredibly hard in a short amount of time, and having the opportunity to work with others besides their weekly teachers is a positive! It not only adds to their knowledge, it helps with work ethic and determination while building character.
6. If it's not broke, don't try to fix it. As I stated above, no one knows your students like you do. It takes SEVERAL YEARS of someone coming into your studio as a guest to REALLY GET TO KNOW your dancers. Having consistency is a positive thing. If someone only comes once, and you like them but it's not exactly perfect, give them another shot. You have to remember they are coming to create and/or teach students that they do not know. This is a difficult task. If you have had someone for years but are looking for some newness, you may want to still bring in the "old" because you know what you are going to get. Everyone is comfortable with each other. You know it will be a positive experience. You never know what will really happen with someone new until they are there. You may want to shift around choreography or classes, but you can never go wrong with familiar...if all parties are deep down happy. Remember, bored and unhappy are two different things.
7. Be honest, completely honest, with those coming to work with your students. Telling them what you wish they could do instead of what they really can do will never work in your favor. It is always a good idea to send a current video of the dancers in class and a video of them performing the style you wish the outside instructor/choreographer teach.
8. Ask questions!....all kinds of questions. This is your studio and these are your students. Feel people out before bringing them into your business. Always be upfront with your needs expectations. If you don't ask, mention it, or discuss it, the person on the other end has no idea. Outside teachers and choreographers are not mind readers.
9. All the points above has been about competition and special classes, but it's also time to think about recital. Plan your theme now and start working on those music selections. If you do this, you can already think about your program design and t-shirt design. Get ahead of the game!
10. The sooner you make your fall class schedule the better! When potential clients contact you, you will be able to give them all the necessary information for the new dance year! Also, remember how long it takes to find and hire good, loyal, and qualified teachers. If you know you need new teachers for next dance year, look now!

In full disclosure, I owned a studio. I had all of the normal studio responsibilities and recital stress. I brought guests into my business, so I understand all of that and what I had to do to make it happen. I currently travel as a guest teacher and choreographer. I can honestly say "been there, done that", on all levels. All of these things can bring on anxiety, but with early planning, upfront and honest communication, it can all be so much fun and incredibly rewarding for your dancers!

Cheers to next dance year!

Dance hard. Dance smart.

Meredith

thecompetitiveedgebymeredith.blogspot.com

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BURNOUT...IT HAPPENS

Let's just keep it real. Sometimes the days are hard and the vision isn't clear. I choose to believe THAT'S NORMAL! We often see and read things about dancer burnout, but what about burnout for those of us working in other facets of dance industry? As a former studio owner, as a teacher, as a choreographer, as a competition employee, as a blogger, I have experienced burnout myself in ALL areas. I would think there's a pretty good chance that most, if not all people, in these professions have felt this way at one time or another; it's just not talked about as freely. Just because we may feel lost, tired, and quite frankly, "OVER IT", there are so many reasons to keep on keeping on! You have probably thought or even said things such as;

• I want to be everything to all people.
• I want to succeed with all I do.
• I never want to miss an opportunity.
• I don't want to say no...ever.

Before you know it, the sinking happens. Who's with me? Can I see a show of hands?

There was a time when I thought I needed to leave this wonderful industry. I had experienced A LOT. I was down and out. Over the span of my career to date, I had been through lies and utter disappoint from a business partner that resulted in walking away from my dance studios and students that I loved dearly. I had an eye opening experience that caused me look to rethink my entire existence in the competition industry. There have been instances where I gave and gave never claiming to know it all or be perfect, and when I tried to think of what I received, I couldn't list much, if anything, but I was told how horrible of a person I was. I have, at times, put my heart and soul into trying to make a difference, only being told I'm not good enough, have my words twisted, how I should have done more when I gave all I had, and even to have people get in my face, sometimes yell in my face. After listening to others who work in this dance business, I know there are heads nodding in agreement saying, "Yes, I have been there" with a specific person or incident in mind. Being a mom, a wife, and a person trying to maintain a very time and energy consuming career, has gotten the best of me on more than one occasion. Am I alone here? I seriously doubt it.  We just keep our chins up, smile, and keeping doing the do, all the while our hearts crumble. So how do we get passed it, knowing we are doing exactly what we should be doing but feeling so lost and tired? One word: priorities.

Sometimes the solution to burnout is just to step back, take a deep breath, and get our priorities straight. I think that 9 times out of 10, that the reason burnout happens is because priorities get out of order and we take on too much, physically and mentally. For me, when I settle down, look at my life in chaos, and think about when and how I am doing this that or the other, and how much I am investing emotionally to certain things, I realize just how out of line things are.

Here is what I do to pull myself away from pity party and move passed the horrible feelings that burnout can bring. I remember the 5 F's: faith, family, friends, fitness, and finance.

1. Faith. God first. I am a religious person and I don't hide that fact. I was raised in the church, and I am raising my son the same way. When I take God out of my decisions and actions, things can quickly take a turn for the worst. I have to slap myself and remember that ultimately I am not in control. God is in control. If I pray and follow His will, things turn out much better in the end. If He takes me to the storm, He will lead me through the storm. He has a plan and all things work out for His good and will. When I keep God in the center of my life, trust Him, and follow what may seem to be a crazy plan, it all works out. He takes away burdens, insecurities, and chaos from my heart. He gives me peace....true peace. With this peace, I find contentment and joy in all things and circumstances. Without God, I am nothing and have nothing.
2. Family second. No one will EVER stand by me and love me the way family does. (And family isn't always blood, but I now know to be VERY selective when choosing true family that isn't blood.) Family provides unconditional love and support. This unconditional love and support gives true happiness. From this my desire to ALWAYS strive for excellence, and be successful, never leaves. I can be ME, just little ole me, with all my quirks and weirdness. I am accepted, flaws and all. Family shows grace and mercy, which allows me to learn how to show grace and mercy to everyone. Lord knows I need to be shown these things on a daily basis. Time with family is fulfilling.
3. Friends third. True friends are friends even when there are miles between you, and lives get busy. Those true friends are also the ones that rejuvenate the soul. True friends that love you, flaws and all, love your family, and not only support you but support your family as a whole, are priceless! When you can find a friend that will LISTEN, even if they don't understand, you have found a gem and a lifeline! Sometimes a little validation and a listening ear goes much further than the other person knows. FUN WITH FRIENDS will always lift spirits. Even if it is down time at the movies, or having a group come over to your filthy house for a last minute cookout, nothing lifts spirits like the company of true friends. Friends, they are important in preventing burnout. Clients, dance parents, dancers, employers, they can all say they love you, but we know the harsh reality of sometimes it's just all talk on their end. True friends on the other hand, they are their to help you pick up the pieces of the tired or broken heart, and see the value you have to offer once more.
4. Fitness both physical and mental is next.  Are you trying to eat healthy, exercise, and take advantage of stress relievers that calm you down?  If your fitness gets out of whack all areas of life suffer.  None of these principles are an island unto themselves.  They all flow together. When I do take care of my body, and my mind, I feel so much better. WHEN I REMEMBER THIS FACT, MY WORLD CHANGES: I cannot control the thoughts, beliefs, and actions of others. I can only control my thoughts, my beliefs, and my actions. Don't believe lies of others. You ultimately know the truth in your heart. Stay in and with the truth.
5. Finance. I know, weird to be last because it takes money to provide. But work is fifth on this list. When you have a deep down satisfied soul, everything comes into line and you can be WAY more productive at work. Perspective: what's really important and what's life or death. Yes, the hustle is real and it is necessary. But what good is anyone who is beat down and run down. There is so much pressure in the dance industry to be this or that, to accomplish this or that, to have such and such on a resume'. When we try to do it all, without thinking about what is really important and what is really at the center, we keep saying yes until we are, well done. Sometimes, "no" or "not at this moment in time" is the best long term answer.

Take time with God to sort through eternal bedrock foundational truths. Take time with family to know how valuable you are and to let those you love know how valuable they are. Time with friends to laugh and/or wind down is important as is time to work on your health and fitness. . All of these things help me when I am burned out. They ground me. They let me know I am where I should be. They lift my spirits and inspire me. They give me peace, clarity, and strength. For me, when I remember the 5 Fs and keep my priorities straight, I am a force to be reckoned with. Without this order, I am a complete and utter failure.

To all of you working in this crazy, but absolutely wonderful industry, it's a gift. We are blessed. Always remember that. We, as studio owners, teachers, choreographers, competition employees, and blogger, have the opportunity to make the difference in someone's life. We can share the knowledge passed down from our wonderful teachers so the art of dance can live on. We have a chance to show others kindness, teach self-respect and respect of others, instill work ethic that will last a lifetime, and teach so many other life lessons which can make an impact on other generations. We are blessed to work in the industry. It is a gift to us, and we are a gift to others....even when we don't feel like we are. We have a purpose....so keep on keeping on!

Dance hard. Dance smart.

Meredith
thecompetitiveedgebymeredith.blogspot.com

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CHOREOGRAPHY OVERLOAD

Unfortunately, we have all seen it, and it is not pretty.  The problem: choreography that is way over the dancer's head. Whether it be with the style or the technical elements, pushing a dancer too far beyond their reach for a performance is never a good idea. There is a time and place for giving students opportunities to master new challenges, but competition performance pieces are not the proper avenue for this learning to take place. Before putting a competitive piece onstage to be critiqued by a panel of adjudicators, make sure that the dancers have successfully achieved all that is required of them to score well. This is good advice for any level of competition.  Whether that be recreational (even though I personally loathe that word) to highly competitive, it is critical to nail the number before performing it in front of an audience.

I have found that often times dancers, parents, and unfortunately, sometimes even the studio owner or teacher, try to get the dancers from A to D without mastering B and C first. Style requires practice and training just like technique. Transitions require training too. Some people may be under the impression that just because an outside choreographer's students or work looks a certain way on some dancers that it will look the same on their dancers. This could not be further from the truth. Dancers must put in the hours of hard work in their training as well as energy and focus on style well before the choreography lesson begins. (To read more on this, visit my blog post "Trust the Process".)

When setting a piece for dance competitions, keep in mind that the dance can only be scored on what the dancers do, not on what they don't do. What I mean by this, for example, is points cannot be deducted on turns in second if they are not in the piece, but if they are included and executed poorly, many points will be deducted. They same goes for style. Certain styles look good on some dancers, and certain styles do not look so hot. If a style doesn't work for a dancer, or a group of dancers, keep working in class until it comes together. Just because students aren't ready for a particular type of dance now doesn't mean you stop working towards that goal. You just compete a different type of dance until the goals are achieved in the learning environment first.

Unfortunately, an exorbitant amount of pressure can be placed on outside choreographers to give dancers technical elements they are not yet ready for or a style that really doesn't suit them the best. Sometimes, parents and dancers can also place this pressure on guest artists and/or their weekly teachers. This never ever is a good idea and will never work out in your favor. When the choreography is well above the level of the dancer(s), no one wins. The dancers don't thrive or shine. The studio doesn't stand out in a positive light. The choreographer doesn't fare so well either. When hiring a guest artist, the best thing to do is not give tell them what you are hoping the dancers will be able to do, but rather their actual skill level. Just be completely honest about their abilities with flexibility, footwork, style, transitions, and technique. Everyone will be much happier in the long run. If a guest artist or a dancer's regular teacher, is pressured to do a job a certain way, more often than not, they will do the job as requested but the outcome probably won't turn out the way one would want.

Moral of the story....Train and work to perfect technique and style in class before attempting it in choreography. Everyone will be happier in the long run! The dancers will be better. The competition results will be more favorable. The overall appearance of the studio, studio owner, teachers, dancers, and even the choreographer will be more appealing. Everything takes time, dedication, and hard work. Dance isn't easy. YOU earn every bit of what you do. Enjoy the process, then savor your success.

Dance hard. Dance smart.

Meredith

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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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You can read more from Meredith on Dance Apps Inc.'s app with Nappy Tabs, Dancer's Toolbox. Go to "more" and from there, look under Dancer's Dish. The app is free and available in the App Store!