HAPPY 4TH OF JULY!

From my family to yours, Happy Independence Day! My family is eternally grateful to all of the brave service men and women, and their families, for all that they do and all that they sacrifice for our freedom. GOD BLESS THE USA!

A NOTE TO DANCE MOMS AND DANCE DADS

With the competition season coming to an end with National Finals and with a new competition season beginning, I thought I would take a moment to blog directly to dance parents. Being a dance mom and a dance dad is time consuming and can be costly. When you mix those two things with your care and concern for your child, it can bring on a tremendous amount of stress. As a parent, I get it. Every parent wants their child to be healthy, happy, and successful. As parents, it is important to remember that dance teachers love your children and also want them to be healthy, happy, and successful. It is worthy to note that dance competitions want all the children to be healthy, happy, and successful too!


REMEMBER IS IT ABOUT THE CHILDREN


Dance competition should be a fun experience for dancers. It should be a place for children of all ages to show off their hard work and enjoy their moment in the spotlight. Often times, I see what should be a fun experience turn into a stressful event because of anxious parents going into overdrive. One way to eliminate the stress is to be informed. Make sure talk with the studio owner or dance teacher to confirm that you have all the correct information well in advance of the event. Another way to eliminate worry is to double and triple check that you have everything on your dancer’s checklist packed well in advance of your departure time. Last, but not least, arrive earlier than the scheduled time set by your dance teacher or studio owner. Once you do these to things, you are good to go!!! From there, you can sit back and let your studio owner and/or dance teacher take the reigns!


IMPORTANT! ALWAYS REMAIN CALM.

Dancers feed off the vibes, words, and tones of their parents. Keeping this in mind, having a warm smile and remaining calm allows the children (of any age) to enjoy the privilege and opportunity you have provided, instead of making them feel guilty, stressed, or worried. Yes, there will be quick changes. Yes, you may have a child that messed up onstage whom you will need to comfort. Yes, the competition may be ahead or behind schedule. Please remember that as a parent, all eyes are on you. The dancers need their parents' encouragement and support. Parents set the tone and mood for a competition not only with the dancers, but with the teachers and even the competition staff.


REMINDER: THINGS RUN SMOOTHLY AND TENSION STAYS DOWN WITH THE ONE CHIEF RULE.


Contrary to what many may believe, studio owners make very little money off competition students. Competition takes up the majority of a studio owner/dance teacher's time with the least amount of pay. Studio owners and dance teachers provide extra performances and competitions because they love your children and want them to have the benefits of the experience. Let them take the reigns and guide the troops.

I encourage all parents to take a deep breath and look at the big picture especially during the stressful and tough times. Your child obviously loves dance or they wouldn't want to compete. You trust your studio owner and dance teachers or you wouldn’t pay them. Everything is good! Try your best to enjoy the experience with your child, taking great pride in them. You will see the stress and pressure drift away from your dancer allowing them, and you, to create wonderful lasting memories.


Dance hard. Dance smart.
Meredith
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GOOD SPORTSMANSHIP: IT STARTS WITH YOUR PERSPECTIVE!

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 at dance competition. This can come from the dancers, from the parents, or in the worst case, from the teachers. Instead of competition being an opportunity to perform and chance to share the love of dance with others, it can become about the trophy and "beating others" if you let it. Dance competition is a great place for learning, growing, and appreciating dance, if you chose to look at it from this perspective. 

In the middle of the madness, take time to appreciate the art and dancers that surround you. It is important to remember that everyone has worked hard for their moment on stage. Teachers and dancers alike spend hours preparing for each performance. Hours are spent training and choreographing not to mention the endless hours of rehearsals, music editing, costume design, and prop design. Parents are often the prop makers and may spend lot of time gluing rhinestones to the costumes. Everyone is in the same boat. If we step back and remember this, we can begin to appreciate every dancer and their time on stage. With this being said, clap for everyone not just your own studio. Please enter and exit the auditorium between dances. If you enjoyed watching a specific dance, tell the dancers how much you like it. If you see an amazing dancer, tell him or her you admire their talent. Congratulate others on their success whether they are on your team or another team. Everyone at competition has one major thing in common: the love of dance. 

Good sportsmanship begins with a personal outlook and the way you chose to handle situations. 

Competitions provide a great performance opportunity! They also give dancers a taste of the fast paced professional world when they experience quick changes, whether it be of costumes or choreography, for example reblocking a number in the case of a missing or ill dancer. The adrenaline of racing to change costumes and quickly returning to the stage to give another brilliant performance can be exhilarating and fun when you keep it in perspective. The same thing applies to quick choreography and/or spacing adjustments. Staying positive during high pressure moments will lead to a better overall experience. 

One bit of advice for dancers: 
Thank your judges, especially if they are personally handing you an award. If you are standing next to a dancer or group of dancers that just received an award, take a moment to congratulate them. All dancers get excited when they receive an award and all dancers love to know others are happy for them. Thank your teachers for their time, hard work, dedication, and for training you. Teachers are always on call working many hours behind the scenes. Teachers do a lot more than you may realize. Thank your parents for giving you the gift of dance class and allowing you to have the dance competition experience. Always be nice, respectful, encouraging and helpful not only to your teachers, teammates, and parents but also to other teachers, dancers and parents. 

A bit of advice for everyone attending or performing at a competition: 
Make friends with other dancers, parents, and teachers. (Making friends does not mean soliciting business.) Be supportive and kind to each other. Clap for others, not only your studio. Give words of support, encouragement and praise to each other. If someone needs a bobby pin or needs to borrow a shoe, lend a helping hand. Congratulate each other. Be kind to the competition staff. You may be tired but they are too. They have no control over the schedule. They are at the event an hour before the competition starts and an hour after the competition ends everyday. Thank your judges. The judges are working hard as are the competition staff. I also suggest arriving to competitions early enough, or staying long enough, to sit and enjoy performances. There is always something to learn from each other. It is also nice to just sit back, relax and watch dancing!!

People will always remember how you made them feel so be nice, smile, and make a difference! 

It is important to remember that none of us know it all and we can all learn something from others. I would love to see everyone taking it back to what it's all about: the shared love of dance. Being nice to others can change your entire mood! Do your part in making competition fun! Competition is a great place for teachers, dancers and parents to make lasting friendships with people who have the same interest. The dance world is very small and you never know when paths may cross down the road. 

Let's all be good sports and enjoy the gift of dance!

Dance hard. Dance smart.
Meredith
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THE IMPORTANCE OF COSTUMES

Believe it or not, but your costume affects every aspect of your score at competition. From the moment a dancer, or group of dancers, take the stage, an opinion is made that subconsciously sets the tone for your score. From the neatness of dancer’s hair to the fit of the costume, to the costume design and attention to detail, it’s all very important. A “flashy” and beautiful costume with hundreds of rhinestones is worth every penny. If a dancer(s) enters the stage looking well groomed and wearing a costume that appears to have had time, effort and thought put into it, subconsciously judges will assume the dancer(s) is very well prepared and well trained, therefore, raising the base score immediately. Whether you spend 1 hour or 20 hours in the studio a week, it is important for your appearance to say “I spend 20 hours a week in the studio”. “Letting the dance speak for itself without the costume” really isn’t the best idea.

Don’t have a seamstress and order your costumes? Do not worry!! An ordered costume can be altered to fit perfectly. You can also order trims, beads, and rhinestones to enhance the look and make it an original. Ordering basics is a great option, too. You can totally design your own costume with basics adding rhinestone designs, beading, and trims. By adding accessories and details, you can customize any costume!

Some genres don't use as many "flashy" accessories as others. With hip hop costuming, pay attention to every detail down to the shoes. Rhinestones and such aren’t used as much here but they can certainly enhance a costume if you use the same color rhinestone as the fabric. With contemporary pieces, the choreographer may want more of a subdued look, but colored stones matching the fabric can keep the idea all while taking the costume to another level.

Last but not least, secure your hair and every piece of the costume, including hats and belts. Secure the front of jackets to the front of the costume. Secure every little detail. Losing a piece of your costume or having your hair come down will lower your score. 

In conclusion, a well-polished look affects the overall performance and impression, therefore, raising the overall score of a piece. Like it or not, right or wrong, this is factual. I hope this helps parents and teachers better understand the importance of costuming.

Dance hard. Dance smart.

Meredith
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TIPS TO BECOMING THE BEST JUDGE IN THE INDUSTRY

Judging is a hard job! The days are long, the acts are many and there isn't a moment to spare! With the competition industry growing and studio dynamics changing, it is important to know the dos and don’ts of adjudicating. There are many new judges coming into the scene and many people who would like to judge but don’t know where to begin the process. Here are some unwritten and written things to know about judging, judging etiquette, and how to apply for a judging position from the “inside”, my experience and perspective.

TIP: PREPARE BEFOREHAND

  

1) Know the competition for which you are judging inside and out. You need to attend the competition as a studio owner and/or teacher with your students to experience the flow and know how it runs. Make sure to read and study the competition's rules and regulations prior to your judging weekend. Know all the awards that will be given out and be familiar with the awards ceremony. (This topic will also be discussed in the etiquette section.) 

2) Familiarize yourself with the scoring. Know the point spread for each placement. Some competitions give a "cheat sheet". If so, know be comfortable with the exact spread and point system. Know the specifics about any special awards and how they are determined. Ask any questions prior to the start of competition.

3) Each city and each competition's event are different. Ask the staff what the talent level is like prior to the start. THIS IS IMPORTANT. You need an understanding before you score the first act.

4) Pack and dress appropriately. If you are unsure, ask. Always remember it is far better to be overdressed than underdressed. You will be representing that competition and I assure you that dressing appropriately is greatly appreciated. All eyes will be on you so you want to look your best! Space in rental cars is limited and you will be riding with others who also have luggage. Be careful with packing and bring the smallest bag/luggage as possible. Airlines are not dependable when it comes to luggage. It is always a good idea to only bring a carry-on instead of checking your bag. Not only will this insure you of having your things, you will not have to wait at baggage claim saving time for all.

5) Print out all emails, schedules, itineraries and paperwork. Bring these things with you in an easy to locate place.  Make sure you know all the details of who will be picking you up and where. Make sure to store phone numbers in your phone or have them printed in your paperwork. 

TIPS: GENERAL SCORING GUIDELINES

1) Know the general ability level of the talent you will be seeing and score according. All placement/adjudication awards should be given. It’s never a good idea to compare dancers to your dancers at your studio. Each event will have its own ability levels and the best at that event should receive the highest adjudicated awards. Although the dancers may not be “double platinum” in your studio, they may very well be “double platinum” for that event and need to be scored according. Also, your mindset must change and reset with each level. Judge each level appropriately, fairly and not in comparison to other levels. Standards are different in each level. 

2) Stay focused on the performance on stage. They can only be scored on what they do, not on what you think should have been included. Do not try to compare it to other performances. Keep personal preferences out of the equation. Whether you personally like the number, love the number or hate the number, it should not affect the score. Score on what the dancers actually execute on the stage at that moment in that performance.

3) Being the "hard judge" or the "easy judge" isn't necessarily a good thing; however, being the easier judge is better than the super hard judge. If you are told your scores are not consistent with the others (i.e. you are 4 or 7 points higher or lower), please reconsider where you are coming from and how you could more appropriately score. If 2/3s of the judges are thinking a certain way, odds are that your audience is also in that 2/3s majority. Your audience is made up of other dance teachers, dancers, and dance parents who have watched many competitions. If you are approached about this, please don’t take it as “they are asking me to change my scores” because that couldn’t be farther from the truth. In the tally position, it is their job to make sure that all the judges have the approximately the same numerical value for their subjective opinions. Often times, the judges are exactly on the same page subjectively but just need guidance on how to reflex those same opinions numerically.

4) Stay consistent with how you are scoring the solos, duo/trios and groups. It is especially hard to stay consistent between small groups, large groups and lines. As a general rule, judges tend to drop scores dramatically when moving into the large group and lines from the small groups. This is something you want to avoid. Think back to how you compose your small groups and how you compose your large groups and the difference in dynamics. The more dancers there are, the harder it is to clean. In large groups and lines, there may also be dancers who do not train as often and/or just starting to compete dancing alongside seasoned competitors. Take these factors into consideration and ease up a bit when moving into the larger groups, lines and productions. This will keep scores in line and consistent.  

5) Although your score matters very much, so do the others. Be very aware of exactly where you score a performance. Every point matters. Every judge matters. Please respect other’s opinions by keeping your thoughts about your scores and specific performances to yourself.

TIPS: GENERAL AUDIO/VIDEO CRITIQUE GUIDELINES

1) Start on time. Sometimes there are problems and it's unavoidable but do your best. One way to always be on time is to end and submit your scores on the “ending pose”. When they pose, say thank you and immediately submit your scores and critiques. A good rule of thumb is to start putting your scores in half way through each performance. You can always change them before you submit. I cannot ever remember seeing scores rise after the midway point but I have seen them lower because of serious or continuous mistakes made by the dancers. Once your scores are in midway through, you can look them over and make any necessary adjustments.

2) No matter how good a dancer is, they are not professional and there are critiques to be given. NEVER say “I'm just going to sit and enjoy this”. A teacher will complain to the competition on you after the event!!  As a judge you have to work hard with every number equally. Always talk throughout the number, EVERY NUMBER. No one wants to receive a critique that was "just a copy of their music". I am sure all the teachers reading this have received “that judge’s critiques” that “don’t say anything”. I have heard complaints for YEARS on judges who don’t say anything or only say things like “cute” and “thank you”. Believe it or not, even your friends will complain on you if your judge their students and don’t say anything. (It’s the truth.)You don’t want to be “that judge”. Again, the competition will receive complaints on you after the event!!! If you let 10 seconds go by without saying anything, that’s too long. Your best bet is to keep the critiques going the entire length of the piece. Please comment on as many different things as possible. It’s also a good idea to only mention costuming once.

3) Give positive feedback as well as criticism in a kind and positive tone of voice (and keeping a big smile while you give the critiques is ALWAYS a plus). Every performance has things to work on and things they do well. Please knowledge both. Remember these are children not professionals.

4) Choreography suggestions, well, it’s just a no-no all the way around and is a topic to be avoided. It's ok to say you like the choreography but please refrain from giving choreography suggestions and ideas including how you would have choreographed the piece.  As you, a dance teacher, know there are parents who look to blame everyone but their child. There are also studios who have hired outside choreographers requiring extra payments from parents. In addition to these situations, there may be internal teacher conflicts and commenting on choreography could escalate these problems. Choreography suggestions, well, it’s just a no-no all the way around and is a topic to be avoided.

5) Be careful not to use one word critiques. If you say "nice" please explain by saying "nice extension" for example. Never assume the listener will just "know what you mean". There are so many different elements to base your scores. I suggest commenting on the following: technique and execution, stage presence/showmanship, costume (only once) and appearance, intensity, connection to the piece, energy level, timing/musicality/sounds and use of accents, transitions, formations, movement quality, overall performance, entrance/opening position and briefly on the exit if needed. If you comment in each of these areas, you have addressed pretty much every aspect and have given a well-rounded critique throughout the entire performance. It’s also a good idea to ask each competition how they would like you to begin each critique, for example: act number and song title followed by your name and where you are from.

TIP: Don’t make comments that YOU wouldn’t want YOUR students, teachers or dance parents to hear on a critique.

TIPS: GENERAL GUIDELINES FOR SPECIAL AWARDS

1) Before each set of competition begins, ask what special awards you will need to turn in and for any paperwork you will need for these awards.

2) Be cautious that deserving studios don’t slip through the cracks because they are not as prevalent at the competition. There are MANY deserving studios. Some studios just are not as big as others; therefore, they don't have as many acts. They can sometimes be forgotten because they aren't performing every other act. This is a point where the good judges are separated from the great judges. Be aware of all deserving acts and do not forget those who only performed a few times in the midst of the madness. 

3) Most competitions give special awards, judges’ choice awards and scholarships on top of the High Point awards. Familiarize yourself with the criteria for these awards. Just because a routine is 1^st place overall or in the top 5, doesn’t mean they automatically hit the criteria for certain special awards and scholarships. Be careful to award on merit AND criteria. Please ask the director or tally if you are uncertain about specifics. For example, a showmanship award should go to the routine that has the best showmanship – not the best technique and good showmanship. If the best showmanship is from the best all round group, for example, that’s great and fine but that is not always the case. Find the dancer(s) or group that best meets the criteria alone for the best showmanship award.

4) Take notes during the competition on acts that you would like to see receive a special award. Quickly note the qualities or specific award you would like to give them so at the end of the set you are ready to hand your awards tally without delay. Tally is pressed for time to start awards and they need this information quickly.

5) Please have more than enough special awards. For instance, another judge has selected the same performance for an award as you. Be prepared with another performance that you could award instead.

TIPS: JUDGING ETIQUETTE AND HINTS ON HOW TO BECOME “THE FAVORITE”

1) Never ask the staff what studios will be competing. This information should be unimportant. If a judge asks, a red flag goes off. A judge should not score on name recognition or have a particular interest what studios they will be judging. It’s ok to ask when the competition is completely over.

2) It isn't in good taste to talk about the dancers or performances in the break room and it's never ok talk to negatively about children and/or their performance. Always remain professional and keep your subjective opinions to yourself. You don't want to offend and you don't want to be offended. Please refrain from talking or passing notes at the table. This can be taken by audience members as talking about the dancers or performance. When this happens, someone from the audience (teacher or parent) is going to complain to the director about you. EYES ARE ON THE JUDGES ALL THE TIME. I have seen some teachers watch the judges more than their students onstage.

3) Competitions want judges who love what they do and where they do it. To truly understand a competition enough to judge for them, you need to experience it as a client. There are competitions that will eventually replace judges who don't support them with their studios. This is not an “I scratch your back, you scratch mine” situation in the least. Please do not take it that way. The competition believed in you enough to hire you so in essence you are a contracted employee. You would never want to work for a company you weren’t proud of so you need to believe enough in that company enough to participate in their competition. 

3) Always be on time or early. This includes to the airport. Judges that are late and/or miss flights can be scheduled minimally or not asked back. 

4) Take care of your work station. Please throw away your trash promptly keeping your area clean and tidy.

5) Be seated and ready to begin 5 minutes prior to the start. For short breaks, please arrive at leave 2 minutes prior to the resume time. Don't wait for someone to come get you. Be aware of the time. If you don't need a break, don't take one. Competitions love to start back early. 

6) Refrain from making negative comments on social media such as "too many solos" or "the day was so long”.  Also refrain from making comments towards or about those competing, whether good or bad. It’s unprofessional. Yes, it’s true the dance world is very small but please be careful of what you post. Positive comments about the company on social media are always welcomed and appreciated.

7) ALWAYS keep a smile and/or a pleasant expression while judging the dancers.

8) The dance world is very small. If you happen to see someone you know at an event you are adjudicating, please just smile and keep walking. Please do not hug or chat with dancers, parents, or teachers. This is a big no. 

9) Keep you phone put away at all times unless you are in the break room. (It should never be on the judges table or taken out at the table, even between acts or on a break.)

10) Last but certainly not least: Don't be a diva. Be responsible, kind, friendly and easy to work alongside.

TIP: When you judge, don’t forget what it's like to be at the competition as a teacher and audience member.

TIPS:  HOW TO CREATE A JUDGING RESUME'

1) Send your resume’ only to competitions that your studio attends. Also include a “ready to go bio” that can be printed in the program.

2) Always attach a current headshot. This is good for two reasons: it puts a face with a name and the office will have your headshot on file for program printing.

3) If you are a professional or have professional experience, mention it but don’t highlight it. The main focus should be on your teaching experience with children, your dancers’ accomplishments (at competition and professionally), your awards (choreography, etc.) and your training. If you work with children of all ages and ability levels, that is a huge plus! Make sure to note that somewhere in your resume’!

4) Most competitions set their judging panels toward the end of the year (October – December). You may want to mention your interest in judging to the competition director at the event and find out to whom you should email your bio and resume’. Mail it in immediately with a note saying “if you have a cancellation, please feel free to call me”. Send it again in September. You may want to follow up with one phone call, email or text. If you do not hear back, please talk to the director again the next year at the event and start the process again. It may take two seasons or so to get booked.

5) Always be kind and follow the rules at the competitions you attend. Attitude, behavior and reputation go a long way in this industry.

I hope this gives a some 

insight from “the inside” on judging. Again, I don’t know it all. I try to learn something new every day. These are just some things I learned along the way as a teacher/studio owner, as a judge and as a national director.

Thank you for reading The Competitive Edge!

Dance hard. Dance smart.

Meredith
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THE MYTH OF GOING LAST AT COMPETITION

For some reason, people seem to think that “going last” will help their score and makes a positive difference in the judges’ minds. This myth is…FALSE. Believe it or not, going first can actually work more in your favor than going last.

TIP: DON’T HOLD NUMBERS. IT NEVER WORKS IN YOUR FAVOR.

When you hold, the audience is loses track of where they are in the program, as do other studios and dancers. Think about it. How often do you as teachers, parents and dancers get upset that the competition isn’t going in order, and you don’t know where you are in the program? Holding acts adds unnecessary stress for everyone. You also take the risk of upsetting the judges, competition staff, peers, and the general audience. Here is a good rule to follow. If you complain about something specific, make sure you don’t do the thing in which you complain.

With this being said, let me discuss this topic from the judges’ and competition’s standpoint. Whether it is Judge or Tallier/Auditor that sets the computer, it takes time and must be done in haste. This adds a tremendous about of stress which can quickly change a mindset and cause distractions. I’m sure everyone has received a judge’s critique that started late and the judge had to “play catch up”. This could have happened because of a computer delay. As hard as they try, judges cannot be 100% focused on the stage if in the back of their minds they are wondering “is the computer going to work anytime soon” or “hurry and give me the right score sheet”…. or worse “I’m not on right score sheet”. If the same studio skips and holds repeatedly, the judges are very well aware, and right or wrong, it usually reflects in the score. From my experience as a Judge and National Director, I honestly believe that it happens subconsciously, but happen it does. I have watched scores come through for years and based on numbers, this is a fact. Dancers that continue to perform with quick changes are usually admired and subconsciously rewarded, I believe.

Unfortunately, there are judges that complain in the break room to each other and to the staff about studios that hold numbers. Some competition owners and staff do the same. If there is a studio that seems to have a “holding problem”, everyone will know. Trust me; you don’t want a bad reputation in this business. Everyone knows everyone, from staff to owners to judges.

Continuing on the topic, let me tackle the myth of going last is better. Believe it or not, judges are normally not aware of the “last act in the category”. Even if they are following along in a program, this is the last thing on a judge’s mind. Judging moves QUICKLY!!! There isn’t time to focus on anything but the routine on stage at that time. Judges are concentrating on scoring and verbalizing their critiques; therefore, the prior performance is forgotten. Every routine is scored on its own merit not in comparison to others. I’ve heard it said many times that people want to “go last in the competition”, “go last in the category”, “go last before the break”… It isn’t worth holding. The judges have been in the chair a long time and are looking forward to a break. Knowing they have to go back in the program to pick up an act is a negative. If you are scheduled to be last, it’s another routine that just happens to be the last one before their break and will be scored fairly with no advantage. My advice:  Go in order. You will score better if you do for these reasons.

There is also a myth that going first in a category, after a break, or at the start of the competition is a bad thing. This myth is….FALSE.  Judges are fresh, eager and excited when they start the day or set. They have usually just eaten, had a good chat with their peers and have nothing in their mind in which to make a comparison. The first act sets the bar. If you are first, don’t be upset or take it as a negative. It’s a good thing. I have watched the scores come through for years. Trust me.

It is a fact that some competitions do a better job than others at scheduling. Scheduling is a very hard task and one which I would never want.  Many competitions do the best they can in accommodating requests but no competition can please everyone in this area. With that in mind, running a show is just as hard as competing in many ways. Please be considerate and understand that everyone must hustle and rush at events, the competition staff and judges included. The competition doesn’t enjoy rushing studios any more than the studios enjoy rushing the dancers. Think about this: One studio decides they must hold because they can’t change in three acts and they aren’t the only studio with this problem. Everyone gets back up, the competition gets behind and eventually there will not be any acts between, i.e., the competition has to stop and wait because it’s the same dancers are in the last three acts before awards.  What happens then? NO ONE IS HAPPY.I bet everyone reading this has experienced this exact situation. Everyone is pressured for time and I think this is sometimes overlooked. In the professional world, quick changes happen and often in 30 seconds. Think of quick changes as preparing the students to work. If the program allows three acts for a quick change, please respect the judges, your peers and the competition staff by going in order. I’m not saying that you will not have to hurry but it’s plenty of time. I have watched people do it for years at competition and I did it with my students. It can be done but you have to be prepared. If you have less than three acts, please do your very best to make it but please perform after three acts. You will be admired and respected by all.

TIP: CHECK YOUR TENTATIVE SCHEDULE AS SOON AS YOU RECEIVE IT AND CONTACT THE COMPETITION WITH PROBLEMS OR CONCERNS IMMEDIATELY.

Most competitions send out a tentative schedule. Check your schedule immediately and contact the competition with any problems or concerns. If act numbers are not listed, you can use minutes to determine if you have three acts. Competitions generally assign 3 minutes per act number.

TIP: IF YOU HAVE A ROUTINE THAT HAS A DIFFICULT HAIR AND/OR MAKE-UP CHANGE, LET THE COMPETITION KNOW IN ADVANCE FOR PROPER SCHEDULING.

Keep in mind the person doing the scheduling with whom you are speaking generally isn’t going to be at the competition. Do not let this person tell you to deal with it at the event. They usually do not understand events because they are not dancer teachers and have never worked a show. Insist that it be taken care of prior to the final schedule. This can only be done if you contact the competition immediately….not two days after receiving your tentative schedule.

Thank you so much for taking the time to read my blog. I do not claim to know it all. I am still learning every single day. This blog is simply based on my personal experiences as a studio owner, dance teacher, judge and competition director. I hope it helps in understanding the myth and truths about holding numbers and going last. Have a wonderful competition season!

Dance hard. Dance smart.
Meredith
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You can read more posts from Meredith on Dance Apps Inc. app with NappyTabs, Dancer's Toolbox under Dancer's Dish.

Who I Am

Welcome to The Competitive Edge Blog! My name is Meredith Pennington and I am a Dance Educator. I have spent over 20 years in the dance studio/teaching and competition industries: from studio owner to guest instructor/choreographer, from competition judge to national director.  With my unique work history and experiences combined with my dance education, I have a deep understanding of dance, dance studios and the competition industry. I continue to work as a dance competition National Director and as a guest instructor teaching master classes and setting choreography.

This blog is based on my personal experiences and the knowledge I have gained over the years. I by no means know it all. I am still learning and growing. It is my sincerest hope that you find this blog insightful and useful. Not all topics will be designed for everyone but I hope everyone can take away something from my perspective as a parent, former studio owner, teacher, choreographer, former judge and national director. Thank you for taking the time to visit The Competitive Edge Blog!

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

FOLLOW MEREDITH ON SOCIAL MEDIA!

Instagram: competitiveedgebymeredith
Facebook:Meredith Pennington
Facebook: The Competitive Edge by Meredith

Twitter: @the_comp_edge