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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TRUST THE PROCESS

You can't get from A to D without mastering A, B, and C first. It's the truth. I preach this religiously in my classes. You just can't get the results that you want by not mastering A, and skipping B and C. You have to trust the process. Sometimes the process is grueling. Sometimes the process takes a long time. The truth is this;  you can't cheat and expect the same results as someone who took the time to go step by step. In a day and age where instant gratification is the norm, taking your time to train can try one's patience, but to succeed with proper technique you must be diligent in your efforts. Pressuring your teachers to progress class in a rate in which you are not ready is not the answer. Practicing things that are too advanced will only create bad habits, if you have not laid the proper foundation. The solution is practice the basics until you are blue in the face! Have a strong solid base upon which you can build. The hardest part of technique isn't the advanced part, it's the beginning part. Once you master the correct body placement, the sky is the limit! Get the flexibility, strength, and placement correct so your base is set for everything!

Once you hit the intermediate and advanced levels, don't forget to take a beginning level class to keep your foundation strong. I'm going to switch gears for a minute, but it will all make it sense in the end. If you haven't figured it out by now, I love dance and competitive sports. The late John Wooden (https://en.wikipedia.org/wiki/John_Wooden) is considered by many to be the greatest basketball coach in history.  He led UCLA to 10 national championships in 12 seasons (1964-1975). He recruited and got the best players from high school, including Basketball Hall of Famers Bill Walton, Gail Goodrich, and Kareem Abdul Jabbar. These guys were all great players before ever setting foot on the UCLA campus. John Wooden started every years' first practice by going over the proper way to put on socks, and how to properly tie your basketball shoes. He went over every fundamental, including how to properly execute a bounce pass and how to dribble, before moving on to complex plays, movements, other complexities such as team defense. Dance is no different. You must continue to drill the basics. A basic balance is invaluable. Continuing to practice a single and double pirouette should never cease. Beginning barre work is a staple that should never go away. Working to secure the proper hip placement in extension should never get old. Returning to the core foundation will only make you a stronger dancer. Isn't that the goal? Who doesn't want to be a better dancer? Never look at fundamentals as boring. Think of fundamentals as your future. 

Choreography is a lot more fun if you have security in your technique. Technique is nothing without style. Style is nothing without technique. They go hand in hand. With dance, there isn't an easy way out. You have to earn it. The playing field is equal, and it's all up to you. You decide what the outcome will be. How cool and empowering is that? Take the motivation and run with it.  See how far you can go!

Dance hard. Dance smart.

Meredith
thecompetitiveedgebymeredith.blogspot.com

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COMPETITION MYTHBUSTER: GOING LAST

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, performing first can actually work more in your favor than going last.

There are many things that happen behind the scenes when an act is held. The program order must be changed with the emcee, tally, and the judges, not to mention all the rearranging that must take place with the backstage manager. Whether it is a judge or competition staff member that sets the judges’ computers, it takes time and must be done in haste. This adds a tremendous amount 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, I believe it subconsciously reflects in the score. Dancers that continue to perform with quick changes are usually admired, and I believe are often subconsciously rewarded. Unfortunately, there are judges that complain in the break room to each other, and to the staff, about studios that continuously hold numbers. It's always good to do all that you can to abide by the rules and follow the program.

UNFORTUNATE TRUTH: The competition industry, as is the dance industry in general, a small world. There are friendships and relationships among competition owners, competition directors, competition staff, dance studio owners, teachers, dance parents, and dancers. If there is a studio, or dancer, 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, or knows someone who knows someone.

Continuing on the topic, let me tackle the myth that 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.

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 on this one.

When you hold, the audience is loses track of where they are in the program, as do other studios and dancers. 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? 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 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. Please be considerate and understand that everyone must hustle and rush at event. This includes the competition staff and judges. The competition doesn’t enjoy rushing studios any more than the studios enjoy rushing the dancers. 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.

HELPFUL HINT: 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. Do not wait! If you have a routine that has a difficult hair and/or make-up change, please let the competition know in advance for proper scheduling. Check and make contact ... immediately.

My advice:  Go in order. Not only will you weekend go smoother, but you will help to create a more pleasant and less stressful environment for yourself and for those around you. Enjoy your season, and the gift of dance!

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

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!

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