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 What a
Difference a Letter Makes
By
Marcia Aller
Change the m in competition to an o, and suddenly you’re all
working together!
I’ve come
up with a new word for competition: Combine “cooperate” with
“compete” and you get “co-opetition.” It has nothing to do
with being lucky. It has nothing to do with being handsome or
beautiful. It has everything to do with working hard, being
prepared and determined, and working together. I am talking
about what it takes to be a successful competitor.
If you are
serious about a career in dance, competing should be part of
your dance education. You will learn a lot of life’s lessons
while performing and doing what you love most. I’d like to
share some thoughts about competition that may help you
achieve your goals. As a dance educator and studio owner for
more than 35 years, I feel I can speak from the instructor
side of the equation. As an adjudicator for competitions
across the United States and Canada, I can tell you some
things that might surprise you. And as a hostess for hundreds
of competitions, I can offer some practical tips to make dance
competitions less stressful and more rewarding.
For
Performers
Please
remember that the judges want you to do your best. We are on
your side. Use the competition as a performance opportunity.
If you are only
there to win the highest award you may be disappointed.
Knowing you have done your best
is the top prize.
M ake
friends with the other performers. You will see them for years
to come. You may audition with them later on—in fact, you may
even audition for them at some point. Shared
experiences make good common ground. The dance world is really
very small.
Learn to
change costumes quickly. Have a plan with everything prepared.
Professional dancers can change in less than two minutes.
Make sure
you are totally warmed up—that means arriving early. Warming
up helps prevent injuries and allows you to perform at your
best level. While waiting backstage, focus on your piece. Sit
quietly and visualize your performance.
Never
denigrate another’s performance or costume. It reflects badly
on you.
Learn from
everything you see, from where the stage has soft spots or dim
lighting, to technical dance aspects and dynamic choreography,
to costume design and color that pops or flops.
Appreciate
the award you receive, whatever it is. Congratulate others and
thank the judges. At the end of the day when everyone is
tired, take the time to thank your teachers and your parents.
They are the ones who have helped you along the way.
For
Teachers
Please
choreograph using the dancers’ strengths. If they don’t know
it, don’t show it. It is important that skills are
demonstrated on the right and left side. Personality counts,
but technique is number one.
All judges
appreciate age-appropriate costume and music choices. They
really don’t care to see Lolita up there. Part of your job is
to m ake
everyone comfortable, so please consider body type when
choosing a design. Be as creative with your costume choices as
you are with your choreography.
Rehearse
the kids in full costume and headpiece. I have seen some
costume catastrophes that could take your breath away. Dancers
have left the stage topless, bottomless (or worse yet,
continued to dance unaware of the situation), with masks over
eyes, and hair caught in headpieces, teeth, or costumes. It’s
not funny and so preventable.
If you want
your students to carry props, use them in the choreography. An
unused prop is much ado about nothing.
Patterns
and formations for groups and lines add to the excitement of a
piece. Use the full stage and capture the dynamics of the
music. Entrances and exits are important.
Make it
neat and clean. I’ve heard judges say this so often. If the
choreography is so complex that the performer cannot handle
it, take something out. Often less is more.
Inform
parents about the competition’s rules. Each event has its own
formula; a printed sheet sent home to each family can be very
helpful. Remind your people about theater etiquette. Yelling
“We love you, Chelsea,” does nothing to help poor Chelsea
dance better. It does help her to lose her focus and her
ability to perform at her best. Ditto flash pictures,
noisemakers, pennants, and flags. Help your parents understand
that dance is an art, not a sport.
For the
Host
Label your
music
as prescribed by the competition’s rules, and follow their
turn-in policy. A tape or CD that says “Jennifer’s
solo” doesn’t help. One that says “Wed. 4:45 class” doesn’t
help either. Labeling a piece “For the b oys”
when the entry is called “Bugles” sure can
be confusing. If I had a dollar for every piece of music that
was turned in like this, I could be writing this piece in
Hawaii.
If you have
special costume or prop concerns, share them with the host far
in advance so they can be dealt with to your satisfaction.
Costumes or
props that are messy require more bodies backstage to clean up
quickly. Have a plan for your people so they don’t feel
awkward out there.
Having your
music cut or faded to your specifications on the tape or CD
reinforces that you are a professional. The audience likes a
smooth, clean ending that sounds professional rather than
amateurish. The dancers appreciate it too, and the host loves
it.
Treat
everyone at the event as equal whether they have 2 entries or
122.
Competition
weekends can be fun and educational, but working together is
key. It takes cooperation from performers, teachers, parents,
and directors. It’s a TEAM effort: Together Everyone Achieves
More.
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