Winning Ways

Directors and teachers give us the inside scoop on competitions – and it’s got nothing to do with awards and all to do with the heart.

For this month’s competition-themed issue, Goldrush went straight to the source, talking to 15 competition and convention directors and 5 school owners about the good and the bad, what’s rewarding and what’s frustrating about competitions. We asked them to tell us why they produce or participate in these huge expositions of young talent, how they deal with problems and hot-topic issues like age-appropriateness, and what makes it all worthwhile. Maybe you’ve been in their shoes and will nod your head in affirmation as you read what they have to say. And maybe their words will change your perspective. But one thing is certain: With their years of experience as competitors, teachers of competitors, directors, and judges, these folks know what they’re talking about.

What do we mean when we say a school competes? How many competitions do schools attend annually, and at what level? Of the school owners we surveyed, two attend one or two per year; two attend three or four (and one of those adds two to four convention competitions as well); and one signs up for six. All send their students to nationals, though not all do so every year. They say they have their students participate in nationals to expose them to the best talent and choreography, inspire and motivate them, allow them to gain perspective on what’s out there in the larger world of dance, and make new friends among students from around the country. Butch Theisen (Butch’s School for the Performing Arts, New Lexington, OH) also mentions the value of master classes offered at that level of competition.

Inspiration

It takes a certain type of person to direct a competition or convention, and along the way someone—call them idols, role models, or mentors—offered them the inspiration or guidance that led them to that choice. Most of the directors we surveyed said their parents topped the list—for instilling a solid work ethic, accepting and supporting them in their career choices, and generating a love of dance. Early dance teachers, husbands, personal friends, and former bosses also made the list. For Casey Noblett (N-House Productions and Conventions, Atlanta, GA) it was Jacques d’Amboise, former New York City Ballet principal dancer and founder of the National Dance Institute in NYC. “His teaching methods are incredible, and seeing what he can do with kids from all backgrounds, good and bad, as well as those with disabilities, is so enlightening and humbling,” says Noblett.

Jerry Rose (Stars of Tomorrow/ PDTA/Hoctors Dance Caravan, Waldwick, NJ) says his mentors were “the legendary Duncan Noble, who challenged, inspired, and many times infuriated me! Duncan led so many people to higher ground technically, artistically, and intellectually. And Betty and Danny Hoctor . . . gave me a view of the dance world that I never knew existed.” Pearce McLain (DANCEAMERICA/International Dance Challenge, Ft. Lauderdale, FL) cites Jules Stone, Danny Hoctor, and Bob Kimball, crediting them with forging the industry’s path, and Vickie Sheer (Dance Educators of America, Pelham, NY) names teacher/choreographers Jack Cole, Matt Mattox, Ronn Daniels, Jack Stanley, Charles Kelley, and Harry Asmus as mentors.

Rewards

One way or another, these directors found their way to competitions and conventions—but what keeps them there? We asked them what is most rewarding about working in this arena, and a nearly universal response was “The kids!” Seeing smiles on children’s faces is a great motivator for many of these directors. “Seeing their faces light up when they get onstage lets us know they’ve enjoyed themselves,” says Ginny Faubell (Beyond the Stars Talent Competition, Hamilton, NJ).

Seeing changes in the dancers from year to year is another big payoff. “I love watching the dancers grow and develop and knowing that I may have played a small role in their success,” says Michelle Kresge (Spotlight Dance Cup, Eagle, ID). Marcy Tuttle (Star Systems National Talent Competition, Kernersville, NC) loves remembering “how I’ve coaxed babies onstage with stuffed animals when no one else could get them to go.” Pride, accomplishment, self-worth, poise, confidence, blossoming talent, and the emergence of aspiring professionals—all these visible signs of the positive effects of competition on young dancers were mentioned again and again.

But others find rewards in the larger picture: “I am impressed with the camaraderie and kinship of dance educators and enthusiasts who come together to share ideas, theories, and techniques,” says McLain. And Nancy Stone (Dance Olympus, Danceamerica, Ft. Lauderdale, FL) loves the creativity of the choreographers, saying that every routine brings her pleasure. Sheer mentions “the friendliness among the teachers and having parents tell you it was money well spent,” while Gloria Jean Cuming (American Dance Awards, North Haven, CT) enjoys watching the production come together and giving as much back to the dancers as possible.

Competition directors take their jobs seriously and recognize the responsibility they have to the students who participate. In a society that thinks winning is everything, it can be difficult to send home the message that competitions can be about learning. “It’s important to me that kids learn lessons from competition,” says Kimberly Lyon (Hollywood Connection, Los Angeles, CA). “But it seems that our society is more concerned about everyone feeling good and no one feeling disappointment. The fact is that competition is competitive. There are winners and, dare I say, there are losers. I believe my responsibility as a competition director is not to see that everybody feels good at the end of the day, but that everyone walks away with something valuable. Maybe the lesson is winning with humility; maybe it is losing and vowing to take an extra ballet class each week. Hopefully, I can provide a balanced, real-life experience.”

For teachers, the rewards of competing come in other ways. Naturally, watching their students learn (from their own performances and others’), gain confidence onstage, and grow as dancers is big payback for all the hours of effort they put into preparing for a competition. And several of them mentioned feeling gratified by the camaraderie their students develop, among themselves or sometimes with students from other schools.

Vic D’Amore (American Studio of Performing Arts, Deer Park, NY) enjoys the process of creating new choreography for and with his dancers, but he points out some long-term rewards as well. “Seeing my students perform professionally on a Broadway stage or in a theme park, music video, or movie ranks right up there with the students who are doctors, lawyers, and teachers who write to me to say they ‘attribute much of their self-confidence and success in life to their dance training, and it is still a part of them.’ To that I generally add, ‘And the discipline didn’t hurt!’ ”

Challenges

For teachers, along with the rewards of competing come challenges, mostly in the form of parents and students who are there to win. Theisen comments on how hard it is for some of them to accept the judges’ decisions. “They always have something to say about the outcome, and God forbid if I agree with the judges! They feel that if they received less than first place, the judges were wrong. I feel that students and parents have a hard time accepting rejection. No one can win every time. This should be a learning experience for students as well as parents.”

Bobbie Tauber (Bobbie’s School of Performing Arts, Newbury Park, CA) is frustrated by “parents, teachers, and students who are continually disrespectful to other dancers by running through the theater during dances, changing in the [auditorium], being loud and invasive in the wings, and laughing rudely at dancers who are less skilled.”

Another parental concern, says Shannon Marshall (Shannon O’Brien School of Dance, Seekonk, MA), is “the time and money it consumes.”

Age-appropriateness

Age-appropriateness is a tough but critical issue. Choreography, costumes, and music lyrics and themes are dangerous turf for teachers who aren’t tuned in to the fact that their students are children and should be treated—and presented—as such. Pushing students to do dance steps or tricks that are beyond their ability level is one problem; the suitability of the material to the children’s ages and developmental levels is another. Our respondents were unanimously and vehemently in agreement: Let children be children. Rose put it succinctly, quoting a well-known vineyard’s motto: “No wine before its time.”

Theisen says he won’t tolerate inappropriateness as a judge, and as a teacher he won’t allow it in his studio. “Children grow up too fast; let them be kids as long as possible. I judged recently and saw a 10-year-old perform to a song about abuse. Why do parents want their children to dance to this kind of music every week in class? Let them be happy!”

Agreeing that inappropriate material is a problem is the easy part—figuring out what to do about it is far more difficult. The solution lies in action from all sides: competition directors, judges, teachers, and parents. Competition directors can establish rules and acknowledge those who comply with them. “I make it a point to say onstage, ‘I want to thank the teachers who have maintained the ageappropriate family entertainment policy that is so important to ADA,’ ” says Cuming.

Vikki Anthony (Rainbow Connection, Las Vegas, NV) emphasizes the director’s role: “It is the responsibility of the competition to hire quality judges who have dance education backgrounds and know what is appropriate for what age group and will respond accordingly.”

Kresge takes a big-picture view of the issue but places ultimate responsibility for protecting the children on their parents. “Dance competition directors and judges should not be afraid to establish rules and stick to them—penalizing in some way for inappropriateness, even though it may be uncomfortable. However, the ultimate responsibility lies with the parents and teachers/choreographers. Studio owners should have an avenue for parents to voice their concerns regarding inappropriate material, music, and costuming, and parents should take a stand if they feel that something is inappropriate.” She points out that although competition directors can penalize or disqualify inappropriate routines, they cannot censor material in advance. “Once that routine is performed, the damage is done. Our actions will discourage negative behavior in the future but will not protect an innocent spectator from viewing the material. Parental involvement is the first line of defense.”

Several of the teachers we queried were puzzled and distressed by some teachers’ lack of attentiveness to their students’ developmental needs. “I do not understand why teachers choose costumes, choreography, and music that are not appropriate when there are so many great things you can do with young dancers that are age appropriate,” says Marshall. “There is more children’s music out there than ever before! I think that teachers, choreographers, and parents are ignorant when they send a young dancer onstage looking and dancing like an adult. Most judges are appalled by it.”

McLain says there’s a simple solution: “Teachers should consider whether they would want their daughter or granddaughter represented that way. If they imagined being on the outside and looking in, the problem of inappropriateness would rectify itself.”

Teachers have options and resources to address this issue, according to Carol Wallace (Olympic Miss Dance, Boston, MA). There’s no need to fall victim to skimpy costumes, vulgar lyrics, or personal limitations as choreographers. “Find a local seamstress to add to costumes so that every performer is covered and age appropriate,” she says. “Have a sound tech to cut, edit, or mix your musical selection. Swap hours with or hire a talented teacher you respect to help with choreography.”

Tuttle says it’s realistic to expect more mature music and moves from the older dancers, so she separates the 12- and-under dancers from those 13 and older. Even so, she penalizes those who dance to inappropriate lyrics. “Music has become a big issue with me, because I don’t think teachers listen to the words. Most of my stage staff is under age 30, so they are aware of the true lyrics of many songs, and we do ask the judges to take point deductions.”

Judges

Not surprisingly, both competition directors and teachers look for similar qualities in judges: knowledge about all forms of dance; teaching, performing, and competing experience; objectivity; a mix of honesty and compassion; patience; and experience working with children and teenagers. “Teaching experience is of utmost importance. You can be a fabulous dancer, but if you have never worked in a studio with competition dancers, it’s difficult to understand the work that has gone into the routines,” says Tuttle. Others cited professional attire, a sense of humor, an upbeat attitude, and the ability to inspire. For Lisa Pilato (Lisa Pilato Dance Center, Dracut, MA), consistency is top priority. Open-mindedness is a plus for Marshall, who wants them to try to “see past their personal likes and dislikes.” All say what’s most important is a love of dance.

A sense of perspective is critical, too. “Some judges forget what it was like when they were young, and now that they are working professionals they can be too harsh with criticisms,” says Sheer. “Judges should know the ages of the contestants and what that age is capable of doing. They must give them uplifting comments and encouragement and impress on them the importance of continuing to study.”

The ability to communicate effectively is critical to the judging process if the teachers and students are to learn from the critique tapes. Kresge says she looks for “judges who can provide detailed, technical, and constructive oral critiques. While performing and choreography experience is important, teaching experience is the most critical to providing constructive and useful feedback.”

Tauber appreciates judges who give plenty of positive, constructive comments and evaluates technical ability while rewarding performance ability. They must “respect the work that the dancers do to get to that place,” she says. Attentiveness, too, is essential. “A good judge lets the dancers know he was paying attention by making specific comments, not generic ones. He is responsive to the dancers with his body language during the performance.”

And there’s one last requirement: endurance. A judge needs to be “someone who can look alive and alert for 12 hours straight, 3 days in a row!” says Marshall.

Convention teachers

Many of the qualities that convention directors look for in their staff are similar to those of a good judge, such as professional and teaching experience (with both adults and children), extensive dance knowledge, and the ability to inspire. “They must be motivators,” says Tuttle. “They have a huge opportunity to push dancers into doing things they did not believe they were ready to conquer. They must be willing to come down off that stage or send an assistant to work one on one with a dancer who is having some difficulty.” Hand in hand with the ability to motivate is approachability, which means being friendly, open, and able to relate to a variety of age groups.

Also important is the ability to cope with the large groups that attend convention classes. Cuming says she looks for “someone who can handle a large class and enable the dancers to come out with something from every class.”

Advice

All of the directors and teachers we surveyed emphasized the potential learning experiences that are built into competition. They realize that teachers who are new to competing may find themselves overwhelmed or unable to keep the focus on learning rather than winning. And they may find themselves battling a “win at all costs” attitude from parents. Step one, our respondents say, is to start small. “Take your time getting involved, and start the way you want to finish,” advises Cuming. “Be sure your competition rules will still be in place five years from now; don’t change them with every situation.”

Faubell recommends that studios that are new to competition find one “where their students can feel successful. This may be one that has a recreational or novice division or smaller, one-day competitions. For the first year or two they should avoid competitions that have two rooms running simultaneously. They are exciting for seasoned competitors but very overwhelming for first-time competitors and their parents.”

Jacqui Young (DanzJam, New York, NY) suggests that school owners do their homework before sending in those entry fees—and that includes finding a convention or competition that shares their philosophy about competing. “Take your dancers and their parents to view one, and then talk about the experience. They will be much more at ease at a competition after they have been spectators. Call the organizations you are interested in and get all of your questions answered. You can never have too much information or ask too many questions.”

Keep expectations realistic. “Be patient, watch, and do not expect to score high,” says Tauber. “Listen to the critiques with your dancers. Talk to other teachers at the competitions and learn from them. Support your dancers, and let them know that all they can ever expect is to improve each time they go out. Most of all, let them know to have fun and that it is an honor to have an opportunity to perform, doing something we love so much and have so much passion for.”

Although competitions and conventions can provide great learning opportunities, it’s up to the teachers to take advantage of them. Learning is an active choice, and the drive to improve is one that teachers can instill in their students by example. “Watch the other studios to see what it takes to win and how you can relate that to your dancers,” says Noblett. “Use different music choices and try innovative choreography to wow the judges. At conventions, go to as many different classes as possible. Get the kids up front in those big ballrooms so they can see. Adding in-studio master classes and conventions gives the dancers more personalized attention that can help them succeed in larger conventions or competitions. Expose your dancers to as many teachers and styles as possible. Their edge in the world of professional dance will be to know how to adapt to different choreographers.”

Handling the overly competitive parent can be equally difficult for teachers and directors; clear communication about the school’s competition goals and the event’s rules needs to be in place from the start. Marshall emphasizes the importance of promoting competition “as a teaching tool, a motivator, and a chance to perform onstage—anything more than that (high scores or medals) is a bonus. Parents who take competition too seriously not only put too much pressure on their children, but also on the teachers, choreographers, and other dancers in the school.”

If parents are too aggressive, Tauber suggests trying to educate them about their child’s role in the dance world. “I would let them clearly know the policies of our dance company and require them to sign a contract that [dictates appropriate] behavior at competitions and around other dancers and parents at the studio,” she says. “If they still maintained their attitude, I would ask them to leave the studio and let them know they would be happier elsewhere.”

“It is not about winning,” Young says. “It is about doing the best you can on any given day at any given moment. We are all going to fall in life, so when you do, fall with grace and acceptance. Today you may win, but tomorrow someone else will, and until you understand this you will never enjoy competition or life. And don’t take yourself so seriously.”

Emphasizing the importance of balance in life can help parents keep a healthy perspective. Says McLain: “The desire to overachieve at too young an age can create burnout, especially in gifted dancers. Dancers must rely on life experiences, both positive and negative, in order to bring emotional depth to their performances; this is hardly achievable when a child spends every moment in class or rehearsal. Overzealous parents can often be diffused when the theory of balancing life and dance is brought to their attention.”

“Teachers can help keep things in perspective by creating some team activities and an after-event celebration,” adds Kresge.

“To counter poor attitudes, dancers should enter competitions that encourage personal achievement,” says Shari Tomasiello (Headliners, Randolph, NJ). “Teachers need to be realistic about their goals and teach their students to be proud of their accomplishments. Good sportsmanship should be a priority.”

Teachers’ attitudes toward competition will affect how their students—and their parents—think about it. Wallace recommends encouraging parents to slow down and enjoy the moment. Faubell agrees. “If the children are trying their best and they feel good about their performance, that should be what counts,” she says.

Rose sees a darker side to an overly competitive approach. “Beating someone in a competition and receiving some vicarious form of thrill in victory is akin to physical violence. Instead, a healthy attitude of achieving higher athletic, technical, and aesthetic levels should be nurtured. In other words, be better than your last performance.”

Perhaps more than anything, our respondents emphasize that fun should be a huge part of the competition experience. “Keep in mind that dancers are very hard on themselves, and any added negativity from parents or teachers can cause a lot of harm,” says Terri Shaffner (Encore Talent Productions Inc., Cincinnati, OH). “Dancers need constant encouragement, not constant criticism. Teachers need to learn from the experience and enjoy the weekend. Don’t let your students stress out. Dancing should always be enjoyed.”

Getting it right

These directors and teachers have plenty of advice for those who are new to competitions—or could stand to revamp their approach. But what about those who are getting it right? We asked for examples of schools that take a positive, healthy approach to competition. It turns out that the ones that stand out not only emphasize learning and fun over winning; they do it with a smile, good sportsmanship, and terrific manners.

“One studio in Florida produces top-notch dancers, and with each award it receives, the teacher is gracious and thrilled,” says Stone. “The day after the awards are given, her students come to thank me personally. Through the years, I have received hand-written notes from her students thanking me for the experience. What a pleasure to deal with people like this!”

Young has had nothing but good experiences with Steppin’ Out Dance Academy in Kingston, NH, which demonstrates good manners and a team attitude. “They come to competition to have fun and give the audience a show they will not forget. If they do not win a gold, they are fine with it. If they win a bronze, they are fine with that as well,” she says. “These dancers wish other studios’ dancers good luck and congratulate them after they win. At one of our competitions one dancer did not have a costume, so all the dancers decided to wear their leotards so that they could still perform. They did not get all worked up over the fact that someone lost their costume; they dealt with it and moved on.”

Tauber says her school did a combined showcase piece with Kane Dance Academy in Riverside, CA, and it was one of their most positive experiences. “[The owner] always supports her dancers with a smile and a positive attitude,” says Tauber. “She conferences with them after each performance and lets them know what they will do to improve before the next event. She teaches her dancers to support all the other dancers at a competition and not to get pulled into the ‘winning’ mode.”

Tuttle describes one teacher’s rather unique approach. “She watches every routine and then meets the kids backstage and honestly tells them what she thinks of their performance. During the awards, she goes outside, saying that [the decisions about awards] are three people’s opinions and they must accept them. She also asks them how they think they performed, prior to the award ceremony. To this studio it is totally about the performance and not the award. The funny part is that every year someone has to go get this teacher to come up onstage for more than one overall award.”

Two schools stand out to Kresge: Studio “D” in Omaha, NE, and Miller’s Dance Studio—Tour de Force in Aurora, CO. “These directors stress the importance of their dancers being the best they can be at their level,” says Kresge. “They teach their dancers to be supportive of one another, respectful to other dancers and studios, and polite and appreciative to the event producers. They establish competition rules for dancers and parents to follow and maintain a positive perspective about the entire experience.”

Noblett, who helps schools develop competition routines, says she loves to work with Power Explosion in Charlotte Hall, MD. “The girls go into competition with such positive attitudes. They appreciate other talent and know that second place isn’t the end of the world, and they push harder. Stacey, the director, tries to expose the dancers to different choreographers, which helps them to diversify their talent as well as competing.”

Apparently simple respect for your surroundings and others can get you noticed. “In the spirit of generosity, many teachers have lent shoes or music to others or let them go ahead of them in a lineup,” says Wallace. “With one studio, after a competition there is no trace that anyone was ever in their dressing room—not a single sequin on the floor! The teacher makes sure that all her performers work as a team to pick up and clean before leaving.”

And Shaffner points out what seems to be an obvious truth: “The nicest and most cooperative teachers seem to have the nicest and most cooperative students.”

Secrets to success

Success can mean different things to competition directors and the teachers who send their students to their events. But not always. If teachers and students feel successful, often so do competition directors. In terms of a hassle-free experience, both camps mention the need for good organization and planning—and lots of plain old hard work. But in terms of what teachers hope the weekend will yield for their students, it’s all about personal reward. “I believe that walking away with a good attitude about the weekend, no matter what the scores were, is a success,” says Marshall. Approaching competition as a performance opportunity rather than a rivalry works for D’Amore and his students.

Tauber measures success by “the growth each dancer takes away from the competition. Has she improved in her performance, technique, self-confidence, and how she handles mistakes? Has she had fun and been inspired to work harder? Has she broadened her understanding of the dance world? Have her eyes been widened to the possibilities of her achievement? Has she learned more about good sportsmanship? Has she made at least one new friend?”

Competition and convention directors know that hard work, excellent organizational skills, perseverance, and a focus on fairness rather than politics will lead to a successful business. But many of them emphasize the importance of making other people happy. “Every dancer, every teacher who walks across my stage knows that they competed with and learned from the best talent in the country,” says Tuttle. “And beyond that, I listen to my teachers and try to make their lives easier. I try to make the parents and kids as happy as possible with their dance teachers. I try to ease the burden, because I know that in the long run we are all in it together.”

Sheer, too, keeps the teachers’ point of view in mind. “I was a dance educator for more than 40 years, so I think like one. That understanding and knowledge is essential in the competition/convention business.”

Targeting basic human needs is an approach that works for Rose. “Being appreciated is one of the most basic inner necessities of self-esteem,” he says. “I try to extend the feeling of accomplishment above all. When I’m successful, I can read it on the faces of the participants.”

Understanding your clients and their needs is a smart business practice in any industry, and competitions are no different. “It is so important to know your client,” Noblett says. “Every dance studio is different in terms of size and the kids’ capabilities. The more you know about who you are working for, the better you can customize your services to meet their needs and the needs of their dancers.”

For Wallace, good customer service means “working every show, watching every act, overseeing every detail.” And Kresge solicits student, teacher, and employee feedback in an attempt make her events better. “I implement changes each year,” she says, “to enhance and improve and not become stagnant.”

Customer service is important at DEA, says Sheer. “We work as a team and try to give the teachers what they ask for regarding age divisions and categories.” But high standards are equally important at the organization’s workshop- based competitions. “We try to keep the standard of dance high and impress on the participants that one must work for that medal and score.”

But the real secret to success in the competition/convention world? Young says it best: “I love what I do. When you enjoy what you do, that energy spills over to others.”

Have I Got A Story For You!

Snippets of inspiration and humor from the competition world

A few years ago, I took a few senior students to their first New York nationals. Three much younger dancers (ages 8 through 10) attended but did not compete. They sat and watched in complete awe. On the last day, they whispered together and then asked, “Will you promise to bring us back here to dance when we are good enough?” Last summer, those three young ladies danced on that stage and won the National Senior Championship. That’s why I see competition as the greatest inspiration for our young dancers. I wish the whole world could see the level of dancers that are blossoming in our country as a result of dance competition. —Bobbie Tauber, Bobbie’s School of Performing Arts, Newbury Park, CA

Middle-school students in a rural town in Georgia had such poor test scores that the principal contacted the local dance teacher and asked if she would donate one hour a week to teaching the students dance. Not only did the students bring up their test scores remarkably, they also learned to dance. She has given these kids something that no one can take away from them. It’s wonderful to know that angels wear tap shoes. —Nancy Stone, Dance Olympus, Dance America, Ft. Lauderdale, FL

One of the most inspirational performances that I have ever seen was that of a teenage girl and her handicapped brother, who performed a duet in Fresno, CA. The young man did not have use of his legs and moved about with the support of arm braces. The young lady performed and interacted with her brother, who exhibited his upper-body strength through lifts and movements with his sister. It was a moving performance. —Michelle Kresge, Spotlight Dance Cup, Eagle, ID

Years ago at a large talent search my announcer brought two of the wrong shoes, one black high heel and one beige! She stood in front of a packed audience for hours in her mismatched shoes. Afterward it was funny. Her attitude and sportsmanship was inspirational. (However, to this day I bring extra shoes to every show.) —Carol Wallace, Olympic Miss Dance, Boston, MA

 I took 11 girls to a national DMA convention in Anaheim years ago. When the girls got there, they wanted to go to the beach. I said “No, you have a competition in two days—wait until afterward.” Of course they talked the chaperones into it and they were all sunburned, with blisters. My reply was, “Put those sequins on over the blisters and dance! Maybe you will listen to me next time!” —Butch Theisen, Butch’s School for the Performing Arts, New Lexington, OH

 Early one morning, dressed in a fluffy pink costume and shiny tap shoes and with her hair curled, a 5- year-old girl looked into the still-empty theater with the stage aglow and announced to her mother, “Oh! I’ve waited all my life to dance on a stage like this!” —Vikki Anthony, Rainbow Connection, Las Vegas, NV

Photo Captions (top to bottom, starting with top left): Jacqui Young of DanzJam (right); Vic D’Amore with two young Platinum Award winners at the DEA New York City National Competition, July 2006; Dancers from the Lisa Pilato Dance Center in “Underground Railroad” ;  Members of the Just Plain Dancin studio after they were awarded the

Junior Gold Group Challenge Champions Title at the Rainbow Connection 2005 Las Vegas Nationals (photo courtesy of purplepaw.com); Michelle Kresge, Director of Spotlight Events, Inc. and a winner at the 2006 Salt Lake City, UT Regional Event; Marcy Tuttle, Founder/CEO of Star Systems National Talent Competition; Studio directors Shannon O’Brien-Marshall (right) and Julie Cassamas (left) pose with their dancers backstage at American Dance Awards Nationals July 2006; Kimberly Lyon (center, black dress) with the winners of the 2006 Hollywood Connection Nationals.