What Competition Dance is Really About…

There is unfortunately a really bad stigma with us “competition dancers” or “competition studios” or whatever else people may want to label us as. People that don’t completely understand what it is that we do or the goals we set out are quick to judge and say things like, “You’re just paying for a trophy,” or “It’s not all about winning,” or anything else of the sort.

Yes, it partly is about winning. I would be lying if I said otherwise. I am a naturally competitive person so of course, I want myself and my dancers to come out on top. And if all of these naysayers didn’t feel the same way, they wouldn’t register their kids to COMPETE. The operative word in the entire phrase ‘dance competition’ is competition. So yes, there will be a ranked winner. Just because you aren’t top 3 or 5 of your category, doesn’t mean you lost. It just means that your A-game wasn’t as strong as those other people’s A-game’s on that day. And that’s okay.

I come from the days of awards ceremonies consisting of 1st place, 2nd place, 3rd place and everyone else got an Honorable Mention. It was a pat on the back, it was a ‘good job, but maybe next time.’ It was a reminder that they valued us being there, but to keep training. It was never taken as “I’m not good enough,” or “My costume doesn’t have enough rhinestones,” or anything else. Just to keep trying. And that was okay. I am sure that there were times I was upset, but it never stopped me.

So is it really about getting a Double Platinum? Double Diamond? Or whatever buzzword that insinuates being the best at any particular circuit? No. Is it about leaving with the biggest or the most trophies? No. Not for me. For me, as a teacher, it is about my dancers doing their personal best. Let’s be honest. Everyone goes home with trophies or plaques or ribbons and pins, so how do YOU feel about what YOU presented? We know when we did well and we know when we did not so well. (Sidenote: I don’t want to haul all those damned trophies around. I could care less ha!)

What it is about is getting a tangible representation of the hard work put into these dancers and dances. My parents still have all of my trophies as well as those of my siblings in other activities. From the top ranking one, to the lowest ranking one. It’s nice to be able to look back at your journey in those frivolous trophies and ribbons.

It is about my message and voice as a choreographer being seen, heard and understood. It is a chance for us choreographers to get feedback from our peers in the judge’s critiques. We all know that we can drill the exact same thing week in and week out, but the second that Andy Pellick from NYCDA or Kim McSwain from NUVO, or anyone else for that matter, can say the exact same thing and it clicks. And if that is the only good thing that comes of the entire weekend, then I will gladly take it.

It is about boosting the dancer to work harder or keep working as hard as they have. These trophies and ribbons and plaques that we ‘pay for’ are a physical measure of our commitment to our craft, our team, and our studio.

So no, it’s not about winning. It is about being rewarded for our level of dedication. Sometimes we come out on top, sometimes we don’t. I always tell my dancers – If you want a platinum level ranking, you need a platinum level rehearsal and mentality.

When studios set out to get X amount of platinums or scholarships, that’s when it goes awry. It puts an insane amount of pressure on your dancers and they are so concerned about being the best as opposed to being themselves that they may fall to the side. Nurture talent and artistry, not trophies and platinums, friends.

In the meantime, keep training and loving dance.

XO,
#DanceTchrProbs

10 Tips for a Successful Convention Audition

We are all familiar with it. The important, and often times dreaded, convention scholarship audition process. While convention scholarships are great to receive because your parents can some a buck or two at a later date, they are not everything.

I think the entire process of scholarship auditions is a great learning tool for those dancers who would eventually like to pursue dance as a career. Just remember that even though you are coming with your A game, so is everyone else, and that sometimes your A game isn’t what they were looking for. Don’t let that defeat you. If you, or your teachers, feel good about your audition process and how you looked in said dances, take that as a win as well. Teachers can play a pivotal role in the overall feel of auditioning in convention rooms. I often tell my dancers to go in with no expectations and no limitations. Sadly, there are teachers out there that set such a high pressure on their kids that the studio must come home with X amount of scholarships. Bottom line, just remember you are out there for exposure and experience, not to prove that you are better than someone.

Just like anything, auditioning is a skill. There is a way to improve if you take the proper steps. After years and years of both convention and professional auditions, and many auditions not booked, I have come up with things that have made myself and my dancers successful. There are also points that I have noticed from those kids that are continuously winning scholarships. Our peers can be great teaching tools to us as well, so don’t be afraid to learn by observing in class.

1. SMILE. The last thing the convention class teachers and judging panel want to see is a bunch of kids that don’t like like they are enjoying what they are doing. So practice performing with some sort of emotion on your face. It doesn’t have to be a big ol’ Broadway smile, but there has to be some resemblance of love and passion for what you are doing. Even if you don’t like the combination you are required to perform, you must make it look like you do. My ballet teacher growing up always used to tell us, “a great dancer isn’t great if they aren’t a great actor.” Obviously, within reason – make sure it is or appears to be genuine.

2. Pay attention. Asking questions in a class of 250 kids can be intimidating, but don’t let that interfere with your success. Make sure you are paying attention and asking the right questions! You can sometimes ask someone next to you for a quick clarification, but don’t let that become a habit. Don’t only pay attention to the teacher, but also to their assistants. A lot of the time, these assistants have been doing this same combination all season and they know exactly what the choreographer is looking for. Watch them. Look at their body posturing and gestures. A TON can be learned just by watching, so take the time to just watch. When you do, don’t watch to talk about how good they are, watch them to take something from them that will benefit you.

3. Go in more than one group. Just like anything else, practice makes progress. Some days, our body needs more than marking it on the side, trying to avoid the 25 other people doing the same thing we are right next to us. Don’t be afraid to jump in more than one group. If it is not the group you belong in, go to the back of the group. This is your extra practice time – that way, when it comes to your actual group, you can feel more confident and you can get in the front and utilize your time to shine.

4. Take chances. Don’t be scared of yourself. If you have skills that you aren’t showcasing, figure out a way to do so. Now…that doesn’t mean change the combination completely and just do 16 fouettés to a triple pirouette and a jazz split because that’s what you do well. It means, play with the dynamic of the choreography. Find what you sections you can play to your strengths and the moments where you can stand out and catch eyes. Again – watch those around you. If three other people are throwing those dang tilt drop things or aerials, chances are…you shouldn’t. Even if you don’t feel 100% with the choreography, still go for it. I would rather someone be wrong and strong then right and boring.

5. Don’t be afraid to get to the front of your group. It can be intimidating. I know. But, if you don’t push yourself, no one will do it for you. You might be going 100% full out and living your life in the back of the room, but unless you don’t get yourself to the front or at least middle of the group, you may not get noticed. Not that the judges are only watching the front few people, but I know for me, I would translate you staying hidden that you don’t completely believe in your talent and what you are giving. Take your place at the front of the group and don’t let anyone move you. This is also a big lesson for the rest of your life. It’s a hustle, especially if you want to be a teacher or choreographer. Nothing is ever handed to you and unless you can look at yourself as a product and are able to market yourself as such, you will get stuck. Fight for what you want.

6. Be aware. Watch the judges. See who or what they are paying attention and looking for. If in class, they specify that you need to hit fourth position on count 4, MAKE SURE YOU DO IT. That is a one way ticket to get noticed. If it is being drilled, that means they aren’t seeing it. The best dancer in the room could be next to you, but if you hit fourth on 4 and they don’t, I bet you’ll get a callback. Attention to detail is necessary.

7. Be supportive of others. Believe it or not, you might be dancing with these people for a really long time. Maybe not directly, but the dance community is small and tightly knit and I can almost guarantee that you will run in to them in the future. Be supportive. Tell someone that they did a great job. If someone tells you good job, say thank you. Be genuine. You may not know each other or work in together now, but you never know what could happen in the future. Start making networks now to benefit your future.

8. Be thankful. When you get that call back, but don’t get the scholarship, go thank the people running the audition. Take that chance to introduce yourself. Chances are, they will ask you where you dance and will keep an eye out for you next time. Again, it’s all about establishing a network.

9. Life goes on. I know that getting on that stage for the awards ceremony is a big deal. I really get it. I’ve been there. I also know that we work our butts off and want the best and what we are worth. But, we also have to know that we aren’t right for every scholarship, and eventually every job, that we audition for. Life will go on. I promise. When I didn’t get something I wanted, my parents would always ask me what I learned from the experience. Take a second to ask yourself that. Notice what you did well as well as what you can improve on. Ask your teachers and LISTEN to everything they say – not just the critiques.

10. Have fun! Dance is fun. We started because we had dreams of becoming this prima ballerina, a male soloist in some company, or because we wanted to be on SYTYCD or dance for Beyoncé. (That second one is still my goal.) If we lose that personal drive, then it becomes a job and very one-noted. Remind yourself why you dance and why you love it so much. Remember that you are surrounded with your dance family, both immediate and extended, and realize that sharing these learning moments are to be cherished. You may hate that one convention weekend now, but when you go back to think about it later in life. You will remember more of the friends and memories you made. These weekends are exhausting in the now, but teach us so much for the later.

From time to time, I will treat a class at the studio as an audition. I will let them know what they are auditioning for, what I am looking for and we will have at it. Teachers – I would implore you to use that tool as well. It can work wonders as a tool and sometimes, these dancers we see all the time, will shock you. If they are able to feel comfortable auditioning in their own familiar space, it will translate in to the other arenas for auditions as well.

Dancers – realize your worth. Keep working for what you want. Don’t give up. Don’t get defeated!

XO,
#DanceTchrProbs