|
 State
of the Art
Competition directors sound off on the health of the
competition industry
The competition industry is booming and evolving, and some of
the changes are sparking controversy among competition
insiders and participants. In this survey, 10 competition
directors respond to several hot-topic questions, and some of
them also tell us what’s on their minds. Thanks to the
following people for contributing their thoughts and ideas:
Adrenaline Dance:
Jeremy Keeton, owner and director
Beyond the Stars Talent Competition, LLC:
Ginny Faubell, co-director
Dancers Inc.:
Dan Barris, national director
Encore Talent:
Terri Shaffner, director
Headliners:
Shari Tomasiello, national director
International Dance Challenge and DanceAmerica:
Nancy Stone, executive director
New York Los Angeles Dance Conventions & Competitions:
Skip Costa, national director/CEO
Olympic Miss Dance:
Carol Wallace, national director
Spotlight Events, Inc.:
Joe Walker, general manager
Star Systems:
Marcy Tuttle, founder/ CEO, and Casey Tuttle, national
director
Many teachers say that they need to keep up with the trends by
emphasizing tricks or technique over artistry and creativity;
they think their students won’t score well if they don’t. Is
that true?
Adrenaline Dance:
No. Technique is most important, but the idea is to showcase
good technique embedded in fresh and innovative choreography,
which does not necessarily mean tricks. Tricks can be
impressive but should never override technique and
choreography.
Beyond the Stars:
It is important to acknowledge that in an art form that is
highly subjective, there cannot be one formula that guarantees
success. Each panel of judges has its own “personality,”
complete with style preferences and technique standards. We
remind our judges that they are not judging the style of a
dance, but rather the ability and performance of the dancers
within that style. Good technique and clean execution should
always score well. Tricks can have that “Wow!” factor and can
sometimes give a dance a higher score than another dance of
similar quality. However, too many tricks detract from the
artistry and can actually be a detriment.
There is no substitute for solid technique, and that makes the
difference between high gold and platinum or first and second
place. But often it is the unusual or most creative dance,
with solid technique, that stands out.
Dancers Inc.:
A perfect example happened at one of our events this season. A
fabulous young dancer was beaten by a double pirouette and a
gorgeous battement. The first girl was technically flawless,
capable of doing six to eight pirouettes. The second girl was
equally gorgeous, with a stage presence that said, “Watch me.”
That day the judges were more impressed with the stage
presence than the turns. The following day, at our teachers’
discussion with the judges, the judges stated that the
flawless technician was beaten by an artist. They described
the second girl as passionate and a performer and said they
found her refreshing and genuine. She wasn’t as technical as
the first dancer, but she was a joy to watch.
Encore Talent:
We feel that strong technique and choreography are more
important than tricks. We do not allow tricks in jazz, tap,
lyrical, etc., but do allow them in other categories.
Headliners:
Our judges constantly comment on how they wish teachers would
stop filling routines with tricks. We emphasize the KIS
theory: Keep It Simple. Emphasize the students’ strengths and
make sure they have a strong foundation before moving on to
more elaborate movements. In most cases teachers throw in
tricks or movements that the students are not yet able to
execute, which actually hurts their scores. The cleaner a
routine, the higher the score.
International Dance Challenge/ DanceAmerica:
Teachers should not feel that they have to keep up with the
trends by doing so many tricks; however, I feel that technique
is not a trend. Good technique is essential for any piece of
choreography. In order to execute tricks well, you must have
technique. I enjoy seeing tricks in a routine when they are
executed properly, but many times I see them done poorly. A
routine that is clean, creative, and technically correct will
always get my vote. For me, a clever, creative routine would
outscore one that is full of tricks.
NYLA Dance:
If a dance is creatively choreographed and performed,
regardless of the presence of tricks, it should be rewarded.
Spotlight:
Judges get tired of seeing the same tricks performed over and
over. Innovative, artistic choreography coupled with
exceptional technique will always overshadow routines just
filled with tricks. So many choreographers feel the need to
fill a routine with tricks in order to garner high scores;
however, this is a misconception. A routine founded on sound
technique with the artistry of the music will impress far
better than a routine full of tricks done repetitively.
Star Systems:
Technique must be in place in order for the choreographer to
add creativity and personal artistry. Summer classes should be
dedicated to technique and style and should continue through
[the fall]. Bringing in guest teachers to teach different
styles is always a plus for a studio. A technically trained
dancer is so much fun to choreograph for, and the choreography
will come together so quickly.
What suggestions can you offer teachers on how to be creative
yet still produce dance routines that place well?
Adrenaline Dance:
Try to choose music that is not overused. Although doing 20
turns with good technique elicits a “Wow!” think of a way to
show mastery of a skill in a different way. Teachers should
take class themselves, from as many teachers and
choreographers as possible. Exposure to a variety of styles is
a great way to keep your choreography fresh. Never be afraid
to try something that you haven’t seen done before!
Beyond the Stars:
Creative inspiration can come from anywhere, and teachers
looking to expand their creativity should always be open to
broadening the possibilities. Brainstorming with other
creative people can spark unique ideas that teachers can
develop into their own vision. Instead of using the same songs
as everyone else, use a poem or portion of a story that could
be performed with or without music. Better yet, have someone
write an original story, which allows for total creative
control. The story influences the choreography, but the
choreography can also influence the final version of the
story.
The final step to being more creative is to remember that the
performers must be entirely in character. Everything from the
hair, makeup, costume, and even entrances and exits must go
with the routine.
Dancers Inc.:
Too often, dancers are pushed to do too much. Broadway
choreography, in my opinion, has changed very little in the
past 30 years. At our conventions, the biggest gripe from the
judges and master teachers is that the artistry is failing;
they say passion is what we need to focus on. Technique is
wonderful and necessary, but if you can’t perform, what are
your odds of getting a job? Some routines are so well
rehearsed that the emotional commitment to the music and
movement is lost. I love seeing dancers perform a piece that
is a cohesive blend of choreography, music, and passion and
take you on their journey through emotional commitment,
sight, and sound.
International Dance Challenge/ DanceAmerica:
Use your imagination— come up with a crazy idea and run with
it! If an idea appeals to you and it works, add some strong
technique and you probably have a winner.
NYLA Dance:
Props have always been a great way to artistically enhance
choreography.
Spotlight:
Creativity comes from the heart. It is something that occurs
by truly listening to, feeling, and becoming a part of the
music. Use music that inspires you, not just a popular tune.
Pull from real-life experiences, tell a story, and let the
emotion of the piece show. This may help creativity come more
easily and will make a routine more memorable and unique.
What do you do to make nationals more doable and affordable
for families?
Adrenaline Dance:
We hold our nationals in Arlington Heights, IL, which is close
to downtown Chicago via commuter rail. Within minutes of the
hotel are shopping malls, Arlington Park Racetrack, and
antique shops. Our hotel location, in a suburb of Chicago,
offers all the safety and accoutrements of a family-friendly
venue, including an on-site water park. The combined
attraction of weeklong classes and competition, as well as
other activities for parents and kids, makes it a perfect
place to spend vacation time and attend nationals as well.
Dancers Inc.:
We try to stay in an area that is close to but not directly
related to the attractions of the area we are in. Our Atlantic
City, NJ, nationals are held outside of the city but only 5
minutes away [in Pleasantville]. We offer different price
ranges for accommodations and always tell people to book
early; they can cancel up to a week beforehand if plans
change.
We include time for the participants and their families to
enjoy themselves. We end the competition early in the evening
so that families can plan a night out together without feeling
the pressure of competition looming. We also have several
parties and lots of classes for the kids to attend while they
are not competing. For example, the Juniors have classes
during the Senior Solo portion of the competition, and vice
versa. We also include fun things like a “Dress Your Director”
pageant, a “Crazy Hair” day, a pajama party for the Juniors
with an ice cream social and a movie, and a dance party for
the Seniors on the farewell night.
Encore Talent:
Our entry fees for nationals are the same as our regional
fees. We get discount tickets for all the family members to
Kings Island, [a theme park] that is only three miles from our
venue [near Cincinnati, OH]. Many of the students from out of
town take advantage of the opportunity.
Headliners:
We look for locations that are family oriented, with lots to
do for all ages. We are conscience of the costs involved and
seek hotels that offer reasonable rates.
International Dance Challenge/ DanceAmerica:
Coming from a family that could not afford a big summer
vacation, I am very tuned in to what nationals cost. We pay
attention to hotel rates and negotiate with the hotel on food
prices; sometimes we get a special convention price. We
research local restaurants as well as fast-food availability.
We pick cities that offer some sort of free entertainment so
that an evening out can be fun and cost very little. We have
no hidden costs, so families know what the national finals
will cost in advance.
NYLA Dance:
We currently offer three nationals so that the studios can
choose the one that is closest to them and families can save
money. We also have at least one of them at the beach to
provide a vacation environment for the whole family.
Spotlight:
When we plan our national competitions, we do so understanding
the strain this can put on a family’s budget. We choose
locations that are within reasonable driving distance for
families, so we have both Midwest and West Coast nationals. We
also look for locations that have family-oriented activities
so that going to nationals can be a true destination vacation.
Finally, we go to great lengths to negotiate group rates for
accommodations during times of the season that would get us
the best pricing, and we pass those rates on to our clients.
Star Systems:
We split our nationals in half so that if families want to
make it a vacation they can; or a couple of moms can bring a
group of dancers and save the family vacation for another
time. Our 12-and-under dancers usually perform the first three
days, then have their championships and are finished for the
week, allowing the family to enjoy the rest of the week or
head home and take their family vacation later. The
13-and-over dancers usually compete in the second half, so
they don’t have to show up at the beginning. We are
celebrating our 20th anniversary and have always done our
nationals this way. Families love it.
What else is on your mind?
Adrenaline Dance:
Competition critiques should be used as an appraisal or
evaluation of a dance performance. We utilize live, verbal
feedback (as well as written and audio) because we feel it is
more useful and powerful if given immediately after the
performance. The response we get from studio directors
validates that perspective. A balanced critique, like “This is
what we liked” as well as “Here is something you might want to
consider to improve the performance,” can be immensely
helpful. We have heard studio directors say, “I have been
telling the students that, but they didn’t get it until you
told them.”
The traditional audio and written feedback, which reinforces
and expounds on the comments that were made after the
performance, can be reviewed later. It can be frustrating for
school directors to come away from a competition with nothing
useful about improving their dancers or performance. Of course
everyone likes to hear what they are doing right, but
constructive, positive feedback can be invaluable. Never
should it be done in American Idol fashion, where
judges inappropriately rip routines (and dancers) apart. It is
all in the delivery and the words, the positive and
encouraging atmosphere. The judges must make sure that the
dancers leave the stage knowing that their performance and
abilities were appreciated and acknowledged, and feeling like
they have new ideas about how they can grow as dancers.
Dancers Inc.:
Do parents really want to see their children dressed up and
dancing like hookers? Too often competition directors are
faced with the infamous booty shake versus the purity of a
dance performed by younger dancers. Some of the choreography
[looks like it should] be performed on a pole with dollar
bills being thrown at the dancers. Judges are often
uncomfortable when young performers display sexuality. It
isn’t appropriate, and the choreography scores should reflect
the distasteful nature of the piece. It’s almost as if shock
value has taken over, and the choreography is created not to
make you think or evolve but to leave a bad taste in your
mouth and waste your time.
Headliners:
We would like to encourage implementing a standardized scoring
system for the dance competition industry. The awards
presented at competitions have become very confusing for
teachers, parents, and students because the scoring
requirements vary significantly among events. We use a scoring
and award system that is comparable to that of public schools.
However, when competitions offer gold awards for scores in the
low 80s, or high gold or platinum for scores in the mid- to
high 80s, they take away the value of receiving anything less
than gold. Since students are used to getting an A in school
for receiving a 90, they think that when they get a gold they
received a better score than they actually did. It can be
deceiving. The awards presented to the dancers should be
realistic for the score received. Let’s bring the educational
value back to competition! Let’s encourage the dancers
honestly so they can feel good about achieving a goal.
Olympic Miss:
Covered bodies are important. Some think shock glitz is needed
to do well in competition— not true! Teachers, don’t second
guess yourself or give in to teen trends or eager parents. A
teacher was amazed that I remembered a costume for her teen
dancers—a solid-color, full-cut leotard that fit well and
covered what the audience should not see— because she thought
it was nothing special. This teacher could have made many
mistakes with this large group. Instead, not distracted by
low-cut briefs, bellies, or skimpy material, we were able to
pay attention to the dancers’ stretched feet and clean arms.
This teacher’s smart, conservative choice of costume lent a
wholesome and polished look that further sold her routine. It
took courage, confidence, and class to outfit a huge teen
group in a classic, simple costume.
Spotlight:
We feel strongly that parents have not only the ability to
influence studio directors and instructors about using
age-appropriate costuming and choreography, but also the
responsibility to do so. They must realize the message that is
being sent to impressionable children and young people about
what is and is not appropriate. The first line of
responsibility lies with the parent to ensure that their
children are not exploited.
Second, it is the responsibility of studio directors and
teachers to react appropriately regarding competition
outcomes, whether the same routines score better or worse at
one competition than another. Too many times, those whom
students look up to—studio directors, teachers, and
parents—make comments that take away from the true purpose of
competing. We believe that judges’ comments and critiques
should be positive and constructive, regardless of whether the
mentors feel the judging was what they thought it should be.
Competitions are a learning experience, and the award levels
received should not be overemphasized. A competition is an
assessment of a performance during a particular moment in
time. It should be communicated to the dancers that it is all
right not to obtain the highest award level and that they
should see it as an opportunity to learn and improve. They
must keep in mind that it is a competition, and not everyone
is going to get the highest award. With all of the aspects of
dance—technique, emotion, artistry—there is always something
that can be learned.
Furthermore, the attitude that one competition judged
accurately and another was unfair solicits the wrong type of
motivation for a dancer. Making excuses rarely, if ever,
inspires improvement. While organizations like ours work hard
to institute systems that make judging fair and objective, it
is difficult if not impossible to take the subjectivity out of
it. All competitions have different values. We believe in the
constant building up of the dancer as a person. Therefore, the
best light should always be cast on the competition
experience, because such an investment deserves a positive
return regardless of the awards presented.
Star Systems:
One thing that concerns my staff and me is lyric content. When
I ask teachers if they realize what a song is saying, many say
no. When we send them to a website where lyrics can be found,
they are stunned. I had one studio edit six songs before they
came to our competition. For us, this has been a good year for
appropriate costumes as well as dance moves, but the lyric
content is a concern. We plan to address it next year.
Another concern is being a positive role model for the
dancers. We encourage them to share if someone forgets a pair
of shoes or needs tights because they ripped theirs. I’m
concerned that the ads and websites of some competitions show
that they feel it’s OK to make themselves look better by
making others appear bad. This is unprofessional and sends a
horrible message to dancers. It is not OK for dancers to put
down their peers to make themselves look good. As directors,
competition owners, and teachers, we have an obligation to
teach this lesson to them.
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