Keeping an Eye on Taste: Thoughts on Age Appropriate Music, Costumes, and Choreography
In the early years of competitions, the phrase “age appropriate” was rarely if ever heard. Now, it resonates through one’s ears on a weekly basis. As an individual, I have attended hundreds of performances and judged numerous competitions over the past 20 years. And, as a former studio owner, I have been involved as a participant in just as many events, if not more. I have been exposed (sometimes literally) to a wide variety of presentations. While the vast majority of these events were pleasurable, there were always a few that stood out, and not in a positive way.
What has changed so drastically to bring the topic of age appropriateness to the front of the line? Why is it on the mind of so many dance teachers, competition directors and parents alike? I decided to seek out some answers, so I queried dance teachers about their considerations when making decisions about age appropriateness. We covered topics ranging from appropriate music, choreography, costumes and getting parents’ input.
One teacher, whose dancers compete three times per year said, “For me, ‘age appropriate’ is what would be a logical choice for any given age group when it comes to choreography, costume, music choice and theme of piece. When I choose a piece of music…I ask myself if they can relate to the lyrics…. It works both ways. I no more want to see 14 year olds dancing to ‘Cell Block Tango’ than to ‘Castle on a Cloud.’”
I feel there is a real theoretical difference in attitude and operation relating to “age appropriateness” between studios who compete and those who do not. In the same general locale, there can be a non-competing studio that operates successfully in a semi-cloistered world, while the competing studio lives out in the open every day. One operates with limited outside criticism while the other is out on display, open to comments on a regular basis. So which one sets the standard for age appropriate dances in their vicinity? They both do. Is one business operation right and one wrong? No, absolutely not; they are just different. There is room and acceptance in this world for both. Hallelujah!
Another teacher, who “very rarely competes,” said, “…we try to provide cutting edge and up to date dance training without falling into the trap of having our students become adults when they are 8-years-old.… There is a gradual progression, not only in dance training, but in content and music selection that allows the students to grow into levels that are ‘age appropriate.’”
Choosing Appropriate Music
I sincerely feel that all this appropriate discussion started with the music, which then caused a domino effect progressing through choreography and costuming as well. When street dance, then hip-hop, became popular, often lyrics needed to be scrutinized before using the music. Sadly, some teachers did not follow through. They did not listen to what was being sung, and the basis for the entire ongoing controversy was set. Dancers, both young and old, were performing hard-line moves set to hard-hitting music. Both were at times too risqué and in many cases, plain offensive. In some instances, competitions stepped in to say what would or would not be accepted or penalized for being considered inappropriate.
It is said that a child’s education starts at home. Well, for dance students “home” is considered to be their studio when it comes to a dance decision. So where was the teacher in this scenario? It is his or her responsibility to guide and steer the students in the right direction.
At our studio, the teachers are allowed to choose their own class music for the older levels, with the powers that be having the final approval. It is usually the lyrics, but sometimes the presentation, that can cause music or choreography or both to be banned from use. However, for recital performances, although teachers are encouraged to make requests and suggestions, music for all routines and levels is selected by the director.
Choosing Appropriate Costumes
When I asked other teachers for their criteria for selecting costumes/and or performance attire, their answers were varied: “I really have no personal criteria for costumes or performance attire. If the dancers are comfortable, and they dress accordingly I am comfortable.” But, based on whose standards? The students’ standards? I think not. It is the position of a teacher to teach, setting the proper dress attire code.
Another teacher said the studio she works at requires costume selections be approved by parents, especially for kinders. “I choose what would look best on all and suit the music, then try to fit price range.” Oh my! Involving parents in any costume style decisions would cause a riot at our studio. I can’t imagine trying to have even two moms, no less all the moms agreeing on one costume for a class of 16 4- year-olds. Each one would have their own idea of what looks best on her daughter, taking all the wrong reasons such as the child’s coloring, complexion and personality into consideration. The studio owner here is the professional, knows what the concept of the routine is and knows best what will look good on all the children. Therefore she/he should make the decision. The studio owner may want to consider input from the class teacher, but never from parents.
A third teacher bases her decision on body type. “First I look at all the bodies in the group and select something flattering to all body types. I am not opposed to minimal costuming if the piece calls for it and if the dancers are very fit and comfortable dancing that way. Also to be considered is style according to the piece, functionality, durability and price.”
I wonder, though: What choreography or music for dance students, not adults or professionals, would call for minimal attire? Even if my students are “comfortable” dancing in “the smallest” attire, that is not the deciding factor, decency is. Skimpy costumes will not fly if I do not think they are appropriate.
That said, I feel that any business must be progressive, without sacrificing the owner’s principles, in order to remain competitive. I do not think that one or two piece costumes are the issue. I feel there are many two-piece style costumes that have good coverage and are decent for all students, depending upon design. While, on the other hand, I have seen some one-piece costumes be totally inappropriate because most of the fabric used is flesh colored illusion, thus causing it to be far too nude looking and suggestive.
The “no tights” look is very popular with today’s dancers. We all know it is not new; it was, and still is, common practice in most modern dance companies. I think it is fine as long as the style of the basic garment is not too minimal. Shorts with good coverage worn with no tights are fine with me; a leotard or panty leg line worn without tights is not.
This brings to mind a time that I was judging a competition held in a hotel ballroom. I was one of three judges sitting at tables on the same level as the dance floor. A senior competitor in the lyrical category was wearing a red chiffon empire waist dress with red trunks and no tights. She repeatedly performed fan kicks right in front of the judges tables, most unattractive in general and even more so because she was visibly in need of a bikini line waxing. I was adamant but polite in my comment that she needed to wear tights with her costume, but my total distaste was reflected in her score.
Age Appropriate Choreography
I was appalled several years ago when judging the teen jazz solo category at a Mid-Atlantic regional. The female dancer was well endowed and attired in an outfit, starting from the inside out that was ill fitting and too bare for her size and age. The repetitive theme of her music was about a soda shop and what they had on their menu such as milk shakes, ice cream and soda pop. There was nothing wrong with the music or the lyrics; it was actually a cute song. The real problem was in how the teacher chose to “act out” the words thru his choreography. On every chorus the dancer spread her arms in second and shimmied her shoulders on the words “milk shakes”; then moved her hands down her body and crossed her arms at her chest on the words “ice cream”; and to add insult to injury did a hip release and front bump on the words “soda pop.” Why?
I asked the teachers I interviewed if they restrict certain movements they feel are not age appropriate in teaching and choreography. The teachers explained that they stay away from choreography that is sexually suggestive or violent. They do not allow inappropriate “touching” or sexual innuendo. They feel that dance training is a process and that certain content should not be introduced until the dancers can understand and accept the concept. Let kids be kids until they become older teens who are then ready to move on to more challenging and mature performances. They do not feel, and nor do I, that it is prudish to reject a “live and let live” attitude that some teachers have regarding their students’ performance. A good teacher can still be cutting edge without being over the top.
Age appropriateness has been a hot topic of discussion in the dance profession for several years now. Answers have been given, outwardly accepted, and yet the controversy seems to surface again and again. Have your questions been answered to your satisfaction? Have you reached your conclusion as to how it applies to you and your students? Do you feel comfortable with your deduction as to what age appropriate is and what it is not?
I want to take this opportunity to thank all my passionate volunteers who responded with such informative responses. It fascinates me to hear the opinions of fellow dance educators.
I trust the answers presented in this article provided you with some additional insight on how your peers feel and address the issue of age appropriateness at their studios. How do you address this matter? Please let me know. Let’s chat at daniebeck@danceruniverse.com.