When You’re Only in It to Win It
There are more than a few reasons why studios participate in dance competitions. It can be for the performance experience, and, undoubtedly, the exposure to other teachers, styles and dancers is a perk. They seem to be the thing to do; the popularity of competitions and conventions is growing rapidly. But most importantly, they can be an enjoyable time.
However, it seems that it is easy to lose track of these motives when there are titles to be awarded and champions to be made. When it comes to competitions, the most significant objective is a three-letter word, and it is not win — it is fun. Keeping a positive, cheery and productive atmosphere to dance and learn in the studio can sometimes seem a daunting task when faced with competition rehearsals and preparations, but is more important than any platinum or gold medal.
The responsibility of limiting pressure relies on the teacher, and by allowing dance to be the primary focus, everything else can be a positive supplement to the learning experience. The instructor must strike a balance between preparing for a competition and the importance of just teaching technique.
“You need to focus on both,” says Cathy Graziano, a dance teacher who works with the United Dance Merchants of America and is the creator of “Cathy’s Classroom,” children’s dance class music. “Not every kid is going to be a good dancer, and they still need a good atmosphere.”
Many dance schools enter competitions for the benefits they instill in their dancers and go year after year. “I think it shows them the essence of teamwork,” says Susannah Baxter, owner/director of DanceArts Studio in Hot Springs, AR. “It’s fabulous for self-confidence and self-esteem to get out there in front of people.”
While the performance opportunity allows some students to thrive, others can flounder under the pressure of an overly demanding teacher. There will always be the schools that go to different competitions every weekend, or reprimand their dancers for stumbling over a step. Often, they come dangerously close to taking the joy out of the experience.
“The most important thing is technique and teaching technique. Competitions should be a second thought,” says Charles Kelley, administrator of the Dance Educators of America who has been judging competitions for 60 years. Some dance schools are not as focused on technique, and just perform the routine they have rehearsed over and over, which ultimately pulls their scores down. Although being scored for a performance can put pressure on students, most competitions give out many different awards. “Dance competitions are a very positive atmosphere because it’s an educative system and many people have a chance to win,” Graziano says. “It’s a positive reward system, discipline and shows them how to present themselves.”
Winning can become an overbearing thought, as in sports or other competitive activities. “The desire to win is important, but winning is not the be all and end all,” says David Jacobson, the marketing communications manager of Positive Coaching Alliance (P.C.A.). P.C.A. conducts workshops for sports coaches, parents and athletes to encourage them to work together towards the larger goal of life lessons and educational experiences. By instructing all involved to function as a whole, they can achieve better results, which can be applied on the soccer field or in the dance studio.
“Ironically, the more people are focused on winning, the less likely they are to win,” Jacobson says. “There are other circumstances out of your control. It’s about your own attitude towards setbacks and how to prevail over them.”
Whether teaching a competition routine and solo for the first time, or rehearsing it again for another event, this is all done in the name of learning, and should be constructive and pleasurable. “You have to be positive because everyone responds to a positive more than a negative,” says Graziano about teaching young dancers. “The kid does it to feel better about themselves, and they have to want to do it. It’s motivating, not cracking the whip.”
Dance competitions give dancers an extra chance to perform and get into costume, aside from the recital at the end of the year. However, it is important not to inflate the meaning and outcome of a competition more than it should. “We’re not focused on the win, win, win, we do it more for the experience,” says Baxter, who has been taking her students to competitions for about 10 years. “They do their best and try their hardest, and that’s all we ask.”
While most schools will go to a dance competition with a focus and determination to do their best, there will always be a few too focused on winning. The most positive environment is one where everyone can support each other, which starts back home in the studio. “It is the job of the teacher to teach them good team spirit,” Graziano says. The teacher should keep a clear perspective on the event and their goal for the dancers.
In addition to performing, the dancers can also benefit from the exposure to other master teachers, styles of dance and fellow students attending the competition. This can expand their dance vocabulary of steps and give them a better perspective on their own dancing and training. One of the most important things to becoming a dancer is to become aware of the many styles and methods of teaching, even within one technique.
The Dance Educators of America host their own competitions with mandatory workshop classes for the teachers and dancers. “What’s important is the kids take workshop classes so they can experience other teachers than their own,” says Kelley, who also runs the Teacher Training Program. The workshops for the teachers provide an opportunity for them to ask questions and learn better approaches and philosophies to bring back to their own schools.
Competitions will not be for everyone, and depending on how much the dancer wants to be involved in the competitive atmosphere, they will choose the dance school accordingly. Those who want to be at a convention or competition every weekend will look for a “competition school,” while others will look for a studio that only attends a couple per year. As Graziano mentioned, each student will respond differently to the pressures of competitive dancing and will attend a school complimentary to their personality. However, she did note that too many competitions could be overboard for some, while just a few can be very constructive. “Two to three competitions a year is exciting for the kids. It’s a charge,” Graziano says. “Kids today always have to achieve, whether it’s soccer, dance, karate, it’s kind of the norm. They [students] are more adaptable now a days.”
Ultimately solid technique is always more important than practicing a routine or dance over and over until it is perfect. It is important for the dancers to have a technique class that is not always used for rehearsals, and for the younger students that come once or twice a week, their class needs to remain a fun place to learn. Many schools accommodate their rehearsal needs by adding another class specifically designed for the necessary practice time. At Baxter’s dance school, she may sometimes rehearse during class time, but often adds extra rehearsals and a specific competition class that is held throughout the entire year.
The dancers at one school may demand more competitions than at another, and it becomes very specific to the needs and wants of the particular students. “You need to know your audience,” Graziano says. “If you don’t, then you lose your effectiveness as a teacher, then you start losing your joy, and then it’s not fun. It’s a circle.”
Dance competitions have been around for years and have evolved along the way. Kelley acknowledged their predecessor as the talent show, and how they have found their overall structure from the popular evening showcase.
Competitions are a great opportunity for students to perform, build teamwork and supplement what they have learned in the studio. However, it seems there must be a balance between dancing to win and just dancing. While a young dancer can certainly gain much from the experience of striving to win, they are able to achieve more when they are having fun and doing what they love. Many competitions support this balance, but as their teacher and role model, you bring the idea home. Counteracting the pressure of winning and ensuring all have an encouraging learning environment will certainly lead to a greater outcome whether in the studio or on the competition circuit.