To compete or not to compete, this is a posing question for any studio owner in terms of the “type” of studio they are going to market themselves as. Are you a traditional training facility, solely focused on classical training methods; creating technicians and performers who will go onto company work? OR…does your studio’s curriculum take the route of more of a fiercely competitive school, teaching technique but also emphasizing training elements which is considered today to be “current” and necessary to motivate endurance and prepare students to perform in the competition circuit weekend after weekend? OR are you a balance of the two; with a strong focus on the traditional training methods while providing your students with one or two regionals a year in order to expose them to new performance venues and offer an opportunity to listen to objective professionals give constructive feedback as they would at an audition? All are valid and take very different form. Each studio director and faculty are responsible for setting the tone as to whether they will be labeled a “competition studio” or not.

There are always pros and cons which need to weighed when making this consideration in either direction. Unfortunately, there are those examples on TV which paint a not so positive environment, (though hopefully few and far between,) who use competition to pit our students against each other, scream at them in order to threaten their progress because they know no better way, diminish their self-esteem and allow horrific examples of parental behavior to be displayed in anything but a supportive and nurturing way in order to achieve higher TV ratings. These are extreme examples but sadly, this type of radical glorification of the competition world and support of watching these types of programs is one reason why it is getting such a negative wrap; even if it is just dismissed as being entertaining to watch. 

There are however, many positive aspects to introducing your students to the competition circuit. If we don’t fall into the trap of “following the crowd” that solely presents bare midriffs, tricks and bad technique, provocative content that is not age appropriate, putting pieces up on stage that are mere replications of things we’ve seen a hundred times before, etc., we can provide a venue for our dancers to perform and entertain audiences with their talent, hard work and dedication. Being on stage is the fruit of their labor and why not provide that opportunity for them in as many eclectic environments as we can? Put your studio’s stamp out there and be proud of all you and your dancers have accomplished. Remembering it’s less about the trophy and more about the progress your students have achieved over the season is a key thing to accent entering into competition. Judges’ scores and opinions are subjective. They are getting a three minute snap-shot into the work. You and your faculty are the ones who know where your dancers have come and where they are going best, but feedback and constructive criticism from new, objective eyes is always valuable. The insight they can walk away with is priceless as well. Dancers can learn vast and valuable lessons which are important for any career they enter into from attending competitions; especially dance; teamwork, time management, collaboration, professionalism, self-esteem, performance ability, passion for craft, recognition for hard work and merit, artistry, dedication, focus, commitment, appearance, etc…..Furthermore, don’t exclude the amazing opportunities for them to often take master classes with the judges or guest artists which allow them to try something new and be privy to eclectic teaching styles and learning environments. These are all wonderful things that can be brought out by competition if you and your faculty set the precedence to do so. 

Remember, not everything needs to be about competition either. It is extremely important to be mindful of creating a balance and encouraging our students to perform in many different venues to expose them to varying performance experiences. To be involved in the competition season does not mean you need to be a studio which commits itself to a different one every single weekend. I, myself come from a traditional training studio which did not compete, but as a competition adjudicator over the years I objectively see both the positives and negatives of what it can provide for young dancers. Like anything, again, it’s about balance, good taste and professionalism. The directors are the ones who need to keep our dancers in check and help create the best experience for our students, no matter what venue they choose to dance their hearts out in.

Good luck!

See you in the dance studio,

Jess