Competition dance myth vs fact

1.  Everything is just like on Dance Moms.  

               Myth.  Everything does not go down just like it does on the show.  Most dancers, instructors, and parents are much, much calmer.  The girls featured on the show are also very, very talented, and most dancers under age 15 or so do not dance at such a high level.  Competition is usually less intense at lower levels.  Many dancers compete for fun or as a performance opportunity, not as a “reason for living.” 

                  Some parents, dancers, and coaches are very intense, but most of the time not as much as Abby Lee and company.  Rivalries (usually between studios in the same town) are also common, but usually do not lead to much animosity. 

2.  Sometimes costumes, props, music, and theming outshine technique or ability.  

               True.  The “whole package” of a mediocre routine will never beat out a simple but technically amazing dance, but if two numbers performed similarly well, judges may choose the one they “liked better” as the higher score.  You can’t control whether the judges love dogs or hate orchestral music, so occasionally a number will come out on top simply because the judges found it more enjoyable.

3.  Boys score better.  

               True.  Often numbers that include one or more male dancers have a better “whole package” than routines that feature only girls, and they will score better than all-girl routines that show similar technical ability.  The same often goes for racially diverse groups.  This way of thinking is no more or less fair than the way of thinking laid out in the previous item.

4.  Everyone wears very revealing costumes.  

                Myth.  Some dancers, even young children, do wear costumes featuring bra tops and short shorts.  However, not everyone takes that route.  Some dance schools do not allow students to wear immodest costumes, and individual dancers often choose their own more modest attire.

5.  Competitions are expensive.  

               Fact.  There are entry fees, choreography or additional lesson charges, the price of a costume, and travel expenses.   Some studios cover these costs or make them part of the cost of being on the competition team, and others let dancers pay their own ways.  Additionally, there are dancewear merchants at most competitions selling clothing and other products.  Some competitions give winners only titles or certificates, and the dancers, parents, and teachers have the option of purchasing a trophy or tiara.  Participating in a local competition can cost hundreds of dollars, and out-of-state competitions can cost thousands. 

6.  If I dance in a competition, I will dance on a stage.  

               Myth.  Some competitions are held in large venues like theaters and convention centers.  Some venues have stages, and some use portable stages.  Other competitions are held at schools (not dance schools, actual academic schools).  Some schools have a theater or performing arts center, and others do not.  Do not be surprised if you end up dancing on a basketball court.

7.  Competition dancers have big tricks and bad technique.  

               This one goes both ways.  Some competition dancers do have poor technique, and others dance beautifully.  It comes down more to the teacher’s focus, the student’s work ethic, and the style of dance at hand.

 If a teacher spends most of the coaching time working on something like a flexibility trick, acrobatic move, or big jump or turn sequence, it’s not the dancer’s fault that this element looks better than the rest of the routine.  What is practiced the most usually looks best on stage.  If a student is an exceptionally hard worker, he or she may seek out extra support or personally work on technique.  This should absolutely be applauded, but others should not be blamed for not doing so (especially if their teachers do not encourage this). 

When young students spend most of their time in combo classes and/or competition team practices, they often loose/do not develop understanding of the distinct styles of dance (ballet, modern, etc.).  An 8-year-old performing a “lyrical solo” may not be able to pinpoint any specific movements as belonging to ballet or jazz.  She may not know whether to turn in or turn out, and therefore do neither consistently.  Instructors also sometimes use terms like lyrical, modern, and contemporary interchangeably, which can be confusing to students and contribute to them not retaining style-specific technique.

Other students who train mostly in one style and compete in it often have a better basis of technical skill.  Also, teenaged dancers who have trained and competed in their “home style” for many years often display better technique.

One last note on this topic: some things that are considered poor technique in classical ballet are acceptable other styles and in competition routines.  Girls doing “male” fouettes, dancers performing turned-in pirouettes, and combining floorwork and pointe are all common and accepted in non-classical competitive venues.