Are dance competitions good or bad?

Dance competitions are a bit controversial, especially since the TV show Dance Moms brings them to the mainstream spotlight.  Some people believe that comps are great, and others think they only bring negativity.  There's no hard and fast answer.  In this post, I'll run through some facts, then provide my personal opinion.  I encourage you to read this post and do your own research before settling on a side for yourself.

All competitions are different.  They include different age groups, different styles of dance, different choreography and costume requirements, etc.  Some are ballet-only competitions (like Youth America Grand Prix) some are sponsored by religious organizations, and some are only open to local participants.  Not all competitions are like those depicted on Dance Moms, so unless you know for sure, don't assume that each comp is similar those on the show.

The primary thing that holds all dance competitions together is the fact that participating dancers have their performances scored, and those with high scores in a multitude of categories receive prizes.  The prizes vary hugely; some comps give out titles only (first place, etc.), some give trophies or material prize packages, some give cash prizes, and some give scholarships to dance schools or contracts for dance companies.  Additionally, people like recruiters, talent scouts, and company artistic directors sometimes attend competitions to view up-and-coming dancers and gather contact information for those they may want to work with in the future.  Sometimes the prizes or meeting opportunities offered at a competition are important motivators for contestants, and sometimes they are not.

Not all dancers who compete are alike.  Some are dedicated to pursuing dance or media careers, and others go just for fun.  A dancer's attitude toward competing often (but not always) dictates how much time, effort, and money are spent on comps.  Because competitions require original choreography, costumes, entry fees, and sometimes travel expenses, more recreational dancers tend to compete less often and/or travel less for competition.  Some dancers choreograph their own pieces for competition in order to save money or hone their choreography skills.  Similarly, some choose to make their own costumes rather than use custom pieces.

Overall, there are so many variables at play that it's impossible to paint a cohesive picture of all competition dancers.  Some are very zealous competitors who are looking for a dance career, and others are extremely casual.  Now that I've laid out the facts, I'll move into my opinion.

I think dance competitions are a good supplement to dance education for both pre-pro and recreational dancers because they provide valuable performance experience (especially if the dance school does not offer other performance opportunities like recitals or ballets).  Whether or not a dancer intends to have a full-time dance career, performing (and having the performance ranked) contributes to important skills like confidence and working hard.  These attributes are as helpful in an office-job-type career as they are in a dance company.

For some who are pursuing professional dance careers, competitions can provide important exposure and prizes that will help a dancer reach his or her goals.  When talent scouts and company directors attend competitions or prizes include contracts and scholarships, a successful comp can result in a job offer or entrance into a prestigious school.  These attendees and prizes tend to be most helpful when they are known (the comp advertises the prizes or attendees, etc.) rather than just possibilities as they give dancers concrete things to work for.

I do not think dance competitions are beneficial when they take precedence over dance training.  I believe students should be in class (learning one or multiple recognized dance styles or official syllabi from a qualified teacher) at least as many hours per week as they are in rehearsal for competitions and performances.  If rehearsal takes precedence, students will perfect their choreography, but they will not expand their dance knowledge or learn steps in new combinations.  Also, since many competition pieces showcase the most impressive skills, students may over-work one side (like only doing leaps with the right leg in front or only turning to the left) and leave the other side underdeveloped.  This can lead to "lopsided" dancing and even inconsistent muscle growth.  There is also a widespread idea that comp dancers (and coaches) place more importance on tricks than clean technique.  This isn't always true, but it does happen sometimes.  I think this is very harmful to a dancer's training, as it can cause bad habits and even injury.

I also believe dance competitions are not good when they are extremely stressful experiences.  Even the most motivated students require some coaxing to reach their potential, but teachers and parents who push the competition lifestyle risk causing more harm than good.  Constant rehearsals, travel, time out of school, and real or perceived pressure can lead to stress and anxiety, which can make both dancing and life in general not so good.

So, to finally answer the question, dance competitions can be both good and bad.  Since there is so much diversity in the world of competition dance, it's tough to call out any situation as beneficial or harmful.  Don't assume that any single comp experience is indicative of competitions in general, and don't assume that a situation that benefits one dancer will benefit all dancers.

Bowing out gracefully

When dancers make commitments to perform in a show, they are expected to attend rehearsals, work hard, and dance their best on stage.  Sometimes things come up and dancers need to step out.  It can be a hard decision to let go of a part, but in certain situations it's necessary for the good of the dancer and the company.  In this post, I'll lay out the dos and don'ts of respectfully leaving a production.  (Note that when I refer to "company" in this post, I'm referring to any team or group [including local and youth dance companies] that regularly performs dance productions.  The procedures for bowing out of parts with professional dance companies is different, but follows the same basics.)

First, weigh the severity of the problem.  What's happening, and what impact does it have on your ability to perform?  If something huge happened (like you broke your leg and need surgery and a cast), you physically won't be able to dance, no matter how much you want to.  The same is true for injuries and illnesses where a doctor explicitly tells you not to dance.  It's necessary to bow out for your health and safety.

If you have an issue (generally illness or injury) that causes you to be in pain, miss rehearsals, or have a difficult time with choreography, it may be better to put dancing on pause until you're well.  In addition to preserving your health, it's beneficial to the company to have an understudy step in so the performance can move forward.  It can be tough to decide when to call it, but if you need to step out, it's best to do so as early as you can so the company has time to adjust before the performance.

If you have a personal or social issue with the director or other dancers, it can make dancing less fun and fulfilling.  It can be tempting to call it quits.  However, for the good of the company (and as an exercise in humility and self-control), it's best to stick with it for the duration of the performances.  Unless your safety is at risk, attend your rehearsals and perform in your shows as scheduled.  If things are still not so good, you can quit after the show when you aren't obligated to attend rehearsals and performances.

Once you've decided to bow out, think about how you will address the issue with the director.  It's best (and most sincere) if you do it yourself, but your parents can help if you're young or need assistance.

Most companies and teams have contracts dictating expected attendance and other requirements.  If your issue is causing you to break these requirements (such as missing too many rehearsals), this is a good place to start.  You might approach the director in person or on the phone and say something like, "My injury is more severe than we thought, and the doctor says I need to stop dancing for a few weeks.  Unfortunately, it will cause me to miss a lot of rehearsals, and I don't want to hold the group back.  I need to resign my part."  Always speak sincerely and lay out the facts.  It's fine to apologize or get emotional if it's a tough decision, but never blame anyone (including the doctor or yourself).  Most directors will understand, accept your decision, and work with an understudy to keep the show going.  Some directors may be a bit irritated or frustrated with the situation, but a good director won't hold it against you (especially if there's a valid health reason).

If you want to resume your place with the company after you're well, be sure to do all you can to support the company during each stage of recovery.  Perhaps you'll attend the performance as an audience member and resume taking low-impact classes when you get your cast off.  Even if you can't get back to your old level for some time, continue to show dedication and hard work so the director will know you are loyal and committed to the company and your place there.

What to expect for your first Nutcracker

Most dancers get their first performance experiences in community productions of The Nutcracker Ballet.  It's a great opportunity for young dancers to get stage experience.  Many students perform the same roles, and older students have certainly performed these parts in years past.  There's usually lots of support among Nutcracker dancers, and the holiday atmosphere leads to a super fun experience. 

That said, dancing in a production is a huge commitment.  Dancers must be mature and able to learn choreography.  They must be able to handle the stress of performances (sometimes 10 or more shows).  Rehearsing takes a few hours a week for a month or more.  There will also be fees and expenses to factor in. 

There is absolutely nothing wrong with skipping a performance opportunity if a dancer isn't ready, but sometimes just knowing what to expect can make the experience easier.  In the rest of this post, I'll lay out what is required of most young dancers during their first Nutcracker performances.

First, there will be an audition, which normally happens in late summer or early fall (which is why this post is going up NOW, not closer to Christmas).  Sometimes you must register in advance, and some auditions are walk in.  There is also sometimes an audition fee (usually in the $20-$40 range), and some ask dancers to bring headshots.  Dancers will usually have to wear a specific dress code (generally black leo-pink tights for girls, white top-black tights for boys).   Be sure to do your research and be prepared.   Auditionees will have to pin numbers to their clothing, which helps directors connect names and faces as they cast the ballet. 

For kids under 12, the audition is usually a low pressure ballet class.  The students will do things they usually do in regular dance classes.  There may be sections of choreography taught, which the students will have to learn and perform in small groups.  Young students are not usually expected to show off anything too advanced (like pointe work or big complex jumps or turns), and there's nothing wrong with making a few mistakes as long as students try their best. 

Casting is usually posted anywhere from a few hours to a few weeks later.  In Nutcracker, most young kids are cast as party children, mice, soldiers, angels, or polichinelles (the clown children that pop out from Mother Ginger's skirt).  Sometimes children are background in other scenes such as snow or Chinese, and this varies from company to company.  In small productions, children may receive multiple roles.  There may be a fee (called a "casting fee" or "rehearsal fee") at this time.  This money usually goes to the care/creation of costumes and payment of the rehearsal assistants.  Rehearsal fees range from $20 to a few hundred dollars, depending on the company. 

For each part cast, expect about one hour of rehearsal per the week.  As it gets closer to the performances, expect this to increase, with the maximum being up to two hours of rehearsal per day (this usually happens the week leading up to opening night).  Most studios also require the students dancing in the show to continue attending their regular ballet classes. 

Attendance at all rehearsals is required except in cases of illness, injury, and family emergency.  Students must be present at all performances.  If the rehearsals and performances conflict with another activity or family plans, it's better for your student not to commit to being in the performance.  It's also unacceptable for a student to decide to "drop out" of the show after rehearsals have started.  It's ok to get cast, see the schedule, and decide participation will not work out, but this decision must be made on the spot after casting.  If you can, bring a copy of your family schedule to the studio or theater when you initially look at the cast list to help you see how rehearsals and performances will fit in.  You cannot plan to take a family vacation during the rehearsal or performance period.  If you are already committed to going somewhere during the holiday season, your child may not be able to participate in the performance.   (Most small-company Nutcrackers run generally from Thanksgiving to Mid-December or Mid-December to Christmas.  Some large company productions run from Thanksgiving to New Year's Eve.)

Once your child begins rehearsing, he or she will be expected to learn and remember the choreography.  Students will often be given corrections on how to improve their performances.  Most directors and rehearsal assistants are gentle when working with children, but they can occasionally become frustrated and tell students they are "doing a bad job" or something like that.  Students must be able to apply corrections and not take things like this too personally.

As the show approaches, you will probably be given a list of things your student needs to buy for the show.  He or she may need a nude leotard, tights, new ballet shoes (or ballet shoes in a different color), and makeup.  These items can cost $50 to $100, but many of them are reusable.  (A child can wear new tights to class later, or wear a nude leotard under costumes in many different shows before it is outgrown).  You will also receive a list of rules and procedures for the theater.  Most companies require child dancers to be dropped off and picked up in a specific location at specific times.  Make sure you can comply with this, or coordinate with another parent to carpool.

When dress rehearsals and shows approach, things can get hectic.  Directors and dancers tend to get stressed out.  Many evening shows don't start until 7 or 8pm and can run until 10 or later.  Make sure you and your child can deal with this--afternoon naps and healthy snacks are definitely helpful.  Sometimes people (directors, dancers, etc.) can get grumpy or emotional.

Sometimes backstage environments are crowded, not super clean, and age separation can get weird.  Usually young elementary school children are kept busy backstage with activities and adult chaperones, but sometimes children ages 10 and up are put together with teen dancers who are supposed to be mentoring them.  This can be an extremely good experience if the older dancers are mature and helpful, but sometimes conversations turn to boyfriends, menstrual cycles, and songs with dirty lyrics.  Most of the time it's no big deal, but be aware of what could go on.

Attend your child's performance as an audience member at least once.  You will probably have to purchase a ticket for anywhere from $15 to nearly $100, depending on the venue and company in question.  Meet your child after the performance and congratulate him or her, regardless of what happened during the show.  If you can provide a small gift, like flowers or a card, it's appropriate to give it to your child now.

It may seem like a lot is involved in supporting a child through a run of The Nutcracker, and it's true.  There is a lot.  However, if a child has aspirations to dance as a professional, early stage experience is priceless.  It's extremely helpful in getting a student on the right foot for a professional dance track.

Dance and Glasses

Jennifer Garner takes her glasses-wearing daughter to ballet class.

It's always a challenge to wear glasses while exercising.  The glasses could slip, but you could also slip if you can't see where you're going!  Dance is both a fun physical activity and a visual art form, so policies regarding eyewear vary from situation to situation.  Here are some general rules for wearing glasses for dance.

Most young children's classes and purely recreational programs for people of all ages allow dancers to wear glasses that stay on easily during movements like simple jumps and turns.  If your glasses don't stay on well (and you can see ok without them), it may be advantageous to take them off for parts of class that include jumps and turns.

Some pre-professional dance training programs allow students to wear glasses to class, and others specifically prohibit it.  It will be mentioned in the dress code if students are not allowed to wear glasses.  If glasses are not allowed, I recommend getting a prescription for contacts from your eye doctor.  Even if you only wear the contacts for dance class, pre-pro programs (which generally require 9 or more hours of dance class per week) are intense enough that it's worth it to be able to see well during classes.

Most of the time, glasses are not allowed for performances.  Sometimes they are allowed for informal recitals, but generally performers must not wear them on stage.  It's usually ok for young children and performers with weaker prescriptions to go glasses-less for the show (try to rehearse without glasses to get used to the feeling).  Older students who perform regularly and/or have stronger prescriptions should wear contacts.

For any dance scenario that involves lots of advanced, fast turns (like fouettes) or partnering with turns and jumps, glasses are a safety hazard and should not be worn.

Spanish/Kitri Dancewear Inspiration

This dancewear inspiration series will give you inspiration to style your dance wardrobe after your favorite ballet characters.  Whether you are looking for inspiration in an upcoming rehearsal or you're  just enjoying dressing up, I hope these looks can inspire you to have fun with your look.

There are a few Latin leading ladies in classical ballet.  Kitri of Don Quixote and the Spanish variation of Nutcracker are among the most popular, but Paquita and Carmen fall into this category as well.  These ladies are spicy and sultry, and they often wear red, black, and lacy attire.  This look is works perfectly for rehearsals for any Spanish-inspired role.

What is a foot stretcher?

A foot stretcher is a device that assists a dancer (generally a ballet dancer) with working and shaping the foot to achieve a more exaggerated pointe.  Most foot stretchers are made of wood with some sort of attached strap to hold the toes and top of the foot in place.  Some stretchers are made to be placed on the ground, and others are made to be held in the hand while the foot works.  Foot stretchers are extremely effective in improving the look of a pointed foot, but they can be dangerous if not used properly. 

From the beginning, dancers are taught to pointe and flex their feet to work their muscles and get used to making a pointed foot shape.  It's common to see little dancers as young as 3 years old sitting on the floor working their pointe and flex exercises.  When female dancers reach age 10 or 11, they must increase their foot strength and flexibility to prepare for pointe shoes.  It is necessary for dancers to be able to pointe their feet in pointe shoes, which is sort of like being able to pointe your foot while a composition notebook is taped to the bottom of it.  

Just doing ballet is enough to strengthen feet and improve flexibility in order to perform well en pointe and on flat.  However, for students who compete in ballet competitions or have professional aspirations, dancers with more aesthetically pleasing or exaggerated pointes tend to fare better.  Also, the more flexible and strong the foot, the easier it is to hold beautiful positions like a pointed foot held in arabesque. 

Foot stretchers come in as the "tutoring" that takes already proficient students to the next level.  Almost all ballet students who perform at an advanced level have enough flexibility to use a foot stretcher properly and without risk of injury.  The stretcher holds the foot in a pointed position (ideally just beyond the dancer's natural ability) to gradually increase the pointe with the goal of eventually being able to hold the heel and the toes on the ground at the same time when pointing the feet from a seated position with legs stretched in front of you (admittedly, this is much easier for dancers with large feet and long toes).

This is completely safe for advanced dancers who already have decent strength and flexibility and use foot stretchers for a few minutes on each foot per day.  The danger factor comes in when dancers who are not already strong and flexible use foot stretchers that are too difficult for them.  Some dancers who are still toward the beginning of their dance training see foot stretchers online and believe that these devices will help them become advanced very quickly.  This is not true; it's actually a very bad idea for beginners to use foot stretchers.  Forcing an untrained foot into a foot stretcher and/or using it for too long at a time can cause damage to the feet.  Forcing a pointe can be as detrimental as forcing the splits.  Muscle can tear, which will result in pain and slow-healing injury. 

If you are an advanced dancer with well-established strength and flexibility and you are interested in trying a foot stretcher, I recommend purchasing one from an online source like discountdance.com.  Commercially produced foot stretchers are made so they will not over-work your foot.  I don't advise trying to make your own, as it's easy to make it either too tight or too loose (which can either injure you  or do nothing).  Use the foot stretcher for no more than 5 minutes per foot per day at the beginning, and slowly work up to a maximum of 10 minutes per foot per day.  Stop using the stretcher immediately if you feel sharp pain or a tearing sensation.  Remember to hold your feet in a flexed position as well to maintain and improve your entire range of motion.