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Multiple Competition Solos: How Much is Too Much?

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Blog

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Self-help and Life Enhancement Tips for the Business Owner

As a long time competition adjudicator and teacher who has set endless solos for dancers, the debate over competing multiple solos often comes up every year. With students and parents alike, sometimes the notion is to showcase their talents in every genre and take center stage as much as possible. While it's commendable for a dancer to possess the confidence and commitment to take on all that choreography, it can become overkill and work against the dancer competing.

There are some important things to consider as studio director if this is something you are contemplating for your dancers. The first and most important thing being, setting up your dancers for success. Is competing two, three, four solos really the best approach to doing that and giving them a great learning experience? Some food for thought, sometimes less is more and leaving the audience wanting more is key. If your dancer is competing three solos keep in mind that the first solo is always going to make the judges take notice. Of course it is, it's the first time they are seeing them onstage by themselves. However, each time a dancer comes out, an adjudicator is instinctually going to get more and more critical of the dancer; particularly when we are starting to see the same thing over and over.

In order to combat seeing the "same thing wrapped up in a different bow" trap, be sure to find eclectic choreographers with distinctly different styles  for your performers so the dancer has variety in their solos and demonstrates a wide variety of movement. Now, that's impressive to see. If a dancer can morph themselves stylistically, it showcases a maturity and understanding of nuance and interpretation of an individual choreographer's unique language and movement profile. Remember, there is no need for anyone to see a dancer do three contemporary solos that basically looks like the one they just performed an hour ago. I don't care how talented the dancer is. Again, think about variety. Can you present your dancers in different genres? Perhaps one contemporary solo and a pointe solo? Or a lyrical solo and a tap solo? Vocal and jazz? Maybe throw in one solo and a duet or trio instead? What are their strongest concentrations? What will highlight their talents best? Give the judges something to sit back and say, "Wow, this dancer is well versed and has exceptional training."

The other thing to be mindful of is dealing with very young dancers and multiple solos. Yes, they are precious and adorable and we all love seeing their budding talent and dynamic developing performing personalities on stage, but having a five year old come out two or three times can be a bit much. Think about the reasoning this child is really doing all these solos? Is it the parents desire to see their little dancer up there or is this five year old prodigy so insanely talented she absolutely must share her talents? Think about it honestly and present accordingly. One really great, age appropriate solo for a young dancer that is well executed and rehearsed will usually go farther than two or three that are basically showcased just for the sake of doing a solo.

We want to give our dancers the best opportunity; to inspire them and challenge them, whether it be at competition or in class. How they represent themselves and present their talents should be overseen and mentored by you. You are responsible for leading them in the right direction. Being given a solo should be a privilege, not an expectation and it seems that mindset has gotten lost a little in recent years.  You used to be asked if you wanted to do a solo and selected because of your hard work and accomplishment. That still holds true in many studios, but not enough.

Think of it this way, if being given one solo is an honor, how does it look if we allow dancers to compete multiple solos just because they want to and pay for them. Try to find the happy, diplomatic medium and remember the priority should always be for the dancer to have the best performance experience possible. We want them to walk away with constructive feedback to help them develop and feel good about their well deserving-accomplishments at the end of the day.

Author

Jess Stafford

Jess Stafford

Jess Stafford is a native New Yorker and has her MA in Dance Education from NYU. She also earned a BFA in dance performance from UMASS Amherst. Following a wonderful professional dance career, Jess now teaches and choreographs nationally and internationally, bringing her love of movement and creating to all her classes. Jess’ favorite performance credits include: The National Tour of Guys & Dolls, The European Tour of Grease, West Side Story, Cabaret, Sweet Charity, Salute to Dudley Moore at Carnegie Hall, guest-dancer with the World Famous Pontani Sisters and IMPULSE Modern Dance Company. She has been on faculty for the Rutgers University Dance Department, Perichild Program at Peridance and was Company Director at Steffi Nossen School of Dance. Jess has also taught creative movement therapy in Uganda and was a featured instructor at the Queen's Kampala Dance School. She has conducted workshops for the cast of LA REVE at the Wynn, Las Vegas and has been on faculty at the IDS International Dance Teacher Conference at The Royal Ballet, MPower Summer Dance Intensives and annual Dance Teacher Web Conferences. Jess has also served as Master Teacher & adjudicator for various dance competitions. She is the Chief Editor and contributing writer for the DanceTeacherWeb.com blog and is also an original in-house Dance Teacher Web faculty member. Jess’ latest venture has called her to become a Board Certified Integrative Health Coach, 500HR RYT and RPYT. She is also the creator of her private practice, Rebel Wellness. Her latest passion project includes creating the “BE WELL” Yoga + Wellness School and Dance Studio Program, which fosters mental health & emotional wellness for today’s youth. www.rebelwellnessny.com

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