The stress of setting competition choreography can sometimes feel daunting if you’ve been to enough competitions and are one of those studios that are frustrated seeing others continuously place because they are masters of fouetté turn sequences or right tilts. I’ve often received the question from studio owners and teachers as to my feeling of making sure they are included, so here is my subjective opinion.
To be blunt....No. No. No......No. Believe me, there is certainly a time and place for technically executed fouetté turns and the like that make sense to the context of the dance to which they are being inserted. Absolutely. However, to add fouetté turns and such in every piece one enters make them superfluous, clichè and nonsensical to the artistic integrity of the piece. In other words, “fouettés for fouettés sake,” is just not ok and we as choreographers can do better for a number of reasons.
First off, ask yourself, why? Why are you adding this specific element? Does it truly fit with the choreography and make sense with the storytelling and content of the piece, or is it necessity? Is it just habit that you are adding them in because everyone else has them?
Secondly, fouetté turns, as we all know are technically advanced turns which require accurate execution, understanding of alignment and precise turning ability. So why would you add them into a piece with dancers who have not yet reached the ability level to #1, do them perfectly (and consistently) themselves and then #2, put them in a line with ten other dancers doing them and expect them to create clean unison? My point is this. By adding fouetté turns, “just because,” you are not doing a service to your dancer (s). There are a million other turn variations which will highlight their current strengths and present something new, fresh and visually interesting to see.
Judges have seen infinite groups do advanced turns and we know when they’re all coming in a number, why not think outside of the box and show them something that makes them perk up in their chair and realize you understand your dancers best. I promise you, any seasoned adjudicator will thank you for showcasing your dancers in THEIR best light. That doesn’t mean don’t challenge them, it means be creative.
This brings me to my last point - creativity. Again, while there is absolutely a time and place for tricks and turns, let us stretch our own choreographic minds and abilities and think outside the box. If you’re not a teacher who usually adds them, then ask yourself honestly why are you adding them now? Don’t be afraid to stay in your lane of being creatively different and on the pulse of new movement nobody has ever seen. Take chances. That’s exciting. Because these turns are so overdone, they are becoming cliché. While some may argue they show the power, dynamics, unison and turning ability of an individual and a group, I argue that yes, that is absolutely true, but there are also many other ways to showcase those abilities and we should be continually stretching ourselves as choreographers.
While that may sound old school and antiquated, I’m cool with that. Because the truth is... your students also need to understand there is a dance world outside of competition tricks and choreography trend.
I promise, no matter what your preference, staying true to your artistic integrity and mindful choices which are right for your specific dancers will never go astray. Fouetté turns are not a recipe for placing at competition (though it may feel that way sometimes.) I’m a choreographer who’s living proof. There is a time and place for everything and while I’ll never tire of seeing a principal ballerina give me her 32 fouettés en pointe center stage, being thoughtful about their place in your numbers will go a long way and take your dancers versatility and turning ability to the next level! Food for thought!
Good luck!!
See you in the dance studio,
Jess
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