Tips for Competition Season

Ballet Buff  Model: Elliana F. 2017 Photo Shoot

In addition to audition season, it is also competition season for many young dancers, as well as several auditions can include separate but affiliated competitions.  Whether you're preparing for something like Youth America Grand Prix on the ballet circuit or various other national/ metropolitan city competitions in all genres of dance, these tips will help make the process go smooth and your wins that much more gratifying.

Pre-Competition Tips:

1) Practice - While it should go without saying, whatever dances you're doing for a competition, you must practice it/ them EVERY DAY.  While those who may be competing in local competitions with group dances can get away with practicing just at their respective weekly class with their peers, (although most competition schools I've been to that win big and consistently still push for more) daily practice of dances while preparing for national, international and solo/ duet/ pas de duex, etc. pieces, is essential.  If you count on just a weekly class or private lesson to sustain a competitive level, don't be too surprised if you don't place as well as you may have hoped.  You may not always feel like it or be busy with a hundred other things, but whenever you make a justification not to practice, just remember that when you're back stage about to go before the judges: do you want to be wishing you had practiced more, or be confident that you have done everything you could possibly do to be prepared and be at your best?

2) Dress Rehearsals - Just like with recitals and performances, you want to run your own personal dress rehearsals for competitions.  This is important to make sure your costume moves well and comfortably with the choreography, ensure head pieces are secure, props don't go awry and if you are using special make-up, how long it takes to put on and ensure it doesn't sweat off.

3) Travel Arrangements - If you are traveling a long distance to competitions, always make travel arrangements well in advance, by a few months to even 6 months ahead.  Especially with larger competitions and hotel arrangements, those types of events can fill a city and it's accommodations quickly.  Another way to go that can sometimes be a more economical option, is if your competition is in a high tourist city, such as Orlando, many vacation homes are available all the time for rent.  They usually cost more a night than an economic hotel (around $200 per night) but have about 3-4 bedrooms so multiple dancers could feasibly stay in one home rental and save money.  Plus there is a kitchen (and sometimes other amenities, such as pools and hot tubs!) to help save on the cost of eating out for every meal.

At The Competition/ Day Of/ Packing for Competition:

1) Murphy's Law - Most seasoned dancers know that when it comes to performances, auditions and competitions, Murphy's Law: What can go wrong, will go wrong ~ is always in effect.  Therefore it is imperative to bring a back up of everything.  Most of us know to pack back up of things like shoes, tights, hair and make-up accessories but that's because we may be used to whatever our school/ studio has going on at it's performances.  Other things to make part of your back-up system for a competition should also include costume repair sew kits (extra ribbons, rhinestones, flesh colored elastic, etc.).  Another is to bring some rosin, just a small piece. Although most places will use marley/ matlay flooring, the bottom line is you just never know how slick the flooring/ stage might be (due to newness, cleaning, lack of cleaning properly, etc.).  You also want to always bring back ups of your music.  You never know if something won't play well or gets missed in the sound director's huge pile of music. And one that is commonly missed: always bring copies of your registration forms and receipts of your entry fees and other documents that prove you did everything to participate in the competition.  It only takes one person, dealing with hundreds to thousands of documents to misplace yours, or make a data entry error on the registration list and possibly keep you from participating.  It doesn't happen often but why take the chance?

2) Resume/ Marketing Collateral - You never know who might be scouting at a competition, especially ones like YAGP or Grand Prix de Lausanne, where many winners go on to receive professional contracts.  Always take up Resumes, Professional Photos and other collateral (Digital Portfolio and business cards to your Social Media resume info) in the event a choreographer, director or judge wants to keep in touch, see more of your repertoire or genres and possibly wants to work with you in the future and/ or invite you to audition for a summer intensive, internship or the company.

3) Food & Hydration - I was terrible when it came to competitions: I would eat nothing all day, sip a little water and then gorge myself on 1/2 lb double cheeseburger, milkshake and fries afterward.  Probably the most unhealthy way to go about competition day.  Nowadays, we know a lot more about how to properly fuel our bodies to keep energy high but not have full bellies to try and dance on.  I recommend things like oatmeal, yogurt, protein bars and shakes to keep your energy levels up and avoid insulin spikes (which will result in a blood sugar, and therefore energy nose dive). Stay well hydrated up until about 1-2 hours before you dance (continue to sip water as needed, especially if you are warming up and practicing) but that should reduce the chances of having a full bladder by the time you are waiting back stage. 

4) Warm Up Properly - Sometimes we get so pumped and excited at competition we don't feel the need to take ourselves through a proper warm up, such as barre.  And I agree that with the adrenaline going, it's hard to slow down and do things like plies and rond de jambes. But you should force yourself to do this to make sure you don't incur an injury while competing.  Also be careful about practicing beforehand. I can't count how many times I saw fellow competitors practicing on bad surfaces like carpet and hard tile and ending up injuring themselves right before they were supposed to go on.

Elliana F. rehearsing for 2016 YAGP

5) Don't Be Mean to Your Support Group - It's easy for everyone to have nerves, excessive energy due to adrenaline and excitement/ stress during competitions.  As a result, our support system (be that moms, dads, siblings, coaches, etc.) all tend to be extra helpful, which can sometimes be a little annoying.  But they usually are giving helpful advice, even if it's something you already know or a reminder to pack something you already packed. Don't snap at them or act like a diva who can do it all without any help.  

Chances are good you didn't pay for any of your lessons, privates, costumes, entry fees, shoes, etc. personally, so being rude to those who are simply supporting you the best way they know how to, is not only so disrespectful from a personal perspective, it is also incredibly unprofessional.  From a business perspective, your support system is essentially your sponsors/ donors, and you should treat them as such.  If someone paying me to dance asks me 10 times if I packed my tiara, I will always politely say yes, and thanks for the reminder because they're bank rolling me.  I personally will not work with someone who is disrespectful to their support group/ moms and dads, because I know they are divas and will eventually treat me or other people I try to network them with in an unprofessional manner.  Accept that it is a stressful and excitable time, and accept graciously those who are trying to help you.  You all have the same goal.

Back Stage:

1) Maintain Etiquette - Always exercise good etiquette and a professional decorum when it comes to competitions.  Not just with your support group, but also competition staff and fellow competitors.  If practicing, be mindful of who is around you.  There is nothing more annoying and amateurish than a dancer who acts like she/ he is the only one in the universe.  Don't run into fellow competitors or competition staff running around trying to get the stage ready.  Use stage time for checking out turns on a new surface or spacing but beyond that, running your dance full out with 50 other dancers on stage is unlikely to do you much good.

I personally don't subscribe to the over-niceties of wishing my fellow competitors good luck (honestly when dancers did that, no matter how well meaning they might have been, it always felt less than genuine).  Unless it's someone you know well or have run into at previous things like other competitions or auditions.  That being said though, I was always very respectful of other dancers (if someone did offer me a merde, I'd reciprocate).  And I was always helpful.  Meaning if someone ran their tights and didn't bring a back up, I'd offer up one of my back ups.  It never bothered me to help someone out because I knew I was prepared and ready to compete and didn't need to win based off the misfortune of another competitor, and in fact, I wanted them at their best as well.  That's how I knew my win was valid.  So always be polite, considerate and a fair competitor but don't be fake and know that it's okay to maintain some distance.  Despite what some people coach to their dancers, it's not necessary to act like everyone's new bestie to be considered a polite competitor. 

2) Watch Your Nerves - Going back to being really excited and the rushing of adrenaline, do what you can to keep your nerves calm.   You want to be careful about letting your nerves take over.  Shakiness and excessive force in your steps can cause mistakes or worse, injuries.  Avoid things like caffeine for starters and sugary foods for the day.  Meditate, pray, take deep breaths, listen to calming music and so on; whatever works for you but you'll want to keep calm in order to maintain performance control.

3) Have Fun and Let Go - Last but not least, when you're back stage and they call your name, that's the time to let it all go and just enjoy your performance.  Trust that you have done all you can do to practice, to prepare and to be a fair competitor, so that no matter what the outcome, you did your best and can be proud of your conduct.  As you compete more, at some point or perhaps a few times, you will mess up monumentally.  It's just statistical fact.  You'll slip, or fall out of turns or even blank out on choreography.  It happens and if it does, just keep going.  You may not win first place, but the experience of messing something up and finishing anyway will be more important than a *trophy.  

And since I no longer compete, I can genuinely say: 

Merde and Best Wishes to all competitors this competition season!

*Perspective: My first competition I won 4th place and I was 8 years old.  I remember being so upset and embarrassed when my mother proudly told people that I got 4th place.  I cried and thought I should have done so much better. 

I probably won a total of about 80-90 first place trophies total during my competition years, and even more ribbons, medals, etc. Guess where they all are now? The garbage.  In the long run, trophies don't mean anything.  And if you travel and move around a lot, they are a pain to keep. What really matters is what you learn from the experience of competing.  And beyond that, if you are a truly serious dancer looking to make a career at some point, the only thing that really matters, is getting a paid job; not the number of trophies you have on a shelf or in the garage.  Competing can be a great experience, but always keep perspective and don't get upset over it if you don't come home with a $10 piece of metal (if you're lucky) or plastic, painted gold.  

I know that's easier said than done, so if you do get upset or are disappointed at the results of your competition season, lick your wounds for a day or two and then get right back into the studio with what you learned from the experience, work hard and move forward.

Ballet Body Fusion - Group Gym Class Review

At my local gym, they recently introduced what they call a Ballet Body Fusion class.  I was understandably very excited to try this new ballet fitness method which the gym described as:

Blending Pilates, conditioning and classical ballet, this fun and invigorating class develops endurance, balance and core strength. You don't even have to be a dancer.

As the class progressed however, my excitement went away quickly to the point where I had to leave the class.  This is, of course, all based on only my experience of the one class for which I could only stand for 45 minutes before I was completely put off by it, but I felt the class was so egregious in its claims of "ballet body" and "conditioning and classical ballet" that I should put this review out there for others to know and understand what they could be potentially exposing themselves to when attending such a class.

1) There is no actual ballet technique ~

While for the general gym population whom have never had a ballet class may find this to be an appealing aspect, trust me, it's not. Ballet dancers do train hard and for a number of years, but that doesn't mean that learning the basics and the technique is beyond buck beginners.  Certainly it may feel awkward at first, but I doubt your first yoga or crossfit class felt like a dream either.  And that's why we do these things: to introduce our bodies to new ways of moving, cross training and forms of exercise to keep us fit and keep us from getting bored.  The Ballet Body Fusion class however, had zero ballet technique or even ballet based steps.  The majority of the class was focused around floor Pilates exercises.  The closest a ballet step came into the class was some plies, but even those were frightening...

2) "Modified" ballet exercises can cause serious injuries ~

There were two exercises for which the instructor (who even said during the class she had no ballet training and got her exercises from YouTube videos) one was a demi plie, supposedly in first position (which was never explained how to properly set a participant's feet to have a good first position) in releve with tons of mini demi plies.  I realize a lot of ballet fitness methods like to do this, but if it's not properly executed it is extremely hard on the participant's knees and lower back.  If the turn out in first position is "forced" which we all know novices to inadvertently do very easily, then it can cause ankle issues as well.  Some methods at least have you holding a barre for some stability while executing this unstable exercise, but in this class because the instructor just had no clue, this was done out in center.  

The other so-called ballet step incorporated was sort of grande plies in second position. Again, the instructor did not either know or just did not explain that a participant's knees should remain in alignment over the toes while executing a grande plie.  No one had a proper width to their feet either and the class participants ranged from a wide second position (wider than their shoulder span) to being so narrow, even Vaganova wouldn't consider it a second position.

In both these exercises, as I looked around the class, I saw sway backs, collapsing  knees, hunched shoulders and upper backs (because arms were not placed properly either) and the instructor (who mostly spoke rather than doing exercises, or demonstrating them to give an idea of proper form) walked around, obviously seeing these same things that could cause a major injury (some class participant's were in their 60's, I really felt bad for them) and either didn't bother to give corrections to ensure proper alignment or, more likely, didn't know any better. 

3) Shaking muscles doesn't necessarily equal a good workout, depending on your goals ~

In that first "ballet exercise" (demi plies in releve) these were done so much that it forced muscle shredding (also known as muscle fatigue, mechanical trauma, etc) . So all of us, myself included (emphasized because poor state of fitness or lack of leg muscles was not the issue), were shaking as we did this exercise over and over. And what is so unfortunate is that  the instructor and the participants of the class took this to mean they were getting a really good workout.  But shaking muscles is not an indicator of an effective workout, unless your goal is to build up and gain muscle.  When your muscle shakes it can mean a number of factors ranging from dehydration to over-doing your muscle.  Many body builders intentionally do exercises to force hypertrophy in order to gain muscle mass.  So yes, if your goal in a Ballet Body Fusion class is to walk out with massive thigh muscles (because it's forced each class) that will qualify you for an NPC competition, this exercise (alignment follies aside of course) is great.  But most people, especially ladies taking the class, are looking for the long, lean muscles of a ballerina, not the bulk of a body builder or even an IFBB competitor. 

The other point to make here is that ballet, which has been developed over centuries, is designed to warm the body up slowly and methodically (both micro and macro muscles) in a certain order to prepare the dancer for the harder work in the center.  Demi plie, without exception, is to be executed with the heels down, it's main purpose to stretch the calf muscles and Achilles/ heel tendons.  Grande plie in second position is designed to begin warming up the macro thigh muscles, the glutes and opening the hips for proper turn out and extension.  When either of these is done incorrectly, not only are the risks for injury increased, but the benefits of the movement are completely missed.

4) Bad counting/ uneven side exercises ~

Here's an issue I have with most gym class instructors overall, not just this particular one, but it did stand out in a major way in this class.  Ballet, and all dance classes, are very particular about keeping exercises even on right and left sides.  Exercises are reversed and predominantly executed on the right and then left side (the working leg) evenly.  When gym instructors just kind of bounce along to an ill-planned workout, to remix music that they may or may not pay much attention to, you will receive an unbalanced workout.  This can lead to alignment problems, injuries, etc.  We already fight an imbalance usually in our bodies because of dominant motor skills (i.e. right-handed vs. left-handed) so working out unevenly at the mercy of the instructor not paying attention aggravates this. 

What was really serendipitous of my leaving the class, was that the gym decided (after I had been a member for the last four months) decided that I needed to sign a waiver of liability.  While under most circumstances I agree completely that some form a waiver needs to be in place, this one in particular was one-sided and written with a negligence clause that had gym members waive their right to any litigation around negligence of the facilities and equipment being in disrepair and to the competency of their personal trainers and group fitness instructors.  Ironic, no? Needless to say I terminated my membership and as a final friendly recommendation as this clause was one paragraph in a 3 1/2 page liability waiver, make sure you read what you sign and that your gym membership paperwork not only protects the gym, but you as well.  

7 Rules of Engagement For Your First Audition

For any student that is serious about improving their technique and pursuing a career as a professional dancer with a ballet company, at one point will experience an audition at some point in time.  Whether you are seeking placement in a Summer Intensive Program outside your home studio/ school to expand your knowledge and technique base, or preparing for a position in a company’s corps de ballet for your first dance contract, the audition is an experience that can either make or break your objectives.  It is critical to ensure proper etiquette is followed.  Even if you personally feel that this is a new millennia and more progressive era for dancers, almost all of your auditioners will have been “raised” in old school decorum and you may put them off by doing anything less or against strict tradition. Also check out my previous post Preparing for Audition Season for more tips on organizing your objectives this audition season.

1.     Treat the Audition Like an Interview

It’s important to treat your audition, even if it’s just for a Summer Intensive Program, as you would an interview.  Special care needs to be taken with your appearance, your knowledge of the company and your resume.  Even if the only document the auditioner is seeking is their own application, always bring in your Ballet Resume with photos and even your digital portfolio.  At worse, they will tell you they don’t need it or want it, but most likely they will take it, and at best they will review it, and thus, will have that much more information on you as a dancer as well as it may set you apart from your fellow auditionees.

2.     Do Your Research

It’s become a common rule in business for people to research a company before their interview; after all there is nothing worse than to feel like you are performing well during an interview and then they ask you a basic question like what the company does and how you will fit in the company, and you have no answer because your focus was strictly on the job (the single audition) rather than the company as a whole.  Similar to a business interview, know something about the company or studio you are auditioning with; more importantly know something about the Artistic Director or the Choreographer and the auditioner.  have some knowledge of their recent productions, recent interviews in dance magazines, their choreography style or repertoire, non-profit or community performances they are involved with, upcoming productions, etc.

3.     Your Appearance

It was once noted by one of my long time teachers in a class right after the new year when all the students were coming into class with new leotards of various intricate designs and patterns and lace and mesh overlays and he commented, “It’s amazing the leotards that are available today.  It makes class seem more like a fashion show…” and it’s true, the industry has designed amazing leotards and dance apparel.  While the impulse may be to wear some of these cool designs to make you stand out from the crowd, test the waters first.  This is much easier if you attend several auditions in your area for Summer Intensives or are familiar with the decorum at the company/ studio you are auditioning at, but a unique leotard may be so popular it’s no longer unique.  You may stand out (and be more desirable to hire/ place) if you exercise tradition over complicated designs that distract from your natural line and body.  

Before the charge of the fashion industry making its mark on dance wear beyond costumes, dancers could only be subtle with their uniqueness and I feel that art has been lost.  Many of us would do intricate braids in our buns to make our mark, or one girl I frequently auditioned with would pin fresh rosebuds with baby’s breath in her bun, which was always eye-catching, yet subtle.  Many would have decorated pins or barrettes.  But we kept our individual styles to our heads, without breaking traditional bun hairstyle and it was unique but not distracting, and that’s a look to go for during an audition.  Anyone can see my postings and videos and know I am not conservative all the time, but when it comes to the occasion, I respect the traditional pink tights, pink slippers, pink toe shoes, black spaghetti strapped leotard and hair securely fastened in a bun look.  No jewelry, except for perhaps small stud earrings and definitely no watch!

4.     Bathroom Use; Dance Downtime

Please, please, please, take care of your bathroom needs prior to entering an audition (or any class, for that matter).  Last season, I participated as a guest observer in an audition for a Summer Intensive program being held in New York with the last of the original Vaganova trained practitioners, and the auditioner/ instructor asked a technical question about the correct head placement for an arabesque, and the young lady who raised her hand (the instructor thinking she had the answer) asked to go to the bathroom.  I was embarrassed for the young dancer and it made a poor overall impression of that area and studio the audtioners visited.  The only scenario that you can’t make it through an hour or hour and half class without having to run to the restroom is if you have some sort of food poisoning.  Anything else appears as immaturity, irresponsibility and unprofessional.  Some dancers carry the same apathy during class with downtime for center work or across the floor into an audition.  This is a huge mistake, and why I personally do not tolerate bad etiquette in any one of my classes.  Do not hang on the barres or have a seat (even if you are pretending to be stretching) or even stand in a loitering or a lazy position.  It’s disrespectful, and you are sending a clear message that you are not taking the audition seriously and therefore you should not be taken seriously as a potential candidate.

5.     Pay Attention

This is the most important rule to follow at an audition for two reasons: First) there is nothing more glaring in an audition than when someone doesn’t pay attention and doesn’t know the exercise.  Even if you think you are following the person in front of you or in your group, it’s incredibly obvious when someone doesn’t really know the exercise asked for and Second) this is a very unique opportunity to get placed or hired, that most dancers fail to utilize.  Paying careful attention to the auditoner/ instructor’s head placement, arm placement, musicality and overall style will expedite your position to first choice exponentially.  Auditioners want to know two things: if you have strong basic technique/ line and if you will adapt to their style and choreography or naturally have it.  If you can prove yourself to be the latter, you will often times be a first choice, even if your technique still needs work.

6.     Perform

Always perform during your audition.  This demonstrates that you are able to perform, even if you are nervous or under pressure.  Even if you don’t feel well or don’t feel like you are on your game, you know enough to know that wearing a smile or at least having a pleasant expression that evokes you enjoying dance makes all the difference in the world.  Most people are nervous at an audition, and an effective way to catch an auditioner’s attention is by performing, even if it means throwing in some flair and personality where it might be appropriate.  Smiling triumphantly during an adagio, showing glee during grande allegro across the floor, these are opportune times to let your love of dance shine through.  It’s basic human nature to watch this person over a dancer who is dead pan and serious faced and is generally boring in the sea of technically competent dancers.

7.     Respect & Reverence

It is important to always show respect and reverence for your instructors and fellow auditioners.  Be sure to exercise appropriate class etiquette when it comes to your position and conduct throughout the class with your fellow auditionees.  At the end of the audition, always be sure to curtsy and applaud the instructor and thank them personally if there is a chance to do so.  If you have the opportunity, thank the auditioners as well for the opportunity to dance for them, shake their hand and let them know it is important to you to dance for them and for their company again.  Offer them your dance resume or a dance business card with links to your Social Media Resume.

Even if you do not get the placement you are hoping for, if you conduct yourself professionally, the dance world is small enough that auditioners will remember you the following year for another chance at your goal.