Choreography for Competition
☙ Give them quality. That’s the best kind of advertising.” ❧
~ Milton Hershey
I didn't grow up as a dancer in a studio that competed, so I walked in somewhat naive to the competitive world as a choreographer. I look back at some of the pieces I submitted for competitive stages and wish I had taken more time to consider the reasons and requirements for this particular platform.
In my opinion, effective choreography for competition will successfully sell the dancers and their abilities to an over-saturated yet exceedingly invested market.
Essentially, competitive choreography is a high-performing commercial for a studio and its students.
When I look at it this way and accept the capitalist reasons for dance competitions, that they are not simply opportunities for dance students to perform multiple times throughout the year, I understand I misaligned my approach to the purpose of competitive choreography.
I don't believe dance competitions are bad or wrong; in fact, in identifying and appreciating the business savvy undercurrent that causes the whole event to flow, I admire this specific type of advertising that brings attention and revenue to the dance education and performance industry.
Dancers personally benefit from the experience, too. They must commit to developing a product from start to finish, and in doing so, often end up with a polish and shine that only comes from thousands of runs, like water over stones in a river. There is an element of pressure that differs from recital or exam expectations as they face critical judgment with many people watching at the same time. If taught well, dancers will learn how to receive feedback, win or lose, and support their peers gracefully.
Competitions require dancers and choreographers to work together for the greater good of the studio, but within that responsibility comes many opportunities for individual growth and acclamation.
I would be remiss if I didn't mention that some competitions do it better than others, and I'm referring mainly to how they influence the atmosphere backstage. Healthy competitions promote camaraderie, not 'beating' others out. And let's be careful about the words we use to adjudicate children; these dancers are not professionals. The adjudicator's job is to provide honest and helpful feedback to students who are still learning, so let's do the work with informed communication, compassion and professionalism.
There is a lot to consider about the competitive dance arena, and I fully understand why it is not for everyone. Anyone - students, parents, studio owners, event managers and support staff - can be susceptible to loss of perspective when comparing self to others, to the point of destruction, as is the flaw of any competitive situation.
But when handled with a sense of grounded, realistic expectations, and at the heart of it, celebration, competitions are fantastic forums for promoting dedication, talent and pride.
I hope this Guide to Competition Choreography helps tentative choreographers develop a specific type of art that can do its job triumphantly.
Guide to Choreography for Competition
Things to remind yourself of before you begin
The purpose: You are responsible for putting the studio and its dancers in the best light possible. Think of it as a commercial for their services.
The market: Make sure you are setting up shop in the correct location. Carefully research the requirements, rules and regulations for the category of entry. Know the time limit, group size, shoes, props, and set pieces permitted.
The dancers: Who are the recipients of your choreography? Is your vision suitable for the dancers' age, experience, and skill level? Don't force-fit choreography. Pay attention and respect the bodies working with you.
These are all things to consider when creating choreography for the recital, too. 😁
Notes on Music
Choosing a song is very important, but there is no perfect rule about when to make that decision. Some like to know the score before they begin building their movement, but others, like myself, would rather start work on the movement and then find the perfect song to complement it. And here's why:
We all have varying relationships with music and particular songs. A choreographer may limit their creative movement possibilities if married to a specific idea regarding what a piece of music means to them. You may have an impression of what choreography "should" look like to a certain song, but then it gets tough to Break The Pattern*, resulting in the final product feeling flat.
If you can see a movement sequence set to a piece of music very clearly in your mind, I challenge you to perform it to any other soundtrack. You may be surprised and delighted by the new combination, as the movement responds slightly differently than its original intention. Exploration like this allows you to develop concepts you didn't even know you had and prevents your choices from becoming predictable or overused. Experimenting with different songs is an excellent tool during editing.
Step 1: Brainstorm
Download the HS NEW DANCE IDEAS worksheet
Outline the theme, including narratives or emotions.
List any and all movement concepts you wish to highlight.
Record the skills students have already achieved and the new skills that will challenge them.
Brainstorm any costume, prop or set designs you think will enhance the piece.
Should you have the opportunity, before you start putting together any movement sequences to share with your dancers:
Take time to review your dancers' achievements and the appropriate challenges you expect them to master on stage. If you are working with students you don't know well, lead them in a short open class to learn their abilities before you begin choreography.
Ask the dancer(s) to perform specific movements from the lists you have generated.
Play with improvisation informed by feelings or emotions, experimenting with a variety of songs. If one song sticks out as a contender, keep it in your back pocket but don't commit to it yet.
Write down everything that works or that inspires you.
Step 2: Understand the Hit Song Formula
I have blatantly borrowed this information from Friedemann Findeisen, the exceptionally articulate and very knowledgeable music profiler for top-name producers. You can check out his YouTube homepage here.
The tried-and-true formula for nearly every single music track that becomes a hit is this:
Intro - Verse - Pre-chorus - Chorus - Verse - Pre-chorus - Chorus - Bridge - Chorus
Our brains recognize it, consume it and feel satisfied whether our tastes lie in rock 'n' roll, bubble-gum pop, chill alternative or country. And since we know that even though nearly every top-of-the-chart-hit follows this formula, and there are vast differences between songs themselves, why not use this formula for chart-topping choreography?
Consider it this way: inarguably, a good house stands on a solid foundation that has followed proven architectural laws. Preference for a good house often comes down to what appeals to tastes in aesthetics, but the house itself is well built. So it is with a good song - and a good dance.
Step 3: Create your movement, write it down, and organize it
Download the HS NEW DANCE BLOCKS worksheet, and using the Hit Song Formula as a structure, create original content for the following sections:
Verse (8 - 16 bars) - Pre-chorus (2 - 4 bars) - Chorus (4 - 8 bars)
You will repeat these blocks with degrees of variation throughout the choreography: do not create more original ideas.
As Findeisen advises, do not hide behind the overwhelm. Honour clarity and precision in your choices, and your choices will be better. And, in addition to generating too many ideas, visualizing what lies ahead as three blocks, rather than three minutes, makes the process feel completely manageable.
Fill out the Verse, Pre-chorus, and Chorus blocks on your worksheet. You will then need to address:
Intro (2 - 4 bars) and the Bridge (4 - 8 bars)
But DON'T START here
The Intro is how you will introduce your dancer(s) to the stage space and may need crafting once the rest of the choreography settles. The Bridge is used to build the energy or create a moment of suspension; tactics used to deploy maximum impact before bringing your dance to a satisfying conclusion.
The Bridge is another part of your choreography that the other sections can inform.
Fill out the Bridge and Intro blocks on your worksheet AFTER you've designed your Verse, Pre-Chorus, and Chorus blocks.
Tips for creating each block
Intro
Use as the first impression of the dancer(s), either on stage or entering the stage space.
Set the tone, pique interest and grab attention.
1st Verse
Utilize mid-level movement, energy and more simple formation changes.
Establish general movement quality and skill level.
Allow the audience to sink into the theme of the piece.
1st Pre-chorus
Reduce movement size and energy level.
Or, us as a build-up or travelling transition.
1st Chorus
Use your most complex and technically demanding choreography here.
Surprise and delight with high-energy or ultra-sustained moments of skill demonstration.
❥ As you build your blocks, remember that editing may be needed to meet time limit requirements.
❥ And when you begin to bond your choreography to music, utilize flexibility within the structure.
❥ You may or may not have enough time to incorporate a 2nd Verse, Pre-Chorus and Chorus. If you do, return to the original format using variations for each block.
Bridge
Create tension with stillness or chaos.
Wind down the energy right at the end to make the last chorus have the most significant impression.
Chorus & Ending
Repeat with variation and find an impactful way to finish.
Avoid dancers running off stage as the music fades.
Step 4: Set it
Set your piece, as is, on your dancer(s), and call it your First Draft.
Step 5: Clean & Edit
When you can see your choreography on bodies in space, you may find a need to reorganize, revamp or replace movement. At the same time, you can see choices that work well and make them shine even more.
If you find that your work is mostly monotone, you may need to create more dynamics. A great way to accomplish this is to analyze a movement or movement sequence and dial it down in size, energy, or space. The following movement or movement sequence will seem bigger and fuller by comparison.
Play with speed and suspension, sharp and smooth shapes, and where you place your dancers on the stage.
*Break the Pattern. This is a strategy for grabbing attention and holding the curiosity of the audience.
There will be similarities to every piece entered in the Lyrical category (for example) simply because the movements used must be reflective of the discipline and remain faithful to the requirements of the category. When cleaning and editing, find select opportunities to go opposite to, or contrast, typical choices.
Step 6: Rehearse, rehearse, rehearse!
When you are satisfied with your final product, rehearse it.
I used to think there was a point when a dance hit its peak, and more rehearsal would make it lose the energy and spark of a new piece of choreography. I don't believe that anymore. The dancers (and you!) may need a break, but there is always something to work on, dissect and improve.
Video the dancers and let them see what they need to do themselves, or have them watch each other and offer feedback. Ask other teachers to help clean as they will have fresh eyes and pick up on things you're consistently missing (or avoiding!).
Every moment of a competitive piece should look flawless and effortless.
Step 7: Enjoy It! 😁 ⭐️
Now that the piece is out there and on competitive stages, get excited every time the entry number is called. You have used a winning format to carefully construct movement showcasing the best of the dancers and your understanding of competitive choreography. Feel fantastic about the job you have done and let the work speak for itself.
Comment with your thoughts and experiences!
