Search

The article focuses on B-girl Sunny Choi's transformative journey from a corporate career to becoming a full-time dancer preparing for the inaugural Olympic breaking competition in Paris, France. It highlights her motivations, the challenges of balancing training with newfound sponsorships and media attention, and the broader implications of breaking's inclusion in the Olympics for the dance community.

The article discusses a new generation of competition-kids-turned-ballet dancers, including dancers Madison Brown, Brady Farrar, and Quinn Starner. Brown credits her competitive experience, which gave her a strong sense of professionalism. Farrar's background of competing in different styles enhances his ability to infuse his ballet movement with a human quality. Starner cites her onstage comfort and individuality as her benefits.

The article explores the experience of competing independently in dance, highlighting the benefits and challenges of going solo without studio support. Topics include the reasons why dancers may choose to compete independently, the additional effort and costs involved in rehearsing and choreographing solo routines, and the personal growth and networking opportunities gained from competing as a soloist.

The article examines the significant gender gap in leadership roles within the dance competition and convention industry. It highlights leaders like Sandra Coyte, Sonia Pennington, Victoria Scherzer, and Shari Tomasiello who share their experiences with the challenges of gender bias and the importance of representation; and emphasize that women bring valuable perspectives and are change agents, sensitive to issues like body image and sexualization.

The article reports on the evolution of the Hawaiian dance hula in Hawai'i and other parts of the world. Also cited are the performance by Kayli Ka'iulani Carr of a hula dance with a melody of "Ka Makani Ka'ili Aloha" during the 2016 Miss Aloha Hula contest in Hilo, Hawai'i, how social media platforms allowed the sharing of the dance around the world, and the hula dance competition categories, namely, Hula kahiko (ancient dance) and Hula 'auana (wandering hula).

The article focuses on ensuring age-appropriate choreography in competition routines to prioritize the health and safety of young dancers. Topics discussed include setting clear guidelines for what constitutes age-appropriate content; evaluating music and narrative to match dancers' maturity levels; and avoiding technically demanding movements that could lead to injury.

The article focuses on the inclusion of breaking or breakdancing as a new sport at the 2024 Summer Olympics in Paris, France after its success at the 2018 Youth Games in Buenos Aires, Argentina. Topics include the challenge of bringing a dance form to the Olympics according to International Olympic Committee-recognized organization World DanceSport Federation, the main elements of breaking such as top rocks and drops, and comments from an international breaking competition winner Logan Edra.

The article features choreographers who use the TikTok application to share their moves to the world and launch dance-challenge videos. Topics discussed include the evolution of TikTok since its launch in 2016 and the popularity of dance-challenge videos. Choreographers featured include Lea Tucker and Emry Wride, Jose Ramos and Jack Ferver.

The article discusses how dancers from the same studio cope when competing against each other in various categories at dance competitions. It explores the psychological challenges of peer comparison, offers strategies for maintaining a positive team environment, and emphasizes the role of teachers in fostering a supportive culture that values personal growth over competition results.

The article focuses on cost-effective planning for summer audition tours, exploring options such as virtual auditions, maximizing in-person audition opportunities, and travel tips. Topics include the advantages of virtual auditions, strategies for getting the most out of in-person auditions, and practical advice for planning and executing audition tours without breaking the bank.

The article highlights journey of dance of dancer Raja Feather kelly. It mentions that his weekends consisted of shuttling between two opposing extracurricular activities competitive dance and competitive speech and debate. It also mentions that he studied dance and English, and discovered the avant-garde European dancetheater artists who inspired him are Jan Fabre, Maguy Marin and Wim Vandekeybus.

The article emphasizes the enduring friendships formed among dancers on the competition circuit, highlighting three pairs who maintained their close bonds into their professional dance careers. It mentions that these dancers, like Justin Pham and Chryssa Hadjis, Kylie Dyson and Marissa Mattingly, and Courtney Conovan (Chip) and Makaila Chiplin, showcase the significance of having a supportive teammate, forged through the shared experiences of competition dance.

The article focuses on the reevaluation of gendered categories and classes in dance competitions and conventions, emphasizing the experiences of Micki Reynolds as a nonbinary dancer. It explores the need for gender inclusivity in these settings, discusses the steps some organizations have taken to promote inclusivity, and emphasizes the importance of creating safe and accepting spaces for all dancers.

The article focuses on Keerati Jinakunwiphat, a member of the A.I.M. company and choreographer, discussing her journey from self-reflection to creation and her experiences in the dance world. Topics include her influences and mentors, her love for choreography and sharing dance, her work with Kyle Abraham and the New York City Ballet, and the influence of her Thai heritage on her artistic expression.

The article lists competition and convention offerings from companies including American Ballet Competition, Artistic Revolution Experience and Artists Simply Human.

The article focuses on the challenges and techniques involved in judging dance competitions. Topics include tailoring critiques to dancers' age and ability, staying focused and neutral in scoring; maintaining consistency in different competition systems; and the physical and mental preparation required for a judging gig.

The author focuses on translating experiences into success during professional dance auditions that needs consideration and presentation of achievements and skills. Topics discussed include suggestions on interacting with teachers, backstage competition managers and parents to learn staying cool and communicatye needs professionally, artists to be confident and super team players, and working on versatility by successful professionals.

The article presents the guide to the 2017-2018 Dance Magazine competition & convention which includes Aloha Dance Convention, 24 Seven Dance Convention and American All-Star LLC.

The article focuses on the debate surrounding the practice of lip-syncing in competitive dance performances with some instructors and judges opposing it while others see it as a form of expression. Topics include the potential distraction and lack of emotional engagement caused by lip-syncing, the importance of focusing on technique and emotion instead, and the intentional use of lip-syncing in musical theater numbers.

The article discusses about how to prepare for Nationals in summer for competitive dancers. It further discusses about providing dancers with a comprehensive plan for Nationals now gives them the ability to shine onstage, to fulfill their responsibilities and to balance dance commitments; setting goals and expectations; refining technique, classes are often taken over by recital choreography, so dancers have not been focused on technique; and important to try to cast routines before Nationals.

The article presents information from an interview with veteran dance competition judges Kim Craven of New York City Dance Alliance, Joe Berry of Starbound and Larissa Saveliev of Youth America Grand Prix on what they want and do not want to see when it comes to costume and shoes of dancers. Topics include the importance of connecting the costume with the theme, music and character of the dance piece, the need for proper undergarments and the mistake of covering the body with many heavy layers.

The article presents an interviews with three dancers Ida Saki, Maya Kazzaz, and Kolton Krause. Topics include discussing the impact of dance competitions on their careers, mentioning some important skills in this field such as proper class etiquette and teamwork, and giving advice to upcoming dancers such as keeping an open mind and exploring other things as well.

The article focuses on Juan Tomás de la Molía a 23-year-old flamenco dancer who won the biggest flamenco dance prize at the National Competition of Flamenco Art in Córdoba, Spain. Topics include his training with diverse teachers, his career progression from solo artist to joining Ballet Flamenco de Andalucía, and his stage name chosen in honor of his grandmother.

The article offers tips for dancers on managing comparison and jealousy in the dance studio. Topics include views of certified mental performance consultant Chelsea Wooding on how these feelings often stem from comparison and dancers should strive to develop a healthy relationship with competition that fosters a mind-set focused on growth; the need to create a culture of camaraderie; and views of professional counselor Leigh Skvarla on normalizing negative feelings.

The article offers informations on several dance competitions and conventions compiled by "Dance Magazine" from 2016-2017 including the performing arts theater Access Broadway competition and convention, the Backstage Performing Arts Competition, and the Dance Champs.

The article discusses how dancers can use physical conditioning to enhance performance in the lead up to competitions. Topics covered include the need for thoughtful planning about the type of training, how to condition for explosive movements and how to develop quick recovery in training. It also cites how to train for the capacity for endurance and stamina.

In the article, the author discusses the reasons why she loves to dance, how dancing changed her life, and how she became Princess Lockeroo to compete in dance competitions.

The article lists several scholarships from dance organizations, competitions, schools in the U.S including the Amber Strauser Scholarship at the Dance Council of North Texas, Dancer of the Year scholarship and Chicago National Association of Dance Masters' summer workshop.

The article profiles various U.S. dancers including Mayara Pineiro of Pennsylvania Ballet, Mai Aihara of American Ballet Theatre, and Stuart Shugg of Trisha Brown Dance Co. It also presents views of various dancers including Nathalia Arja of Miami City Ballet about surprising part of dancing in U.S. Dancers Pineiro, Aihara and Shugg discussed opportunity to travel abroad to dance at festivals and competitions, dancing more classical ballets and apprenticeship offered by Trisha, respectively.

The article offers tips from Celebration Talent judge April Henehan and dance competition team teachers on choosing the songs that will impress the judges and inspire the dancers' artistry. Topics include the importance of the right music for a dance performance, the use of a remix or an instrumental version of a popular song or adding an unexpected choreographic spin as suggested by competition team director Maggie Larkin, and the need to consider the emotional appropriateness of the song.

The article offers advice from dance competition veterans on turning judges' critiques into constructive feedback. Topics include the need to allow teachers to help dancers navigate the process of pulling the pertinent and helpful information from the comments of judges, several approaches taken by Supernova Dance Company co-director Alexa Conway for processing critiques with her students, and ways to measure the relevance and importance of a critique.

The article provides tips on how to make a winning choreography for a dance competition. Teacher and choreographer Derek Mitchell warns contestants to avoid inappropriate moves and suggestive songs. Sarah Turner, judge of BravO! National Dance & Talent Competition emphasizes the significance of keeping the choreography simple. Robbie Mulrey, judge of Starbound National Talent Competition suggests the importance of choosing the right music.

The article offers suggestions for dance teachers seeking to develop competition routines based on numbers from Broadway musicals. Reasons for the popularity of Broadway dance pieces are presented and include escape value, incorporation of large numbers of dancers, and learning opportunities for dancers. Music selection and the development of original choreography are also discussed.

The articles offers etiquette suggestions for dance teams performing at dance competitions. It recommends teaching dancers to be quiet while in the audience or backstage during performances, staying away from props in the backstage area, and being respectful of the dancers who are on stage. It also offers suggestions on dressing room behavior, gossiping, and appropriate language. The article reminds teachers and studio owners to discuss expectations with dancers and to act as role models.

The article presents the highlights of the 25th season of the West Coast Dance Explosion (WCDE) held in Biloxi, Mississippi, in December 2020. Hundreds of dancers participated in the dance convention and competition event. Owner Nick Bowman indicated that health and safety were at the center of the event. Jazz faculty Ashley Valerio noted her experience of seeing the growth and potential of young dancers.

This article talks about Muriel Maffre, principal dancer of San Francisco Ballet. According to the author, Maffre has proved that unconventional bodies can flourish in the American ballet system. Maffre was accepted into the Paris Opéra Ballet School at age 9. Maffre collected a gold medal at the first Paris International Dance Competition in 1984 and took first prize at the Paris National Conservatory for Advanced Studies in 1985.

The article presents a list of ballet auditions in the U.S. for 2007. It offers information on the requirements needed for the audition and the fee for applying. It also provides information on the companies looking for ballet dancers such as their address, web site, number of dancers needed and what it can offer to the selected applicants.

The article presents views on several dancers involving Shane Larson, Christine Flores, and Teddy Tedholm on growing up on the competition and convention scene, then working professionally as a commercial dancers. It includes information on Bill T. Jones & Arnie Zane Dance Co.; work of Flores with Pam Tanowitz Dance; and suggestion to working towards a common goal, and understanding that within the freedom that art provides.

The article explores the views of dance coaches, teachers, judges and artistic directors on the impact of competitions on the artistry of dancers. Central Pennsylvania Youth Ballet director Marcia Dale Weary feels many dancers who focus on learning variations for competitions are sacrificing artistry for technical prowess. On the other hand, Stanislav Issaev, chair of the dance department at South Carolina Governor's School of the Arts and a competition coach, believes competitions help popularize ballet.

The article presents an interview with Bruce Marks, Boston Ballet artistic director emeritus, interim artistic director of Orlando Ballet, and jury chairman for the USA International Ballet Competition (IBC). Marks stated his duty as the USA IBC Jury Chairman and his approach to selecting juries for the competition. He also shared the process they uses in selecting dancers and winners.

The article provides information on the ballet competition Prix de Lausanne to be held at Backstage at the Beaulieu Theatre in Switzerland from January 23 to 29, 2006. It includes a description of the venue, the pre-selection and selection criteria of the competition and the purpose of the event. INSET: CHANGING THE RULES.

Focuses on the approach used by the Larkin Dance Studio, a dance school founded by Shirley Larkin in Minneapolis, Minnesota in 1950, in teaching dance. Background on the studio and the founder; Significance of dance competitions to students; Process involved in selecting students for a competition.

Features winners of dance competitions in the U.S. and their views on competing. Positive aspect of competing for Joseph Phillips of North Carolina School of the Arts; Favorite dancers of Sarah Lamb, soloist of the Boston Ballet; Awards received by Danny Tidwell of the American Ballet Theatre Studio Company.

Explores the step dancing competition in Ireland. Competition costume guidelines imposed by the Irish Step Dancing Commission; Reason behind the embroidered designs of Irish dancers' dress; Trends observed at the 2001 World Irish Dance Championships.

Focuses on the eighteenth annual Gathering of Nations Powwow in Albuquerque, New Mexico. Growth in the number of Indian dancers participating in the event since 1983; Criteria for the dance competition; Other highlights of the event. INSET: The Omaha Way.

Part II. Describes the intense competition circuit of Irish dancing in the United States. Background on the 2000 Eastern Regional Oireachtas; Comments on the parallels between step development and costume design; Competition to be introduced into the circuit in May 2001; Benefits from the study of Irish dance.

Reports on the increase in competition standards faced by dancers participating in the 2000 Eastern Regional Oireachtas in Philadelphia, Pennsylvania. Intensified pressure for returning winners; Motivation in lengthy practice sessions; Tactic for building stamina recommended by past winner Natalie Fetherston.