All in Good Taste

We’ve all done it: sat uncomfortably through a competition routine as a student’s barely-there costume threatens to reveal too much or inappropriate music blares from the speakers. Under such conditions, it can be next to impossible to appreciate the quality of the dancing. How do you express your creative flair without crossing the line? Take a look at these do’s and don’ts to help your students expose their talent—and nothing else!

Music
DO screen music content. “Music is the backbone of any routine,” says Anne Kramer, owner and artistic director of Dance Etc. in Milford, Ohio. “It lets everybody know what your studio is like.” With this in mind, it’s important to be aware of what message you’re sending with your song choices. Listen closely to the lyrics—and always nix a song with lots of profanity. If there are only a few bad words, you may opt to clean it up with a music editing program like Sony’s Sound Forge. (Check out “Music to Your Ears” in DT February 2007 for more music editing software programs.) If you’re unsure about a song’s appropriateness or the real meaning of its lyrics, take a note from Michelle K. Richey, owner and artistic director of MKR Dance Productions in Diamond Bar, California, and double check with parents or even some of your advanced students. “There is a fine line that you can cross very easily,” she warns.

DO stay informed. If you share competition-class teaching responsibilities with your staff, you’ll need to find a way to monitor their decisions. Kramer allows instructors to choose their own songs, but insists on approving them. “I try to give [my staff] a little bit of creativity,” she says, “but I usually have a gut feeling about it.” Reviewing all music choices in the beginning not only avoids duplications, but it also allows time to change or drop an inappropriate song. Or, make all music decisions together as a team.

DON’T pick a song that’s too mature. Ten-year-olds don’t have the emotional experience to perform a lyrical dance to music about love and heartache. “I did a piece to ‘The First Time I Ever Saw Your Face,’ by Celine Dion, but the students were 16 and 17,” Richey says. “There’s no way I would have 11-year-olds doing that.” If your dancers are too young to understand their song, the routine won’t be taken seriously, and they won’t be able to invest genuine emotion. As Richey notes, “You only have your little ones for so long. Enjoy them and keep them that little!”

Choreography
DO stay involved. If you frequently hire outside choreographers, make sure you’re on the same page well before rehearsals start. “Before they even begin, I’d want to know music, ideas, costumes and what their plans are,” says Robin Dawn Ryan, owner and artistic director of Robin Dawn Academy of Performing Arts in Cape Coral, Florida. You can also collaborate on a routine to ensure it comes out the way you envisioned. For Kramer, outside choreographers provide foundations on which to build. “It’s still our responsibility as studio owners to refine [the choreography] so it works,” she says. “Some get offended if you change it, but I think the key is to say upfront that you’ll work together on it. In the end, I have a pretty good feel of what’s going to work and what’s not.”

DO be careful with hip hop. True hip hop is fun and entertaining without being raunchy, but some commercially influenced choreographers make it over-sexualized or inappropriate. Amy Page, owner and artistic director of Best Foot Forward Dance Studio in Escondido, CA, encourages teachers to challenge themselves and their students with more innovative choreography. “There are so many options other than vulgar moves!” she insists. “It’s more of a challenge to do a hip-hop number without pelvic thrusts or booty shakes.” Page suggests movements that require quick dynamic changes, like going from smooth to sharp. “All kids can shake their butts—that doesn’t take technique,” she adds. “Teach them something they can’t do on their own.”

DON’T be afraid to step in. So what do you do if you walk into rehearsal and the dance is way too sexy or suggestive? Speak up! “I respect any artist, so to walk in and immediately change someone’s choreography is disrespectful,” Richey explains. “But I would say something.” Sometimes a simple modification, such as having the dancers face a different direction, can transform an inappropriate movement segment. Or, instead of having little ones run their hands up their legs, try something like running their hands down their arms.

Costumes
DO consider body type. Choosing the right costume—for every dancer—is always a difficult decision, but it is crucial. How much skin do you want to reveal? Sometimes a costume can be more revealing on some dancers than on others. A girl with a small chest, for example, may be fine in a tiny top, but a well-endowed girl may experience a problem. “We select costumes based on body type,” Kramer says. “You can’t pick a two-piece because it looks good on 95 percent. You can’t sacrifice that 5 percent.”

DO pay attention to geography. Where will your competitions be held? Don’t forget that there are different norms across the country for how much exposure is too much. Kramer notes, “We’re from Cincinnati and we’re more conservative [than the coasts]—it doesn’t mean we’re going to wear full-length gowns, but we do tend to follow our own philosophy.” As an experienced judge, Ryan agrees that location is crucial. “It depends on what part of the country you’re in,” she says. “There are areas where some things are just not acceptable.”

DO provide adequate coverage. One of the current trends is the bare-leg look. This can work if the rest of the costume covers enough. “Sometimes it’s okay, especially with the contemporary style,” says Ryan. “I don’t see a problem with it if it’s done tastefully, but if not, it can be very distracting.” Ryan added tights to a costume last year after seeing the routine at competition for the first time and realizing her students needed more coverage. Choosing a more modest costume will ensure the judges pay attention to the dancing, not the exposed skin.  

DO it yourself. If a costume isn’t offering enough concealment, don’t be afraid to take matters into your own hands. Nude mesh can often be added to provide almost invisible coverage: Use it to mask midriffs in a two-piece, or hide cleavage in a top that fits too low. Just be sure to make everyone’s the same—Page is careful to add alterations to every costume, so that no one feels (or looks) different. Alternatively, consider choosing a costume with different versions that can be mixed and matched—i.e., some in pants and others in skirts. This solution not only works for a class with different body types (or boys), but it also opens doors for fun choreographic choices.

If you can afford it, hiring your own costumer can also be a fantastic way to get what you want. Both Richey and Page work with seamstresses to design their outfits. “We’ll sketch out our costumes together,” says Richey. “[My students and I] will meet and throw ideas out. It really enhances the routine and the confidence in their dancing.”

DON’T forget to think outside the box. Kramer suggests trying character routines with theatrical costumes that naturally expose less. Last year, a dance about mail delivery had her students wearing postal uniforms. “People who only think about the two-piece with sequins aren’t being creative enough,” she says. “There are so many creative things for all body types.”

When your students take the stage at competitions this year, equip them with the right moves, from music and choreography to clothing. With a little forethought and planning, you can steer clear of problem areas and help the judges remember your studio for its fantastic routines, not a costume faux pas.

Jennifer Anderson is a writer and dance teacher in New Brunswick, NJ.