Competition dance trends are becoming popular for a reason, but even the most exciting fashions end up taking their course. Four judges of the competition discuss the dance trends they believe that it is time to leave behind and offer suggestions on how to refocus routines on clarity, security and individual artistic talent.
Non-stop gymnastics
While an element of well -executed tumbling or gymnastics can add excitement to a routine, according to the judge of the Dance Convention 24 Seven Madi Hicks, the choreography sometimes excites it. “The dance community hands rhythmic gymnastics,” she says. “I love it and I respect rhythmic gymnastics, but it is its own sport.” The lower the gymnastics elements in a room, the more everyone can have an impact.
Tins that disrupt the flow
In the TAP routines, the judge of the Dance Convention Radix, Kelsey McCowan, noticed an overuse of flashy steps “which are well executed, but there is so much that there is a huge lack of phrasing and musicality,” she says. Matthew Rich, Spotlight Dance Cup judge, is also concerned about the impressive but launched stages that disrupt the quality and phrasing of the movements of a routine. “Do not stop, do not drop off, do something demonstrative, then continue to dance,” he advises. “Find continuity. Make it musical, so the whole image corresponds visually and auditable.”
Dangerous transitions
The 2010s called, and they want their knees to be the knee. “There has been a resurgence of high impact transitions to the ground, which can negatively affect the health and well-being of dancers,” explains Grace Buckley, judge Buckley, judge Buckley. “Everything that seems intentionally dangerous, like falling directly on your knees or running and landing on one folded knee while the other leg is in the second, works against your longevity as a dancer.” A dramatic drop on the ground is not a bad thing – it is enough to find ways to do so that do not emphasize the joints.
Extreme flexibility
While many young dancers are naturally hypermobile, Hicks fears that the current trends in competition dance are growing things too far. It warns that a tendency particularly concerning the trend is vertebral hyper-flexion during the heads. “I'm really worried about their thorns,” she said. “You may think it's impressive, but each judge is afraid when he watches him perform.” Instead, have a well -sustained flexibility that does not go up the spine or hips.
Swayed
Attend most competitions this year and you are sure to see dancers with an intentionally influenced back. “It seems to be the latest trend, which makes me very nervous,” says McCowan. Hicks agrees. “It is a problematic fashion on social networks that took place in the studios,” she says. “It doesn't help their score and can only harm their hips and support the line.” Hicks recommends that the dancers take modern lessons to understand the connection to the skip head of the spine and that the whole movement comes from the rear. “It changes everything,” she said.
Small complex movements
For years, tiny and complex movements close to the body have been everywhere in competitive routines. Although they look great on strong rapid contraction movers, this is not the gift of all dancers – which means that the trend frequently ends up looking disorderly and superficial, like “a lot of white noise”, says Rich.
“I often see the same movements appear in several solos and parts throughout the competition weekend, and as a person who prides himself on knowing that all skills sets are unique, I find it problematic,” he said. Instead, Rich wants to see who every dancer is: “Show me your best job – what you feel most confident; What you think you have that other dancers do not have. Whatever the trends, I want you to get into the mixture, to make each step even more spectacular. ”
