Many competitive dancers are impatient to win the coveted congress grants. But why are these prices so sought after? How can dancers increase their chances of winning them-and who might not suit?
The advantage of the scholarship
One of the greatest advantages of the convention scholarships is perhaps the most obvious: financial relief. Participation in conventions can be expensive – for some dancers, prohibitive. The scholarships generally allow the winners to attend the events of an agreement free of charge.
Beyond financial aid, one of the greatest advantages of the convention scholarships is mentoring, in particular for those who earn great prices and turn with organizations all year round as assistants. “We can really see the work ethics of these dancers throughout the season,” explains the choreographer Martha Nichols, former educator of the Dance Convention Nuvo. “Once I worked with them closely, I keep them in mind when the opportunities arise.”
The auditions of grants of convention can also be a good training. Hailey Bills, a double winner of the best dancer at Dance Awards, says that the rigors of these frequent hearings have prepared her to become a cougrette from Brigham Young University as well as for a dancer from the last national tour of Derek Hough: “I auditioned for a scholarship every two months, and more auditions, better you audition.” The founder of Creative Arts Academy Jana Monson Frames has scholarship auditions as training opportunities. “If the dancers are cut, then I come back and say:” Well, did you hear what they put the accent? ” Then we work on these things and we improve for the next time. »»
Factors to consider
If you are determined to focus on a dance style, the multidisciplinary nature of congresses of congresses – which encourage or generally require that the winners take courses in a range of genres – not being for you. “If you want to be a specialist and reject anything beyond this goal, you will have a mental battle,” says Nichols.
In addition, conventions can be high-pressure environments, and Nichols says that spending the weekend after the weekend in this type of frame may not suit all dancers. “Hyperstimulation closes some people, and the space of the Convention does not bring out the best of me,” she says. “Some people need a slower pace and so that things are broken down. If you appreciate an prolonged process, it may not be the best place for you. ”
Not all dancers win a scholarship and frequent rejection is difficult. But Monson thinks that with the right perspective, hearing for convention scholarships can be a good learning experience for everyone. “It's not just about winning a scholarship,” she says. “Maintaining the state of mind that dance is a trip.”
Scholarships
Although there is no secret formula to win a convention scholarship, you can improve your odds during your next hearing.
Know what to expect: While the hearings of scholarships vary, most of them occur during the conventions and include a combination of ballet and a combination of jazz. Often there are several cuts made before the presentation of the scholarships.
Be strategic on your position: Scholarships can be very crowded. Martha Nichols recommends targeting the central back of the room to stay in the teacher's Eyline. “It is useless to dance at the front if there is not enough space to make the combo in its own right,” she says.
Pay attention to details: In a scholarship hearing, the personality is important, but be sure not to get too far from the choreography. “Many people will want to put their own turn to things, which is great, but you have to maintain the details, especially those they highlight specifically,” says Bills.
Attend the convention courses: “Teachers speak and they know if you jump lessons,” says Nichols. “This is not a characteristic you want.” The frequentation of courses also allows you to discover the preferences of teachers, which you can emphasize later in your hearing. “If you know that the Ballet teacher values clarity, can you try to be clearer?” Said Nichols.
