From Competition Stage to College Studio: A Shift in Focus for Young Dancers
The transition from the high-pressure world of competitive dance to the academic habitat of a university dance program presents unique challenges for young performers. While years spent honing skills and striving for awards prepare dancers for rigorous training, the shift in focus – from product to process – frequently enough requires a significant adjustment.
many dancers find their initial college experience differs markedly from their competition days. A male dancer, an incoming sophomore at the University of Southern California’s glorya Kaufman School of Dance in Los Angeles, described a change in his approach to technique classes. “At my studio, I zoned out a bit when it came to technique classes-rehearsing for comps was the focus,” he explained. “Now I have ballet every morning at 9 am, and I have to lock in and really pay attention to get something out of it.” He found that despite physically dancing less than during his competition schedule,the classroom setting became more rewarding. “It made me fall in love with dance again, and I enjoyed seeing my technique progress as the year went on,” he saeid.
This shift is often linked to a difference in the pace of gratification. Kiesha Lalama, interim dean of the School of Theatre, Film, and Animation at Point Park University in Pittsburgh, observed that students with a competitive dance background often struggled during their first semester. After spending two years judging on the competition circuit to better understand her incoming students, she identified a key issue: “the lack of instant gratification.” She explained that these dancers are accustomed to intense rehearsals followed by the adrenaline rush of performance and the immediate reward of a trophy. In contrast, dance majors typically wait months for an end-of-semester or end-of-year performance possibility.
However, Lalama emphasizes the valuable qualities comp dancers bring to college, including storytelling ability, fearlessness, and adaptability. “Onc they shift their focus from product to process, and find their own self-motivation-that’s when everything starts to click,” she stated.
The competitive atmosphere that defines the comp world also undergoes a transformation in college. Villegas was pleasantly surprised to recognize many classmates at USC from the competition circuit. “Some of that competitive energy lingers, because it’s what we did for so long,” he acknowledged, “But we’re all in this new environment because we want to keep growing, so we challenge each other in a healthy way.”
This new environment can also bring a heightened level of self-criticism. Accustomed to external validation through awards and judges’ feedback, comp stars may struggle with internal critique.Lalama addresses this by reminding her students that “perfection is no longer the goal,” but rather “what they learn as artists along the way.”
Ultimately, the rewards of a college dance education, though less immediate, can be deeply fulfilling. Lalama believes that allowing time for discovery, exploration, and refinement of craft yields lessons “just as gratifying as winning.” Dancer Drayton experienced this firsthand when she performed a prizewinning solo from The Dance Awards a year later,passing on her title at the event. “After all the hard work I put in freshman year mastering my movement quality, it felt like my soul was buzzing differently onstage, and I wasn’t dancing for anybody’s approval but my own,” she explained. “More than any plaque or title, understanding my own artistry and who I want to be as a professional dancer is the best reward.”
