When creating competition routines, the health and safety of young dancers should be a top priority. Definitions of “age-appropriate” choreography vary widely across the competitive-dance scene. It takes a concerted effort to shape pieces that push young dancers artistically and technically while avoiding steps or thematic elements that are too sensual or adult.
Establish Guidelines
Choreographer Jessie James has a simple rule of thumb for competition numbers. “If it will make you, your partner who isn’t a dancer, or your dad uncomfortable, it’s probably not age-appropriate,” she says.
Sheryl Dowling, co-owner of The Dance Club in Orem, Utah, errs on the side of caution. “We go with whatever the most conservative person in the room feels,” she says. “You don’t ever get in trouble for choosing to be more conservative.” If you’re concerned that a routine’s costumes, choreography, or song selection might be too mature for your dancers, it’s probably time to make alterations.
Consider Music, Narrative, and Intention
When choosing music, don’t just review the lyrics for inappropriate language—consider the song’s context. “A song from the musical Chicago is pretty mature for a mini solo, even if you edit the lyrics,” says James, who’s an educator at Woodbury Dance Center in Minnesota.
Assess whether your choreographic concept matches the dancers’ maturity level, too. “We aren’t going to have our kids dance about an emotion they have no experience with,” Dowling says. “They can dance about loving their parents or best friend, but they shouldn’t be dancing about a relationship with some hot guy when they’re 10 years old.”
Then, consider the intention behind each step. Choreographer, dancer, and convention teacher Dana Wilson recently created a combo for 11- and 12-year-olds set to music that included the lyrics “kiss me.” Because of the young age of the dancers, she steered clear of movements that resembled kissing. “I actively avoided the lyric and danced on the baseline,” she says. “It became a very technical moment, so it was clear the message of the music was not what was important to me.”
Prevent Injury
Choreography should also be age-friendly from a technical perspective. Extreme poses are often rewarded at competitions, but the consequences of using these movements before a child is ready can be severe.
“Putting stress on a young dancer’s joints and ligaments early on can lead to serious injuries and problems later,” says James. When working as a guest choreographer, James does her best to match her routines to the dancers’ technique level, and then gives studio owners permission to level it up or down as needed.
When Wilson choreographs for large groups of varying skill levels, she keeps the movement relatively simple, then encourages customization through musicality and stylization. “It can be danced bare-bones or seasoned,” she says. “Certain steps when done with rhythm or flair can get really challenging.”
Overall, prioritize creating a safe environment for students to grow in—as dancers and as people. “Their young minds are still being shaped,” Wilson says. Pushing adult themes and advanced steps on them too early can cut their development process short. “It’s important that kids get to be kids,” says James.
For the Judges
When it comes to questions of age-appropriateness, competition judges play an important role. They can help establish norms at an event, and across the wider competition-dance scene, by rewarding appropriate routines. “It’s important we celebrate things that are healthy, and are cautious about how we reward the other side of the spectrum,” says veteran judge Dana Wilson.
Wilson has a checklist she considers for routines featuring young dancers. “First, is the messaging of the music age-inappropriate?” she says. “Second, is the costume age-inappropriate? And third, is the intention or energy age-inappropriate—the look behind the eyes, the biting of the lip, the hands touching the body?” If all three boxes are checked, Wilson will deduct points. If one or two of those boxes are checked, she might just give oral feedback to the teacher about the problematic elements.
As the dancers get older, Wilson is more likely to ask them questions than to dock points, acknowledging their level of maturity. “I’ll ask if they are aware of their intention, if they know what their expressions are conveying, and how they hope the audience will be left feeling,” Wilson says.
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