Today I would like to address all teachers, choreographers and dance groups with a very serious and brief statement.
The news is full of reports of escalating “games” based on the Netflix series “Squid Game”. Scenes from the series are sometimes being re-enacted in elementary schools, and pedagogues often hear terrifying sayings from kids in schoolyards.
Like everything that’s trending right now, it can be assumed that Squid Game will also be a topic for some dance groups in the coming tournament season.
Today I talked to various jury members from different European dance competitions and they all agreed that this should not be a topic for choreographies at children’s and youth competitions.
Especially if it is not a critical discussion of the issue of violence.
Almost all competitions have regulations stating that the representation of violence is not allowed and that costumes, movements and dance themes must be age-appropriate. In this context, the judges would even have the opportunity to disqualify routines. Of course, we don’t want to do that, as I’ve only done it 3 times in my entire 30-year judging career. But we also have the possibility to deduct points in the evaluation sections choreography and presentation and we agree that we will consider this with this topic.
There are limits to what should be shown on stage in the children’s and youth categories. As already written above, a critical examination of the topic could be choreographically and pedagogically okay.
The request of my colleagues and me: Please consider exactly which topics you choose as the choreography topic and ask whether it has a message or just showmanship.
picture: pixabay
Published by stenkuth
My work and my interests have always been very diverse and varied.
I started dancing when I was a little child at the age of 2 1/2. After many years as a successful competition dancer in Performing Art Dance Styles, as well as Commercial and Street Styles and Ballroom Dancing I began studying Classical Ballett and Contemporary Dance at the Folkwang University in Essen, Germany and with Tatjana Gsovski in Berlin followed by a dance teacher education for Ballroom, Latin and Social Dancing. My education continued in New York City at the Alvin Ailey Dance Center, the Harlem Dance Institute and The University of New York in Musical, Dance History, Dance Notation, JazzDance and Modern Dance. A strong connection to the New York City Ballroom/Voguing Community always has a big influence on my commercial and artistic work as well as my background in Ballett and Dance Theater does.
During my time in New York City I also had a chance to become a 2nd Generation Pilates Master Trainer directly educated by Romana Kryzanowska.
My stage career gave me the chance to star in many international productions from Musical Theatre, Dance Theatre, Commercials & Industrials to shows like the Moulin Rouge and Paradis Latin in Paris.
As a choreographer I was lucky to work for Film and TV productions in Europe as well in the USA, for fashion shows in Paris, London and Amsterdam as well as for several Musical Theater Productions, Commercials, Industrials and events like the Olympic and Paralympic opening and closing ceremonies in Sydney as well as the Gay Games in Sydney and Cologne. Last but not least the background and strong connection to the houses of New York and Atlanta in the Vogue and Ballroom Community gave me the chance to work with many international Drag Queen Artist worldwide as a choreographer and artistic director and consultant.
After ending my active career as a dancer on stage, I still work as a choreographer, artistic director and director, international dance judge, dance consultant and mentor as well as an author, sometimes still as a performer or presenter on stage and on camera. apart from my artistic work, I also work as a Pilates, expert and a holistic lifestyle and health coach.
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SK Dance Blog by Sten Kuth 