Comp Hangovers & Trophies in the Bin: Real Talk About Dance Comps For Studio Owners

Hello, friends. I'm Amanda Barr.

And I'm Rebecca Lou Brennan. And welcome to Dance Principles United, the podcast.

Together, we are passionate about helping studio owners with the business of running their studio.

Join us as we talk everything from marketing systems, studio culture, motherhood, life and everything in between.

This is the Dance Principles United podcast. Hey, friends, and welcome to another episode of the Dance Principles United podc. Last bec. It's the end of comp season. Oh my God, has it been huge?

Goodness. We had our last comp yesterday on the weekend. It's just such a big weekend, isn't it?

Absolutely. Have you got a hangover today? Comp hangover?

I. I do have a comp hangover. My alarm went off to go for a walk because, you know, I've been walking and going to the gym every day, Amanda, and I'm being very good. I'm on the BFT 8 week challenge and I couldn't do it. I was exhausted so I let myself sleep in. I went for my walk at 9 instead and did my phone calls while I was doing that. And I'm going to the gym at 6:30 because it is a real thing, the comp hangover. And we got there yesterday. Well, I got there yesterday with the truck and this was the second day.

That truck is your own fucking fault.

Literally have it.

I take a truck. I cannot deal with a truck.

I take a truck to comp.

Full of props.

Full of props. They were all laughing at me at the comp, as usual. That's fine. I'm fine with that. So I took the truck and I think we got there at 7:30 in the morning and this was actually pretty early because we finished at 8pm oh, nice.

That's not too bad.

I know, but that's the thing we're saying that's not too bad, but that is a massive day. Then we had to go take the truck back to the studio and upload it and.

Yeah. Do all those things. Right. Yeah, I know, it's crazy. Like I as a dance parent did my last comp the weekend before and I did as a dance mum, 14 hour days. Two days. Twice, actually. One day I got to go home a little bit earlier. But yeah, absolutely huge. Even as a dance mom, they're long days.

Long days. And I was lucky this weekend because on the Saturday we didn't start until 2:00'. Clock.

Oh, that's not too bad.

Yeah, but then I taught in the morning.

Yeah. So you know all the things.

Anyway, the point is it was the last comp of the year comps are.

Over for the year. So we thought we'd reflect a little bit on comp season being over and what we like in comps, what we don't. Our vibes of comps. I know probably so many of our listeners are big in the comp world. Probably do. Like, we've always done lots of comps a year. How many comps do you do a year?

Four.

Okay. It feels like a lot, but it's actually not.

Right. But we then have other stuff. Like we do adf, which has a comp attached to it.

Yes. So you don't include that in your four.

Right. And then this year I added a comp because we've got this new, like, company stream. And so.

Yeah, it.

You know.

Yeah.

So it ends up being more than four.

Yeah, yeah. We used to do four to five when I owned the studio. We used to do nationals every second year in Queensland. We'd kind of do two different comps up in Queensland, and. But then we did cheer comps as well, so, you know. Yeah, that's the thing.

It's never just full.

Yeah, absolutely.

But we try and do one in July, one in August, one in September, one in October, so that it's only one weekend out of the month that.

We do it as much as possible.

Yeah. Because I do think it's like it. Our comp season is also soccer season. It's also footy season, so parents and families have so many different places to go. It's actually crazy. Anyway, that's not what we're talking about today.

No, but like you said, it is it. It's a lot on your families. And you got to make sure as a studio owner that it doesn't burn them out. Because burning them out doesn't do you any favors.

Also burning yourself out.

I don't.

Like. I've spoken to studio owners who do 20 comps a year, and I'm just like, what?

How could you?

That is insanity. Yeah.

It's not good.

That's half your weekends of the year at comps. Yeah.

That's crazy, right?

Yeah, less than half, but still.

Absolutely. Hey, talking about that. Let's talk solo comps while we're talking. Do you go watch your students in solo comps? Obviously, you've got Baby and so, like, if you're there.

Correct. So if Baby and I are there and if it's like, national. So we just did get the beat, so. Yes, of course. Because I was traveling there. I did.

Yes.

But definitely not on a normal weekend. And to be Honest. Even if. Baby. Because she's in 15 and over now, which she's just gone into, but even if she is in 15 and over and I've got kids dancing all day, I don't go watch them all day.

March, absolutely.

I used to do. And I'll probably bring it back next year, where I would say to everyone, do this one comp, and I will come and watch you at that one comp.

I'm doing one big weekend, and this is the one that, to be fair.

I didn't do it this year. I think this year's just been a lot. But we'll probably do that next year, and then they can choose to go in it or not, and then I'll be there for that. I do think it's important to go and watch and see what the standard is. That's why I like watching Nationals, because I feel like, okay, I know where my kids are at, and, you know.

If your teacher's choreography is up to par and all of that, and their technique training and all of that.

But if I went and watched my kids at solo comp. Yeah. I would be at a solo comp every single weekend. Absolutely. Because we have that many soloists, and also there are so many competitions now, it's insane. So no is the answer.

Absolutely. And I think, like, if anyone is listening that's still trying to do that, I think it's not scalable. I think it's that thing that we've really got to think with our business heads. Sometimes if you're going to all those solo comps, like, who's financially compensating you for this? Like, it is so much time and money, like, whether you get into the comp for free, it still costs a lot to go and park and do, you know, all the things, but time away from your family as well. So I think if you're still attending a lot of solo comps, like, really think about, is that scalable and something that you can do, or is there a way that you can prevent that burnout? Because I do think that burnout's real. Yeah.

I used to go to a lot of them before I had baby.

Yeah.

Once you have a family, it's very different.

Absolutely. I used to, too, because I, you know, loved it. And you know what else? It was fun to go on the weekend.

Right. I still love it. Don't get me wrong. Yeah.

But you've also got other correct things to do on the weekends.

Exactly.

Yeah. It's tricky. Right.

And I know what you're saying. Like, if you. If you start something like that.

Yes.

It's very hard to pull back from it.

Yes.

That's the issue, right?

Yeah, absolutely. What I mean by it being scalable, like, you know, is there something you can do long term? Is it okay when you've got 20 soloists, but what about when you've got 50? You know what I mean? Or whatever that kind of looks like, because people then start to expect it.

That's the problem. What you start, you have to continue with, and then it's hard to pull back.

Absolutely. It's tricky.

Haven't we made that mistake so many times? All right, so let's talk about a few things with calm.

Yes.

We had some fun notes written down. So the first one is you wanted to talk about awards.

I did. So I'd love to know what you think. All right.

Y.

All right, quick answer. Do you like awards straight after the section, or do you like when they hold them off and do like a big awards, like at the end of the session?

Oh, I'm torn.

I'm.

I. I do like it straight after for. From a teaching perspective, because you can.

Remember what the other routines were.

Yes. And you know what? I love some of the comps now. And I don't know if you know these. Some of the solo comps. You can get the voice critique immediately.

Yes.

I love that because then Biebs and I can go back and listen to that critique, see what they're looking for.

Before she does her next routine.

I would love that for Troop. That would be really cool for Troop so that I could go back anyway. That's not the question. I don't think I've ever seen big awards done super duper. Well, maybe showcase. That's.

Yes.

I have never. Like, I've got a lot of comps that are doing the big awards, but whether they do it really well or not. Yeah.

And that's my problem. Right. Like now I'm sitting in the parents seat and seeing it from the parents perspective. And I've always loved the big awards. However, for me, with a little one who dances but also does not like to sit there after the comp and wants to go home straight afterwards, to hold her there for awards is fine, as long as it's going to be great.

Yes.

So if they're going to get them on stage, you know, do a fun dance.

Which showcase does my kids love? That showcase dance.

Absolutely. And a lot of other places do it as well. Like, if they do that fun dance, you know, sometimes they do something funny. Like get parents up or teachers up to do something.

Yep.

You know, things like that and it make a big, like, thing out of it. Then I'm like, yeah, cool. This was worth staying around. If they just hold them off and just read out the sections or even get them onto stage and just don't make a big deal out of it and just go, you know, section 80, first place, number 12, like, and nothing about it. The kids can't even follow. I think that's an important thing that little kids can't even follow what you're saying. You know, to me, I'm like, why the did I just hang around an hour for this if it wasn't even going to be great or two hours or three hours? That's my problem with it, I guess. So either do it really well and hold them back or just do it straight after the section.

You know what else I like about Showcase? I was just thinking about yesterday, like, it was very stressful trying to pick two kids to go up and get the award because I have a feel. Oh, kids feel upset. I have a bazillion kids and. And so there's definitely going to be kids. But also I was looking at fours, fives, sixes and eights at that time, all sitting around me trying to go, hang on, which kids in company and are you in tribe and what's winning? And is that a tribe dancer? Is that a fours dance? Like, oh, my gosh, that was a nightmare. Whereas I love it Showcase that the teacher and studio owner just goes and gets the trophy as they win and the kids are up on stage cheering. Yes, that is so much easier. And I think I'm pretty sure there's other comps where the studio owner just.

Goes, oh, there's been heaps that I've been to this year.

That is so much smarter. If you're a comp listening to this, please just let the studio owner or the teacher go and get it because it is way too hard for people, especially for little people. Yeah.

It's just not fair to them. Or go over to them where they're sitting in the audience or like some version of it. But picking kids, it's just not fair.

Like, I've seen kids on stage have an absolute brawl as well and fight with each other over who's getting. Which I get. Because they all want to go and have that moment.

Yeah. And they want to be in the photo and they want to. Yeah. You know, I absolutely. This is not in our notes, but I am obsessed with cheer comps and you know this. We've talked about this before. Not. You've never.

You've always wanted me to go to one.

I want you to go just because this. They run them so, so well.

Yep.

So one thing that they do at cheer comps is they get either on the stage or on the floor. All the kids sitting down with, like, a gap up the middle sort of thing. And then the whole team, if they get second place, jumps up, they all run over and they kind of have it, like sections, like, really well so that they can do it quickly. They jump in front of the banner, they take the photo. The professional photographer takes the photo of the whole group, and they do it really quickly and so that all the kids feel special. I like that. Rather than the two. Whether it's the studio owner or all the kids. You just don't want. Want to, like, just have two.

Absolutely agree. So that was very dramatic.

Yeah, I get that. Absolutely.

And then it is a bad end as well because there's kids that are upset.

Yeah. It's not a great look for you as a studio owner if you pick the wrong kids and then there's parents crying or kids going home crying. It's not fun. It's absolutely not fun. Okay, what else? What's something that you absolutely love about comps?

Okay. I love it when studio owners and teachers are prioritized. So, like, oh, gosh, I went.

Even some love.

We're being so. But anyway, I went to a comp this year. Okay. Now let me tell you, Amanda, I bring a ton of money to a comp.

Yes.

Okay. So I have over 250 comp kids this year. How huge is that?

Yep. So quite often you might be bringing 400 parents who are all paying to go into the audience.

Yep. Correct. Plus my entry fees, because we have a lot of troops, because we have. We have company and tribe now.

Yep. So two streams, and they're all in.

The comp, so it is big bucks for them. So I walked into this comp. It was my first time doing it. I'm not going to say what comp it is. Obviously, no one greeted me. No one said hi. I found where I had to go. No one still had said hi. I had a few issues, which I'll talk about later. But I'm just like, as a business owner, would you not go and talk to your biggest client? I don't get that.

Absolutely. It's crazy.

Imagine us, for example, at expo, and we don't go and talk to the vendors, or we wouldn't go and talk to the platinum vendors. It's just so crazy to me.

Absolutely.

That you wouldn't go and make that connection. Anyway. That's just me being a.

But I also being a. I think it's good business service. Right. Like, let's be honest to me, at a comp, their main clients are the studio owners. And usually at a comp there might only be 10 studio owners there. It's not like there's heaps. If it's on a troop day, there's. There's not 500 studio owners. There might be 10, it might be 20, whatever that is. But to make the effort to go around, especially if you don't know them and haven't met them before, to say, hey, I'm so and so, so nice to meet you. I know it's your first time here. Let me show you around. Let me tell you what happened. Like to have that two minute conversation that's so valuable and like, I won't.

Go back to that comp now. There are. So that's the other thing. There are so many comps to choose from. We don't have to go back to those ones. So what I do love and what has happened in at and I'm gonna say this comp, the Ultimate Dance Spectacular. Mad and Trish is my favorite comp by far. To do. You get graded. As soon as you go in, you get a special studio owner pack with Panadol. And I like that. Like, I know it's just something small, but it makes a thought, it thought and it makes you feel very special. They have a teacher room that has tea, coffee, lunch provided for you. Unlimited food. That's a viewing room. They also have a teacher section where away from the audience where you can go and view the troops. Yep.

Amazing.

And so you don't have to run all the way around and try and go through a door. They've got like a special entrance for that. I love that.

Amazing. They make you feel seen, they make you feel special.

And it's insane.

So, so good.

Insane.

Yeah. That's incredible.

Yes.

I love that.

That's what it should be though.

Absolutely. Talking about that, you know, to me I think it's. It's so great to see more comps moving to that business model rather than the old school. You know, we used to do the city of whatever comp and it was very much like a committee and it was like, do you remember the days? Right. I do the old ladies in the committee and like that kind of thing. The reality is it's that there's very few cops like that run anymore. They are now businesses. So what used to be okay as a committee and a non profit organization is not okay as a business. And these are now businesses that make decent money. So therefore they should be treating it like a business. Which means, you know, doing those things, making your clients feel special and seen and all of that kind of stuff. Because people are paying great money to be there. Comps are expensive.

They are actually something. We haven't written this down yet. Just gonna keep doing this. So something that I was thinking about yesterday. So this comp changed the way they did it and they got every parent to pay $45 and you can bring as many people as you.

Yeah, I love that.

Yes. See, I don't love that from a studio owner perspective because then I have to collect that money from parents.

Okay. It depends on how they're doing it. I like it when the link. I just have to send the link to the parents and I don't have to have anything to do with it.

Oh yes, that would be really cool. Yeah.

If I have to collect the money. Absolutely not putting the work.

So I hate that from a studio owner perspective. But then yesterday I realized how much better it was for parents at the beginning of the day because rather than them all waiting in that terrible line.

And getting once again bad service from.

A business, very bad service. And then having to then be late to get their child to the change room because they're waiting the line to get their ticket with their child's dream duffel. And then that runs really late. And one of the comps I went to this year refused to let people, people in early even though they were there ready to go. Refuse. I'm not joking. Right.

So my, my parents, a huge line.

It started at 8:30. My parents were there at 7:30, which was the arrival is what you told.

Them to get out. So. Yeah.

But they refused to open until 8.

Had they published anywhere that doors wouldn't open till late?

Probably.

It's hard to know, isn't it? Right?

They probably did.

But still they were there and set up. So why wouldn't they just stop?

Literally like I went up at quarter to eight and they were like, you can't, you can't come in here yet. I'm like, I. What are you talking about?

It's funny, isn't it? Because talking about that business perspective, like, you know, it's very important to make sure your staff are lovely and have good customer service.

Yes.

Because the cranky old ladies that Used to work at the city of whatever committee do not fly anymore in a business setting. I had, I had a cranky old lady experience the other week at a comp. As a parent. I had bought my two day wristband, you know, the day before there was a, yeah, I have to pay for comps now. It's pretty, I'm not happy about it. Anyway, anyway, the lady knows who I am. She knows that because she used to, she's been on, you know, doing that for a long time. So I know, I know her, I know her name. Yeah, There was a huge line to get in. Of course, I had already paid a two day wristband. So I walked around the line with my 7 year old daughter to take her straight to the dressing rooms because yeah, once again I didn't want her to be late and I'd already done that and I kind of like just went oh, hi. And like showed my wristband and waved. She came running after me into the change rooms, left the other people that she was serving and was like, you're not to walk through here. I'm like, oh, I have a two day one. She's like, that's not the right color for a two day one. I'm like, yeah it is. I will if it's not like whatever. But I, I paid for a two day one yesterday from the comp organizer. Like, I can show you my receipt. It is not the two day one, it's you have to come back here right now. I'm like, can I just go take my daughter in and then I'll come back and, and sort it out.

Tell me this.

And I was like, I'll come back and sort it out. No problems, like no issue. And I wasn't angry. I was like, just let me take my daughter in because it was quite a distance to take her and then I'll come back and we can work it out. No, you must come back right now. I'm like, no, pretty sure I'm gonna take my daughter in and then I'm gonna come back. And she's like, oh, you better come back, make sure you do. I'm like, I will, don't worry. So I took Sassy and got her settled, went over and went, hey, cool, can we talk about it now? So yesterday I paid X amount of dollars for two days and they gave me this wristband. Well, I have here that it's a, this colored wristband. And then the owner was standing next to it, she went, no, that's fine. I went, yeah, see ya. Bye. Like, I definitely. But you know what I mean? It's just like. And it was a silly thing, but it's. As comp organizers, you need to make sure that your staff are treating people as customers, like they're in customer service.

Absolutely.

It is so, so important, because that happens backstage. Right.

I was just. Yeah. I was just thinking that we. I hate it when they make stupid rules backstage. That's the first thing I hate. Like, I was saying before, Amanda, like, why are you trying to make my 6 and unders run on from the other side of the stage when they've always run on from that side? Like, is it really that busy backstage?

Yeah. That they can't make a special allowance if you're standing there?

But, like, why even have rules about that? Just let kids run on whichever way they need to run on and off and just give a little bit of time for them to get out of the way so the next troop can come on.

Like, be flexible.

Be flexible. Because we've all practiced with our kids doing it a certain way. And then we get to a comp, and there's rules. So many rules.

And people freaking.

I got yelled at this year.

Oh, God. I could imagine the person yelling at Beck.

I did not go down well. So there was a comp that did eight. Eight, eight, eight. Back to back. Right. Or six or sixes. Sixes. So just talk eights. For example, we have tribe and company. So in most sections, we have two troops.

Yeah. And different kids in each.

Correct. And our kids do ballet, jazz, tap, hip hop, lyrical, and contemporary.

Right.

So they're in six of probably nine sections of the comp. So we are running around, like, absolute. With. Absolutely. So I was side stay. Not side stage. Kind of. Not side stage yet, but out in the holding area type thing. Just going through the positions for them to run on stage. And we're very organized, let me tell you. We have every single troop exactly what their lines are. So I'm there calling out. I haven't written down. I'm there calling out the lines. Okay. And this woman comes out, and she's like, you must go backstage now. And I said, yep, we're just about to go backstage.

I'm getting my kids in line.

I'm just putting the kids in. Like, you're running late, and everyone's running late because of you. Oh.

Did you lose your shit?

I lost my shit. I really lost my shit. I just said to her, I will not be yelled at in front of my kids. We will come backstage when we are ready if you need to pause for a couple of minutes. I'm sorry about that, but my troops are back to back to back to back and I'm bringing a lot of money in here. And then I wanted to speak to the owner, of course, of the comp and just said the same thing. And I'm just like, so disrespectful. I am doing my best. Like, I'm.

I want them to go on stage too. Yep, yep. It's crazy, right?

Crazy when there's only six in a section and the kids are running out to get changed into the. Like, it's a lot, it's a lot. Just have some understanding.

And I think if you run it like that, that's fine, no problems. But you've got to also understand that sometimes a six year old is going to take a little bit longer and you've got to, you know, you've got to have some allowances for that and be understanding to the studio owner that they've got a lot going on. There's a lot of kids to change. There's nothing worse. You know what I hate is that I hate that whole thing. We never used to let parents into the dressing rooms, even with like sixes and eights at a comp, regardless of what the comp said. Because I cannot deal. Yeah, yeah. I cannot deal with. With the parents dress, the parents all standing up from the audience going, I've.

Got to get out. I've got.

Oh my God, she's got a jazz. Next. I'm wearing a jazz. She said, oh, my God, oh my God, oh my God. Like that.

That is true. And it actually stresses the kids out as well. I saw it yesterday so many times.

Yes, absolutely. And I am such a big believer that I was like. And I was lucky that I had enough of team members there. So, you know, if I had a group of 25, I might have two staff, maybe three stuff. And then usually a couple of teenagers hanging around. And I was like, you know what? I can do it. Yes. Maybe it might take five minutes longer, but I don't have those. The parents, you know, stressing the kids out, yelling. I hate the whole look of them jumping up from the audience running. You know that thing where they try to get out the door before the door closes the next, like all of that. I just hate it. And so like, I was always like, I'm gonna take longer and tell them to wait for me because it's actually smart.

I've never thought of doing that. I don't know that we could do it. I mean, logistically, Spencer. Yeah, it would be very tough for my team when we've got 57, six kids that are less than six.

Yeah.

But still.

But definitely you could for eights, because they can dress most of themselves.

Eights, ten to anyone else. You definitely could.

Absolutely.

But, yeah, that's an interesting concept because there's still people who do concerts where their parents change the kids.

And I think, yeah, absolutely. And that's my thing. I'm like, I don't need the parents at concert. I don't need them at comps. Like, for the same reason that it, number one, isn't a great experience for the parents, that it stresses them out. It stresses their kids out. Like, we've all had that one parent who like, yanks their daughter's hair too hard and upsets them or whatever.

Right.

And I'm like, I don't need this. I need. Or that comes backstage and goes, you weren't smiling enough in that routine. Or make sure you point your toes. You're like, hey, let's not stress our children out before they're about to go on stage for another routine. Yeah, I. Yeah, I'm so into that. And also, there's always some comms that don't allow parents. Right?

Yes.

So that way, I was like, that way I dismayed it across the board rule that it was always the way. If I really needed, I'd ask one parent or two parents that I knew. I don't know.

Interesting.

Just thinking about this, we're all like.

I don't mind that idea. I might play around with that.

I always think about it, like, benefit driven for parents.

You guys, just relax.

We've got the kids. We're having a ball. We're so far, like, so far. Hey, can we talk a little bit more about awards? Just talking about stretching. I'm back towards. So I was saying I. Before we got on Mike, I mentioned this to Beck, but as a studio owner, I used to hate the ribbons. The ribbons that they would give you in a pile for all the kids and they'd give them to you at the end of the day and then you'd put them in your handbag and you were like, where the hell are the ribbons? There'd be a random parent six weeks later going, my child didn't get the highly commended ribbon.

I have that right now. We're getting so many emails about it and I have so much anxiety around it. And I'm like, hate it.

I don't know where it is. Like, you know, I've lost it in the back of my car somewhere. You know, I chucked it in the bin, like, you know what I mean? Like, there's so much here. Just have a random ribbon. I hated it as a studio owner and I was like, could you not give me a pile of. Of ribbons? I do not want to give them. Yeah. However, I'm now a dance mom. I now have a daughter. As we've talked about on the podcast, my older two daughters couldn't have cared less if they missed out on a ribbon or if they did, they'd say something to me. I'd be like, you're right. Don't worry about it. My youngest daughter, having that ribbon would mean the world to her. It would mean the absolute world to her to go home with a ribbon or a certificate. And so I was thinking as I was sitting there and they were doing the big awards ceremony Right. At a comp recently, I was like, how good would it be if instead of putting the expectation on the studio owners and making it harder for the studio owners, which is their clients, that the comp organizers, when all the kids were on stage doing a bit of a dance off or whatever, before the awards, they made sure all the kids felt special and seen by handing out a ribbon to every kid. Like a participation ribbon.

Love it.

Then they only need one ribbon or, you know, a badge or a whatever. Right. A certificate for all I care. But giving it on the stage so that the teachers don't have to take anything home and remember to give it to their clients.

Yep.

You know, the kids all come off the stage happy. Like when we're talking little ones, we're talking sixes and stuff. Absolutely. Yeah. They all come off this. I was like, that would be so good. I think showcase used to do that back in the day. They used to give rosettes out. I don't know if they still do. It's been a long time time. But like, stuff like that made a big impact to the kids. And that's like, they remember.

I would happily pay an extra $5 per kid to get that. That I didn't have to go through that. Absolutely hate the ribbons so much. It is so. And then it actually takes so much admin time when we get back to.

The studio, sort them out.

Remember, then we have to. Then certain teachers don't remember to hand them out and others do. And then there's the fighting over that. And it's such a thing. Such a thing.

Absolutely. So I think it'd be really good for comp organizers to think about it from the studio owner perspective and how could they make their life easier and make the kids go home? Like, because that's why we love those awards. Like, you know. Right. Like best sportsmanship or, you know, studio that cheered the loudest or whatever.

Yes. I love those awards.

It gives a chance for some kids to be seen.

Yes.

That maybe didn't place in the section.

Correct.

And it gives, like, all the studios, like, oh, we got the best sportsmanship award. Didn't place, but, you know, whatever. It's great for the kids to be able to go home. So giving them all that ribbon or the certificate or the rosette or the whatever would give that chance for them.

And I feel like comps should be smart about that and give, like, watch who's got awards through that time and then go, okay, they didn't get awards.

Like, like, let's give them.

As if you wouldn't do that. Because they're all clients who will come back if they've had a decent experience. They just want something to post on their social media to say, you know, we won loudest cheer is like, who cares what it is? Yeah. You just want it as a studio to put on your socials.

Absolutely. And that's what, you know, I feel I've said this before. Cheer comps do really well. They give medals to every kid.

Yes.

At awards, every kid gets a medal. That's so participation medal. Wonderful. That's all people need.

And I don't care if it's the crappiest plastic medal you've ever seen in your whole life. If every one of my kids got that, it would have made such a difference in comps.

Yeah, absolutely. I've got all star medals that are participation medals.

Great.

Hanging all over my house because my kids. And they haven't done an all star comp for three years and they still love them.

And we give our kids a medal the first comp. And I've told you, yeah, we do it every single year without fail. But that wasn't first comp this weekend, was it? So probably they've forgotten about that, haven't they?

Absolutely. And probably you had kids that went home. I would imagine if you've got a kid in your class that's like, sass, that even if they won first place, went home and went, how come I didn't get a trophy? How come Ms. Beck got the trophy and I don't get the trophy? And the parents like, oh, because Ms. Beck will keep it at the studio safe for us.

For what? Yeah, that's the other thing I hate. Like, what are you gonna do with that trophy?

Absolutely. I'd rather every kid have a medal.

Same.

Or every kid have a ribbon and trophies.

100. I hate the trophies so much.

So many trophies.

Waste of every. Like, we just throw them in the bin.

Yeah.

You know, or we give them out to hardest worker. We don't do that with the little kids. Because then someone cries and then what else? What. What do people. How many trophies? I've had the studio for 21 years.

A lot of trophies.

Like, sometimes I go home with two full boxes of trophies. Yeah. What is the point of that?

Yeah.

Even BB from solo comp. We get home and unpack the dream duffel and put the medals and trophies into the bin.

Oh, straight into it.

What am I going to do with them? Yeah.

You can't fit everyone in your house.

Like, she'll keep a couple of special ones.

Yes. But generally.

But I'm just like, this is you. You're spending so much money on these troop comp people. Like. And I'm just literally coming home and putting it from dream duffel into bin. I know, I know that's not a lot of solo kids. And I know they have the room of.

Yeah.

Trophies and medals. I don't have that space in my house.

Yeah. I'm sorry. Each to their own. Yeah, absolutely. And I would rather see that money into the experience. You know, we're talking about experience, you know, those comps that offer things like, you know, photo ops out the front for kids. You know, the 360 cameras. I was talking about the cheer comp as well. Like cheer cons, an incredible cheer comp. And they have a thing called. I can't remember what it is, but like, they call it something like photo alley, basically. And they have Santa there to take, like with the Christmas ones and elves. Then they have another backdrop and they have like all these activations all next to each other to be able to have all these moments and all these special things. Maybe it's called, like, paparazzi. I'm sure someone listening is going to correct me because it's been a while since I've been so cool. But, you know, all this other stuff for the kids. Kids to do, they have, you know, some things are like, really, like over the top. Like they have, you know, the 360 cameras or the big balloons or they have Santa sitting there at Christmas time because that's near where their nationals are. But you know, even just the backgrounds or the, you know, what could you Do I'd rather see money put into that? I think that rather than, you know, another trophy.

Right, Absolutely. But. And you know what? Like, people do put a media wall up, but, like, sometimes. I know. But at least it's better somewhere to take a photo. But sometimes they put the media wall up. Not even where backstage is. So you're like, well, I'm gonna walk the kids downstairs and around the corner to the media wall. That's.

Yeah.

Instead, like, put it in the marshalling area where we've got our kids, and we're gonna then go, oh, quick, get a photo.

Yeah, that would make more sense. It's hard because then probably the parents aren't in that. Like. Like, be smart at 300 to get made. You know, that's the interesting thing, because I know you told me about BB and her friends. All they wanted was a 360 photo with you. Is that right?

Or something.

Is that the one still in the back? Oh, my gosh, look at that. Still in the back of Beck showing me her. Because this is an audio medium bed and she's showing me something.

There's a camera. There is a camera.

Hopefully you're watching on YouTube and you just saw the back of Beck's phone.

It's still on the back of my case. And it was. It was such a special moment because they were all there, the whole troop, the whole senior troop at this photo media wall. This was also ultimate dance spectacular. And they had props for them to put on, like sunnies and blah, blah, blah. And I was walking past and they're like, Ms. Beck, Ms. Beck, we want to get a photo with you. I felt special.

Yeah.

We all got the photo together. And I've still got it in my phone because I. I genuinely. That moment makes me happy. It was such a beautiful moment. And that's the thing. Like, does anyone really remember what places they got at random comp.

I can't remember what happened yesterday.

It's so not important. Right. Like, obviously you remember big things, but at a comp, you don't remember whether you got first, second, or third or anything like that. But I will remember that moment forever.

Absolutely.

That's the difference.

And that's what you said that your kids were. That was so much more fun to them than the first place trophy that they probably got at that comp as well.

They wouldn't know what they came first.

Yeah.

Because that was two comps ago.

Yeah.

No idea what they got.

Absolutely. So, yes, if you're a comp organizer listening to this, like, what could you do. That's like special moments, I guess, because I think that's what makes it. And I love comps like that. We've got so much choice.

Yes.

Of comps to do these.

That's the thing. That's the thing. All right, we're still going.

We're still going. What else was that?

Become two podcasts. I think this is a long one. But that's all right now. Enough change room space.

Oh, yeah.

I think I as. I think this especially kills me because. Oh, my gosh. I'm going to tell you the funniest story about this as well, from years ago, but I have a massive school, and expecting all of our kids to get changed in a very small area is not going to work. Especially if you're going to bring my sixes, eights, and tens all in together.

Yeah. At the same time. Time.

It makes it chaotic. It makes it hot. The kids hate it. It is just the worst experience. Like, the worst experience.

Absolutely.

I have to tell you my funny story about this.

Let's go.

This is a juicy one. This was a few years ago. It was the year of COVID ending.

Yep.

And there was zero comps. Right. But this one comp was on, and I was there with Brianna. Do you remember Brie?

Yeah.

So, Brian, the other day, it was great, right? Yes. Okay, so we're there. We get there now. Brianna has a pretty big school and I have a pretty big school. Not as. No, not as big as it is now, but I probably had 120 comp kids. She probably had about the same. Okay, we get there to this comp. And they had two change rooms either side. You know, they're really small change rooms that you have at the very, very old stages that. That could maybe fit three people.

Oh, yeah. There's like a green room that. Just for them. Yeah. With a little.

Yep. That was it.

God.

Get this, though. There was a big room that could be hired that this comp person hadn't hired.

You'd been at a comp there before that had. Had used that. Is that. Oh, you just knew you've been to that venue.

No, I got there and went, this isn't going to work, and walked around the venue to find this room. And then I said, why can't we go in this space? To the owners of the building or the workers in the building, they said, you can, but it hasn't been paid for, so therefore you can't. So Brianna and I. Brianna and I paid 500, which is not a lot.

Of money to Hire that additional space.

Correct.

Because the comp organizer wouldn't.

Correct. And then we had it out with the comp organizer, as you can imagine.

But I like that that you took it upon yourself to make it a good experience for your kids.

What am I gonna do?

Yeah.

Like, that would have been the most impossible. And they said, the kids can get ready in the toilets. I'm like, no, they. What are you talking about? This. There's a. Oh, it's just.

Yeah. And it's crazy. And I love that because I think the lesson in that. Because I was talking to somebody else about recently that was talking about they didn't love the critiques. They had a real problem with the critiques that they'd got right from their comp. And they very strongly disagreed with some of them, which I get. And I was talking to them about make the experience what you want to do it as a studio owner. And so I think that's exactly that. Like, you and Brianna took it upon yourself and made it a great experience for your kids when it wasn't going to be. And sometimes we have to do that as studio owners. Just like I said to this studio owner, we'll do what you want with that, but, you know, you don't have to share those critiques. Critiques with the kids. You could. You could give a go. Hey, I just. I listened to the critique. It was awesome. This is some of the things that it said. Or this is. You know, you could make it what you want it to be, because it's important as a studio owner that we make it the best experience it can be for our kids. Right.

Our clients struggle with voice critiques. Anyway, I was saying, I find that.

To be fair, I don't know if this was a voice or not, but.

Yeah, but, like, I just. I do. I loved. And I'm gonna sound so old now, but I did love the old school report that just had the few comments on it. You go back, you read it out to your kids, you're done. Now you've got to log into this particular website and then find where the critiques are and then download the critiques.

I'm like, oh, and they take a long time to listen to. You know, my daughter came home from class the other night, and she's like, oh, we're listening to some critiques tonight. I was like, oh, did you listen to this one? She's like, like, no, we can't listen to all of them because, you know, she was in whatever, 12 comp routines or 10 comp. Routines. You can't sit there and listen to that many of them in a class, otherwise you're not doing any work for the whole class.

Goes for three and a half minutes.

Yeah, yeah, that's exactly right. It's. It's 40 minutes worth of sitting there listening in class the next week. If you're doing comps every couple of weekends, you can't do that.

Yeah. And I try so hard to be good with that stuff, but I really. We're not good at it.

It. What? Sharing them, Going back and listening to them. What. What are you not good at?

Yeah, Bothering. I don't like. It's very rare for me to bother. I think my staff are a lot more on it than me. They like to hear the critiques, but it's very rare for me to go back, listen to it. And there's probably some great stuff being said. I was saying before, at some of the solo comps, BB gets the critiques immediately. And I love that. That is really good because you then and there and in the moment, like getting those critiques straight away as soon as they've danced and being. And having time to then. Or being allowed to then sit down and. Because that's what they do at cheer as well, don't they? Like you watch your routine back or something.

They watch your routine back straight. So you come off the floor.

Yep.

You go straight and they watch a re. So they. All the kids run straight to a TV where they watch an immediate replay of them. So they get to watch themselves back. Like, how fun is that? And the kids all love. Oh my God, look what I just did there. Oh my God, look at this. You're like, guys, that was so good. So you get immediate feedback and they get to watch it. Then you get your scores pretty much straight away, depending. Exactly. But you get them through because you can also question them as well because it's done on a criteria and stuff. You can question them. But yeah, it's really quick, which is so good. And you also get told straight away different comps to different ones. But some of them even text you as the organizer going. Because there's deductions as well. Hey, just letting you know you got a deduction or you hit zero, which means you got no deductions. Right. Which is so good because you're getting that immediate feedback while you're still with the kids.

Imagine how cool that would be. Right? And I know I'm like pipe dreaming here, but imagine your kids coming off stage, sitting and watching the dance back that they Just did with the, with the judges voice critique straight away. That would be amazing. That would, that would be so good.

That would be so much fun. And the kids would love it.

They'd love it.

And then they can, like, then it's done. Because you know, what you said before, you like, I don't listen to all the voice critiques. Like, I totally get it. You've seen those memes, like voice memos, the new form of torture. Because, like, they go forever. You, what, had 40 comp routines over the weekend, troop routines. Like, you have time to sit there and listen to 40, like, feedbacks like that go for three minutes. If it was written, it would be much quicker to scan through it. Right. And read it rather than listen. But yeah, I love that idea what you've just said about the straight back and that immediate replay.

That would be amazing. And also, like, the kids come off and they're like, was it good? Did we do it good? And you're like, what's in your best? Or yeah, I'm talking seniors here. I'm talking. I'm not gonna say to my foreigners, wasn't your best.

Can you imagine?

But like, you know, seniors, I'm always like, yeah, it was epic. And they're like, it didn't feel good. So then for them to get to watch it back would be.

That's what I love about cheer con comps. They make it an experience. Hey, just while we're talking about this, because, you know, look, I could go on, on and on and on about cheer comps because I think. I think any comp organizer should go to a cheer comp to see how it's run and take a leaf out of their booklet because there is so many great things about it. And it is easy. Like, it is expensive, though. They're expensive, but you get what you pay for, right?

Yep, True.

But there's so many great things they do. And just when I'm saying cheer comps, just to be clear, I'm talking about all star comps, which also have dance in them, but it's a whole different sort of style. It's all star dance.

Is it? Right.

So, yeah, there's hip hop and there's lyrical sections and jazz and stuff as well. Right, Right. However, they are so good because there's like, you are on. You know, you get told that you're performing at 3:33 and you know that you are. You report. And I'm gonna stuff the times up, so please don't come at me. But you know, you report like 25 minutes beforehand, and you go to check in, and then you have three minutes at each station to warm up, and you go through. Have I told you this before? Yeah, you've told me. Yeah. So, yeah, you go. You check in, then you go to the. Once again, can't remember, but, you know, you go to the stretching station, and there's a clock up on the wall with a timer, and you stretch for five minutes. Then you go to the tumbling station, and you practice your tumbling on a long floor for five minutes. Minutes. Then you go to the stunt section. Then you run your routine once, Then you wait for 15 minute, then you're on.

Yeah, that's.

And it's so good in terms of, like, warming the kids up. They know exactly what to expect. There's none of this, oh, you're on really soon, guys. Oh, wait, relax. It's not for a while. Oh, wait, they've changed the order. They've gone back a little bit. Oh, you know that thing where you, like, pump the kids up and then you're like, wait, sit back down, settle down.

I love a lot live program.

Oh, yeah, that's.

That's a new thing. I had that for the first time at carnival this year, and I loved it. That just made everything so much easier because yesterday, okay. One of our main tenant unders started vomiting, so we had to re block what happens. So we had to re block the 10 under routine. Jazz before we went on. And so I kept saying to BB quick, run and see what they're up to. Run and see what they're up to. So she's running back and forward like a crazy person because we're outside trying to reblock this routine, and I don't want them to miss this. Whereas a live program. We could have just checked it. Yeah, looked so. I do love a live program for that reason.

So many great things.

Yeah.

Judging. Oh, judging. We're still talking about judging. Oh, gosh. So much to talk about. I love this. Absolutely. So we've talked about critiques, obviously. Critiques that actually say something. Number one, you know, that actually give you some feedback. Yes. I hate when it's all positive. But then you didn't place, for example. You know what I mean? Like, well, it wasn't perfect. Let's be honest. I'm a dance teacher. I sat here and watched it. This routine was not perfect. Don't tell me that. They had a good costume, great attitude, good job. Girls, like, say, hey, I'd like to see this. Hey, I'd like to see This a bit of both.

You are positive and some negative in there.

Absolutely, absolutely. But you need. Need some feedback that's valuable. Do you like one judge, two judges, three judges? What do you like?

I hate multiple judges. Really? Yep. Because I think when there's multiple judges, an average team can win. Okay. And I like. I like it when there's an obvious.

Choice that they like this style.

Yep, I like it.

That's interesting. Yeah, I like multiple judges.

I know it's an unpopular opinion. Most people will say they prefer multiple judges. But I just think with multiple judges, one judge can give that group 90 and one can give it 70. And so the group that actually got 80 is the one that wins. Like, you know what I mean by that? Anyway? Yeah, that's how I feel about it.

Yeah, absolutely. I think there's different and I think it works well in some sections, not in others. There's a whole heap of things, probably.

I think multiple judges is fine as well if they're allowed to actually converse and speak to each other.

Yeah. Okay.

But when they're just marking and not actually able to. To say, hey, where did you place this one? What happened here? And nut it out in that sense. Okay. I think that then can.

Yeah, yeah. You know what I really like from judges is when you get a clear judging criteria of some sort. I really like that, you know, because we know that sometimes, like, obviously dance is subjective and there's all of that kind of stuff. Right. But we've all been to comp, especially back in the old school days, right. When we used to do City of Whatever Comp. You know, you'd get 75 out of 100 and you're like, what is 75 out of 100? Or you get 92 and then you're like, wait a second. You know that your dancer got 75 was better than 92. But they, you know, this one, like, you know, just really random like that.

Yes. And parents can't see that either.

Like, they're like, what mark did you get? You're like, don't worry about. About the mark. Doesn't mean anything. It's always my go to, like, I'm not telling you the mark because it doesn't fucking beat a thing.

Like.

It matters in relation to what the other groups. So unless you know what every other group got.

Yes. Which you don't.

Yes. Cheer cops.

You do.

You know exactly what every other group got. And therefore I feel like it's relevant.

Absolutely.

But if you just get given a random mark or like, like, oh, awesome. Well, was I 25 points away from first place, or was I half a point?

Who the knows? And then soloists will come in and go, oh, she got 88 this time, and last time she got 78. And I feel like saying, yes, but it's different judges at a different comp.

So it doesn't actually matter.

None of that matters.

Parents that say that to you, oh, she's improving because her marks improve. You're like, it is not the same comp. It is. It does not matter. They've made this number up.

But what we're saying makes no sense.

It's different to swimming, where it would be like, hey, they've beaten their time. Their personal best has improved.

Yes. So I. The criteria.

I like those two, you know, and it doesn't. Like, I. I do understand, you know, it could be 10 for costumes, 10 for this, you know, 25 for technique, 25 for choreography, whatever that is. Right. But I think just a little bit clearer about where they're pulling this random 92 out of 100 for from.

I agree. And I. I like the idea of then seeing your mark for choreography and potentially going, okay, well, we scored really high in everything else except choreography. So clearly that's where we've gone down a little bit. Or we scored really high except for technique. So maybe we need to work on our dancers technique. Like, that would be helpful. I like the costume thing, and I've never liked it before.

The costume thing.

Like having a mark for a costume.

Oh, yeah. I like that too. Because then if it's just that picked on costume, it's so. Yeah, it's so easy.

But, like, as a judge, I would think it would be very hard because we've got this whole inappropriate costume stuff happening now. And so as a studio owner, we want them to mark people down who are doing the inappropriate costumes, but then it's not the kid's fault. And if the kids are trained beautifully and are doing an amazing job, but just have an appro. Inappropriate theme and costume, that's actually not the judge's fault. So then do they reward? Like, that would be a hard decision. Whereas if 20 of those marks is for costume, they can give that group A5 out of 20 for their costume. And yes, maybe then they won't place, but then at least the studio owner can see they didn't place because the judge didn't think the costume was appropriate.

Yes, absolutely. And I think that's better than writing this costume is inappropriate. Maybe it's because that's gotta be hard as a Judge to write that, because that is a spectrum, and there's all of that kind of stuff going on. But, yeah, if they could give a mark to the costume and you could say that their technique or got 20 out of 20, for example, and then their costume was low. You like. I'm gonna take this as.

I feel like. I feel like we're getting a bit behind in Australia with costuming, and I want to tell you why. And this is completely off topic, but whatever. You know, I follow the us stuff so closely. I'm obsessed with it. Their costume is getting a lot more costuming, less revealing.

Okay. What? More. More fabric on. On the body is what we're trying to say.

I'm trying to say in a stupid way. I don't even know. But even when you're looking through their catalogs now, you'll see that there's a lot more long pants. A lot of the kids are wearing longer outfits. So I feel like we will get to that. But you know how we're always behind there.

Yeah, absolutely.

But that's really good to see because it's interesting, too, because when I'm. As a studio owner, when I'm talking to my staff. So the in clothing at the moment is tracksuit pants. Right. So when the seniors are in tracksuit pants and they're doing some sort of a, you know, sit on the floor with their legs apart, for example. Okay. You know what I mean? Like, kneeling on the floor and they do the head thing and all that in tracksuit pants, that looks totally fine.

Absolutely.

Okay. There's nothing being revealed. It's fine. But then when we go to comp, and we've been told to dress them, or we are dressing them in fishnets and a leotard.

Yep.

That is a very different look.

It looks very different.

Very different. And I've actually got this thing now with my teachers where I say, okay, you want this costume for this? Let's bring some kids in that have those as solo costumes, and let's just see what it looks like. And I did this with a teacher this year, and as soon as I put those costumes on those seniors and they sat down in that position, the teacher went, oh, oh, oh, no.

This is not what I wanted.

We can't have this. We can't have this. And I said, you see? And so we ended up going with long pants for that, and then it's fine. So I think that's interesting and something to remind your teachers about is what they're wearing in class is actually not what they're wearing on stage. And I, I even, I think it in solos all the time as well. Like you know, they'll do it a role or something where they lift their bottom up to the audience which again in class you're not noticing because they're probably in long tights. But put that kid in a leotard and they don't even wear fishnets or stockings anymore.

Yeah.

It's a very different look. So you must practice in your costumes.

Yes. And have a look about appropriateness of choreography in the costume gym.

Exactly.

Yeah. Either one. Whether that's the Corey.

And I get that seniors have to have mature moves. I understand that totally.

Of course.

And I've had teachers that have said to me yeah, but it's the industry and, and I get that.

Absolutely.

But a dance competition is not the same as a nightclub. In a nightclub or on stage with an artist. It's a very different vibe because it's adults at those venues and not parents of the people up on the stage.

Yes. Also a whole heap of things like about where you're sitting. Like sometimes at comps you're sitting very close to them. Sometimes at comps your seniors are on at 10am in the morning with all the lights on in the audience because they can't turn them off in. In the school hall or whatever it is. The setting matters. Right.

I remember once going to a full time grad. This was years ago and you know, it's a full time grad and I get that it's going to be mature but absolutely. I'm not kidding. These full timers were felt like having sex on stage. That's how full on one of these pieces was. And my student's grandfather was sitting in the audience because he was on stage of course because it's a full time grad. And I just remember looking at him at that point in time and thinking he must feel so uncomfortable right now.

Did he just pay this money and gift it to his granddaughter as a present to do full time? You know what I mean? Like there's so much in that. It's like did he just sit there going did I just pay all this money to sit and watch my granddaughter do this?

But I think this is something to think about in our own concerts. Like it is audience members there that are parents. Like if you have kids of your own, you don't want to actually see your child doing that. And I know even BB has had some a mature jazz piece where I was like I feel uncomfortable watching this let alone her dad. And I've just said, absolutely, I won't have it. I'm not having it.

Absolutely.

Especially in that outfit, you know, like.

It'S, it's, it's so important. And I think it, you know, off topic because we're now talking concerts, but I do think, you know, we've really got to think about the audience, the setting, all of those things. Because you've told the story before about Tim coming to his first, his first dance thing to see Bibi and baby was probably what, only like 11 or 12.

Yeah.

Is that right? And he just sat there going, I cannot watch this. But that's how other dads or other uncles or grandfathers or whatever feel in some people's concerts.

Oh, that was funny. He goes, did the organizer choose these? It was a workshoppy thing, right? Did the organizer choose the costumes for these children? And I said, no, no, the parents chose it. And he said, the parents are choosing for eight year olds to wear a latex skirt with black fish sticks and black jazz shoes. And I was like, yep, probably wasn't the best thing to bring in. But also there's a lot of dads that are probably going first time to things. Absolutely. And the only other place, and I say this to my teachers all the time, the only other place that you will find. And I call them slut boots. I hate spats. Right.

I am such a lace up ones.

I said to one of my teachers, find me anywhere else that is not a strip show or anything related to that where you would have someone in latex slut boots and fishnets. Find me anywhere. And you know what? They came up with the Moulin Rouge. And I said, no, no problem. That's a topless event. Try again. There's nowhere.

Yeah, it's crazy, right?

There is actually nowhere. Yeah, it's so, yeah, it's crazy that we normalize it. When you see someone like Tim come in and go, what the is happening? He's used to it now, but that's the thing.

But there's always the first time parent. I also think it's okay, so let's talk about the age. Because some studio owners, their applied will be. This will be. Oh, but the parents of my 17, 18 year olds don't care. Okay, but what about the parent of the, what about the dad of the 8 year old that's sitting in the audience? I know it's not his daughter, but you know, sitting there as, as a dad of a younger child going, holy crap, I don't want to watch this. Yeah, I feel awkward.

It's, you know, it's.

It is awkward and, you know, for them and you're like, do I want to keep paying for this? Is this what I want my daughter to become? There's all of that kind of going on. Even if the 8 year old's dance is appropriate, it's not appropriate for an 8 year old parent to see that of the 17, 18 year olds, right?

Nope.

So I think it's really important to kind of think about that and it's not good for your business.

It's. Yeah. It's not ideal.

We had it.

We had a troop this year. It's an amazing trip. It's won everything. And I did dress them in the. In leotards. And this was at pep rally and I changed the costume because I was like, no, this is not a vibe.

Yeah. Okay.

There's too many things on the floor where legs are apart.

And we didn't realize that and made a change. Yeah.

We just put, put a skirt on them and it was fine. Yeah. You know, like. And so I think making. Yeah, like I said, either do a dress rehearsal in class or do something like pep rally where you go, oh, that's not working, or whatever it might be because we know in class they're not wearing that stuff. So it's. No.

When the. Look in classes, the tracksuits and the baggy T shirt.

Tracksuits are killing.

All right, this has been a very long winded podcast, probably our longest one ever, but we'd love to hear from you guys. So if there's. There's something you love or hate in comps, let us know. I. I think that's interesting to see.

I like doing podcasts like this because people always come back to us and they're like, yes, that is exactly how I feel about it. And I, I actually love that. I love hearing from you guys going, yes, you really resonated with me there. Or maybe you totally disagree with us. I love hearing that too, because we, we have our own opinions and everyone's entitled to their opinion.

Absolutely. If you've enjoyed this podcast, do us a favor. Press, subscribe, wherever you listen to this. This, whether that's Spotify, Apple Podcasts or YouTube, we would so appreciate it.

Thanks, guys. Bye.

We hope you enjoyed this episode of the Dance Principles United podcast. If you'd love to learn more from us, we have a special offer just for our podcast listeners. Go to the link in the show Notes right now. To get two weeks free in Dance Principles United Tribe. We would love to see you there.