The Journey To A Street Dance Competition: Teacher’s POV
Danielle Bull
May 22 2025
10 min read
The Journey To A Street Dance Competition: Teacher’s POV
Danielle Bull
May 22 2025
10 min read
The Journey To A Street Dance Competition: Teacher’s POV
Danielle Bull
May 22 2025
10 min read
This is the account of one dance teacher's journey to a street dance competition, where, spoiler alert, we placed 5th and 3rd AND qualified for Euros and Worlds! (Read more about the day of the competition in our post: ‘Day in the life of a street dance teacher: competition edition’.)
June 2024. The journey to competition day began.
Before we even set foot on the competition floor, before the routines were choreographed and the hair-slicking and trainer-lacing even began, the journey to the stage started with research.
This is the account of one dance teacher's journey to a street dance competition, where, spoiler alert, we placed 5th and 3rd AND qualified for Euros and Worlds! (Read more about the day of the competition in our post: ‘Day in the life of a street dance teacher: competition edition’.)
June 2024. The journey to competition day began.
Before we even set foot on the competition floor, before the routines were choreographed and the hair-slicking and trainer-lacing even began, the journey to the stage started with research.
This is the account of one dance teacher's journey to a street dance competition, where, spoiler alert, we placed 5th and 3rd AND qualified for Euros and Worlds! (Read more about the day of the competition in our post: ‘Day in the life of a street dance teacher: competition edition’.)
June 2024. The journey to competition day began.
Before we even set foot on the competition floor, before the routines were choreographed and the hair-slicking and trainer-lacing even began, the journey to the stage started with research.
This is the account of one dance teacher's journey to a street dance competition, where, spoiler alert, we placed 5th and 3rd AND qualified for Euros and Worlds! (Read more about the day of the competition in our post: ‘Day in the life of a street dance teacher: competition edition’.)
June 2024. The journey to competition day began.
Before we even set foot on the competition floor, before the routines were choreographed and the hair-slicking and trainer-lacing even began, the journey to the stage started with research.
This is the account of one dance teacher's journey to a street dance competition, where, spoiler alert, we placed 5th and 3rd AND qualified for Euros and Worlds! (Read more about the day of the competition in our post: ‘Day in the life of a street dance teacher: competition edition’.)
June 2024. The journey to competition day began.
Before we even set foot on the competition floor, before the routines were choreographed and the hair-slicking and trainer-lacing even began, the journey to the stage started with research.
What's covered in this blog post: (Click on the section be taken straight to it)
What's covered in this blog post: (Click on the section be taken straight to it)
What's covered in this blog post: (Click on the section be taken straight to it)
What's covered in this blog post: (Click on the section be taken straight to it)
Phase 1: Scope Out The Competition
The year before we decided to enter the competition, I went along to the day as a spectator. This was incredibly insightful, not just for deciding to enter, but also for helping ensure that when we competed in 2025, the layout of the day and more were all familiar.
Anyway, June 2024. I spent the day watching the competition, making notes of the different categories. Solos, duos, trios, crews, battles, super crews. Then how those categories were split up, by age, dance level etc.
Once I’d processed everything, I sat down with the owner of our dance studio, and laid it all out. My thoughts were clear: We should go for it.
Why?
Because beyond the medals, beyond the scores and standings, there’s so much value in competition:
Motivation: There’s no buzz quite like the build-up to a performance. Having a real goal gives the kids purpose and drive.
Fun: Yes, it’s hard work, for me, for the kids, for their families, but it’s the kind of hard work that comes with unforgettable memories.
Exposure: It’s an incredible opportunity for the studio to be seen and to showcase what we’re about.
Growth: Competitions naturally open the door to more classes, more training, more students, and yes, more revenue. Though anyone in the dance world will agree, we don’t do this for the money.
And just like that, the decision was made.
Competition 2025, here we come. One slight snag. We didn’t have a team.
Phase 1: Scope Out The Competition
The year before we decided to enter the competition, I went along to the day as a spectator. This was incredibly insightful, not just for deciding to enter, but also for helping ensure that when we competed in 2025, the layout of the day and more were all familiar.
Anyway, June 2024. I spent the day watching the competition, making notes of the different categories. Solos, duos, trios, crews, battles, super crews. Then how those categories were split up, by age, dance level etc.
Once I’d processed everything, I sat down with the owner of our dance studio, and laid it all out. My thoughts were clear: We should go for it.
Why?
Because beyond the medals, beyond the scores and standings, there’s so much value in competition:
Motivation: There’s no buzz quite like the build-up to a performance. Having a real goal gives the kids purpose and drive.
Fun: Yes, it’s hard work, for me, for the kids, for their families, but it’s the kind of hard work that comes with unforgettable memories.
Exposure: It’s an incredible opportunity for the studio to be seen and to showcase what we’re about.
Growth: Competitions naturally open the door to more classes, more training, more students, and yes, more revenue. Though anyone in the dance world will agree, we don’t do this for the money.
And just like that, the decision was made.
Competition 2025, here we come. One slight snag. We didn’t have a team.
Phase 1: Scope Out The Competition
The year before we decided to enter the competition, I went along to the day as a spectator. This was incredibly insightful, not just for deciding to enter, but also for helping ensure that when we competed in 2025, the layout of the day and more were all familiar.
Anyway, June 2024. I spent the day watching the competition, making notes of the different categories. Solos, duos, trios, crews, battles, super crews. Then how those categories were split up, by age, dance level etc.
Once I’d processed everything, I sat down with the owner of our dance studio, and laid it all out. My thoughts were clear: We should go for it.
Why?
Because beyond the medals, beyond the scores and standings, there’s so much value in competition:
Motivation: There’s no buzz quite like the build-up to a performance. Having a real goal gives the kids purpose and drive.
Fun: Yes, it’s hard work, for me, for the kids, for their families, but it’s the kind of hard work that comes with unforgettable memories.
Exposure: It’s an incredible opportunity for the studio to be seen and to showcase what we’re about.
Growth: Competitions naturally open the door to more classes, more training, more students, and yes, more revenue. Though anyone in the dance world will agree, we don’t do this for the money.
And just like that, the decision was made.
Competition 2025, here we come. One slight snag. We didn’t have a team.
Phase 1: Scope Out The Competition
The year before we decided to enter the competition, I went along to the day as a spectator. This was incredibly insightful, not just for deciding to enter, but also for helping ensure that when we competed in 2025, the layout of the day and more were all familiar.
Anyway, June 2024. I spent the day watching the competition, making notes of the different categories. Solos, duos, trios, crews, battles, super crews. Then how those categories were split up, by age, dance level etc.
Once I’d processed everything, I sat down with the owner of our dance studio, and laid it all out. My thoughts were clear: We should go for it.
Why?
Because beyond the medals, beyond the scores and standings, there’s so much value in competition:
Motivation: There’s no buzz quite like the build-up to a performance. Having a real goal gives the kids purpose and drive.
Fun: Yes, it’s hard work, for me, for the kids, for their families, but it’s the kind of hard work that comes with unforgettable memories.
Exposure: It’s an incredible opportunity for the studio to be seen and to showcase what we’re about.
Growth: Competitions naturally open the door to more classes, more training, more students, and yes, more revenue. Though anyone in the dance world will agree, we don’t do this for the money.
And just like that, the decision was made.
Competition 2025, here we come. One slight snag. We didn’t have a team.
Phase 1: Scope Out The Competition
The year before we decided to enter the competition, I went along to the day as a spectator. This was incredibly insightful, not just for deciding to enter, but also for helping ensure that when we competed in 2025, the layout of the day and more were all familiar.
Anyway, June 2024. I spent the day watching the competition, making notes of the different categories. Solos, duos, trios, crews, battles, super crews. Then how those categories were split up, by age, dance level etc.
Once I’d processed everything, I sat down with the owner of our dance studio, and laid it all out. My thoughts were clear: We should go for it.
Why?
Because beyond the medals, beyond the scores and standings, there’s so much value in competition:
Motivation: There’s no buzz quite like the build-up to a performance. Having a real goal gives the kids purpose and drive.
Fun: Yes, it’s hard work, for me, for the kids, for their families, but it’s the kind of hard work that comes with unforgettable memories.
Exposure: It’s an incredible opportunity for the studio to be seen and to showcase what we’re about.
Growth: Competitions naturally open the door to more classes, more training, more students, and yes, more revenue. Though anyone in the dance world will agree, we don’t do this for the money.
And just like that, the decision was made.
Competition 2025, here we come. One slight snag. We didn’t have a team.
Phase 2: The Announcement & The Auditions & Building The Teams
Once we had decided to enter, it was time to get into gear and start prepping.
When September rolled around, we announced it to our studio. Informing students and their families about what we were planning on doing and when we were hosting auditions.
Phase 2: The Announcement & The Auditions & Building The Teams
Once we had decided to enter, it was time to get into gear and start prepping.
When September rolled around, we announced it to our studio. Informing students and their families about what we were planning on doing and when we were hosting auditions.
Phase 2: The Announcement & The Auditions & Building The Teams
Once we had decided to enter, it was time to get into gear and start prepping.
When September rolled around, we announced it to our studio. Informing students and their families about what we were planning on doing and when we were hosting auditions.
Phase 2: The Announcement & The Auditions & Building The Teams
Once we had decided to enter, it was time to get into gear and start prepping.
When September rolled around, we announced it to our studio. Informing students and their families about what we were planning on doing and when we were hosting auditions.
Phase 2: The Announcement & The Auditions & Building The Teams
Once we had decided to enter, it was time to get into gear and start prepping.
When September rolled around, we announced it to our studio. Informing students and their families about what we were planning on doing and when we were hosting auditions.
December: The Auditions:
After announcing our plans to the students, we allowed people to register their interest in joining the competition team. This is when we got a first look at the range of ages and abilities.
With the number of children who had registered interest, we decided to hold two auditions, split into two age groups. The two auditions, each an hour long. These were held at a local school hall.
Street dance is all about presence, power, and energy, and I knew I had to lead by example. From the moment the kids walked in, I was hyping them up! Bringing the music the energy, the vibe.
We structured the audition into four key parts, each designed not just to test technique, but to give insight into mindset, adaptability, and potential.
Cardio warm-up – I took them through an intense cardio session at the start of the audition. Not just to warm them up, but to test their endurance and energy. If I was going to tire them out in the first ten minutes, would they still be able to bring the energy and the passion throughout?
Technique section:
This included:
Street-style steps and shuffles
Turns and breakdance-inspired floorwork
A series of generic street dance steps to see what they already knew, and how quickly they could pick up something new
But I wasn’t looking for perfection. I was watching for the mindset. When something didn’t click, did they keep pushing? Did they stay focused? Or did they lose momentum and give up?
This part of the audition was about learning speed and resilience, not just technical ability.
Choreography & performance section:
Next, I taught 32 counts of choreography. It was simple but dynamic: big movements, strong lines, stomps, and sharp arms. The point wasn’t complexity. It was to test energy output and commitment.
Could they sell the performance? Could they bring more passion, more passion, more energy, more energy? I spent the time not only teaching them the moves, but also how to perform them.
Improv:
This is where it got real. One by one, in groups of three, the dancers hit the stage. They had to:
Perform the choreography they’d just learned
Flow straight into improvisation — 32 counts for the younger group, longer for the older ones
This was our chance to see what they really had in their freestyle toolkit.
Were they bold? Did they hold their nerve on stage? Did they draw from the moves we had taught? Did they stay in style, or fall back on other genres like modern or lyrical?
December: The Auditions:
After announcing our plans to the students, we allowed people to register their interest in joining the competition team. This is when we got a first look at the range of ages and abilities.
With the number of children who had registered interest, we decided to hold two auditions, split into two age groups. The two auditions, each an hour long. These were held at a local school hall.
Street dance is all about presence, power, and energy, and I knew I had to lead by example. From the moment the kids walked in, I was hyping them up! Bringing the music the energy, the vibe.
We structured the audition into four key parts, each designed not just to test technique, but to give insight into mindset, adaptability, and potential.
Cardio warm-up – I took them through an intense cardio session at the start of the audition. Not just to warm them up, but to test their endurance and energy. If I was going to tire them out in the first ten minutes, would they still be able to bring the energy and the passion throughout?
Technique section:
This included:
Street-style steps and shuffles
Turns and breakdance-inspired floorwork
A series of generic street dance steps to see what they already knew, and how quickly they could pick up something new
But I wasn’t looking for perfection. I was watching for the mindset. When something didn’t click, did they keep pushing? Did they stay focused? Or did they lose momentum and give up?
This part of the audition was about learning speed and resilience, not just technical ability.
Choreography & performance section:
Next, I taught 32 counts of choreography. It was simple but dynamic: big movements, strong lines, stomps, and sharp arms. The point wasn’t complexity. It was to test energy output and commitment.
Could they sell the performance? Could they bring more passion, more passion, more energy, more energy? I spent the time not only teaching them the moves, but also how to perform them.
Improv:
This is where it got real. One by one, in groups of three, the dancers hit the stage. They had to:
Perform the choreography they’d just learned
Flow straight into improvisation — 32 counts for the younger group, longer for the older ones
This was our chance to see what they really had in their freestyle toolkit.
Were they bold? Did they hold their nerve on stage? Did they draw from the moves we had taught? Did they stay in style, or fall back on other genres like modern or lyrical?
December: The Auditions:
After announcing our plans to the students, we allowed people to register their interest in joining the competition team. This is when we got a first look at the range of ages and abilities.
With the number of children who had registered interest, we decided to hold two auditions, split into two age groups. The two auditions, each an hour long. These were held at a local school hall.
Street dance is all about presence, power, and energy, and I knew I had to lead by example. From the moment the kids walked in, I was hyping them up! Bringing the music the energy, the vibe.
We structured the audition into four key parts, each designed not just to test technique, but to give insight into mindset, adaptability, and potential.
Cardio warm-up – I took them through an intense cardio session at the start of the audition. Not just to warm them up, but to test their endurance and energy. If I was going to tire them out in the first ten minutes, would they still be able to bring the energy and the passion throughout?
Technique section:
This included:
Street-style steps and shuffles
Turns and breakdance-inspired floorwork
A series of generic street dance steps to see what they already knew, and how quickly they could pick up something new
But I wasn’t looking for perfection. I was watching for the mindset. When something didn’t click, did they keep pushing? Did they stay focused? Or did they lose momentum and give up?
This part of the audition was about learning speed and resilience, not just technical ability.
Choreography & performance section:
Next, I taught 32 counts of choreography. It was simple but dynamic: big movements, strong lines, stomps, and sharp arms. The point wasn’t complexity. It was to test energy output and commitment.
Could they sell the performance? Could they bring more passion, more passion, more energy, more energy? I spent the time not only teaching them the moves, but also how to perform them.
Improv:
This is where it got real. One by one, in groups of three, the dancers hit the stage. They had to:
Perform the choreography they’d just learned
Flow straight into improvisation — 32 counts for the younger group, longer for the older ones
This was our chance to see what they really had in their freestyle toolkit.
Were they bold? Did they hold their nerve on stage? Did they draw from the moves we had taught? Did they stay in style, or fall back on other genres like modern or lyrical?
December: The Auditions:
After announcing our plans to the students, we allowed people to register their interest in joining the competition team. This is when we got a first look at the range of ages and abilities.
With the number of children who had registered interest, we decided to hold two auditions, split into two age groups. The two auditions, each an hour long. These were held at a local school hall.
Street dance is all about presence, power, and energy, and I knew I had to lead by example. From the moment the kids walked in, I was hyping them up! Bringing the music the energy, the vibe.
We structured the audition into four key parts, each designed not just to test technique, but to give insight into mindset, adaptability, and potential.
Cardio warm-up – I took them through an intense cardio session at the start of the audition. Not just to warm them up, but to test their endurance and energy. If I was going to tire them out in the first ten minutes, would they still be able to bring the energy and the passion throughout?
Technique section:
This included:
Street-style steps and shuffles
Turns and breakdance-inspired floorwork
A series of generic street dance steps to see what they already knew, and how quickly they could pick up something new
But I wasn’t looking for perfection. I was watching for the mindset. When something didn’t click, did they keep pushing? Did they stay focused? Or did they lose momentum and give up?
This part of the audition was about learning speed and resilience, not just technical ability.
Choreography & performance section:
Next, I taught 32 counts of choreography. It was simple but dynamic: big movements, strong lines, stomps, and sharp arms. The point wasn’t complexity. It was to test energy output and commitment.
Could they sell the performance? Could they bring more passion, more passion, more energy, more energy? I spent the time not only teaching them the moves, but also how to perform them.
Improv:
This is where it got real. One by one, in groups of three, the dancers hit the stage. They had to:
Perform the choreography they’d just learned
Flow straight into improvisation — 32 counts for the younger group, longer for the older ones
This was our chance to see what they really had in their freestyle toolkit.
Were they bold? Did they hold their nerve on stage? Did they draw from the moves we had taught? Did they stay in style, or fall back on other genres like modern or lyrical?
December: The Auditions:
After announcing our plans to the students, we allowed people to register their interest in joining the competition team. This is when we got a first look at the range of ages and abilities.
With the number of children who had registered interest, we decided to hold two auditions, split into two age groups. The two auditions, each an hour long. These were held at a local school hall.
Street dance is all about presence, power, and energy, and I knew I had to lead by example. From the moment the kids walked in, I was hyping them up! Bringing the music the energy, the vibe.
We structured the audition into four key parts, each designed not just to test technique, but to give insight into mindset, adaptability, and potential.
Cardio warm-up – I took them through an intense cardio session at the start of the audition. Not just to warm them up, but to test their endurance and energy. If I was going to tire them out in the first ten minutes, would they still be able to bring the energy and the passion throughout?
Technique section:
This included:
Street-style steps and shuffles
Turns and breakdance-inspired floorwork
A series of generic street dance steps to see what they already knew, and how quickly they could pick up something new
But I wasn’t looking for perfection. I was watching for the mindset. When something didn’t click, did they keep pushing? Did they stay focused? Or did they lose momentum and give up?
This part of the audition was about learning speed and resilience, not just technical ability.
Choreography & performance section:
Next, I taught 32 counts of choreography. It was simple but dynamic: big movements, strong lines, stomps, and sharp arms. The point wasn’t complexity. It was to test energy output and commitment.
Could they sell the performance? Could they bring more passion, more passion, more energy, more energy? I spent the time not only teaching them the moves, but also how to perform them.
Improv:
This is where it got real. One by one, in groups of three, the dancers hit the stage. They had to:
Perform the choreography they’d just learned
Flow straight into improvisation — 32 counts for the younger group, longer for the older ones
This was our chance to see what they really had in their freestyle toolkit.
Were they bold? Did they hold their nerve on stage? Did they draw from the moves we had taught? Did they stay in style, or fall back on other genres like modern or lyrical?
Building The Team
How do you pick 20 dancers... out of the 80 kids who auditioned?
Some decisions were easy. Others, not so much.
Once the auditions wrapped, I sat down and made my own list: the top dancers I felt should be on each team. The studio owner, did the same. Then came the moment of truth. We compared our lists.
To our relief, we’d matched up almost perfectly.
Although, upon collating our lists, we registered that it made sense to enter two teams, and even better, those teams seemed to naturally correlate to be a younger and an older team.
This wasn’t just about picking the most talented dancers. It was about choosing the right dancers for the team. The ones who would show up, give it their all, and work as one unit. So what were we actually judging them on?
Energy – Did they bring it the whole way through? Could they maintain it, even when tired?
Ability to improvise – And not just freestyle randomly, but stay in genre. We wanted street dance improvisation, not contemporary or lyrical drifting in.
Passion and mindset – Were they hungry to learn? Did they show resilience, or shut down when things got tough? How did they react to criticism? Could they fix errors in a positive way?
Team spirit – We needed team players, not solo performers looking to outshine the rest.
Rhythm – Could they stay in time, pick up on musical cues, and move with intention?
Musicality – Not just dancing to the beat, but dancing with it.
Creativity – Especially in their freestyle, were they brave, bold, and imaginative?
Classroom behaviour – Were they respectful and focused in regular lessons? Did they contribute to a positive atmosphere, or disrupt it?
Building The Team
How do you pick 20 dancers... out of the 80 kids who auditioned?
Some decisions were easy. Others, not so much.
Once the auditions wrapped, I sat down and made my own list: the top dancers I felt should be on each team. The studio owner, did the same. Then came the moment of truth. We compared our lists.
To our relief, we’d matched up almost perfectly.
Although, upon collating our lists, we registered that it made sense to enter two teams, and even better, those teams seemed to naturally correlate to be a younger and an older team.
This wasn’t just about picking the most talented dancers. It was about choosing the right dancers for the team. The ones who would show up, give it their all, and work as one unit. So what were we actually judging them on?
Energy – Did they bring it the whole way through? Could they maintain it, even when tired?
Ability to improvise – And not just freestyle randomly, but stay in genre. We wanted street dance improvisation, not contemporary or lyrical drifting in.
Passion and mindset – Were they hungry to learn? Did they show resilience, or shut down when things got tough? How did they react to criticism? Could they fix errors in a positive way?
Team spirit – We needed team players, not solo performers looking to outshine the rest.
Rhythm – Could they stay in time, pick up on musical cues, and move with intention?
Musicality – Not just dancing to the beat, but dancing with it.
Creativity – Especially in their freestyle, were they brave, bold, and imaginative?
Classroom behaviour – Were they respectful and focused in regular lessons? Did they contribute to a positive atmosphere, or disrupt it?
Building The Team
How do you pick 20 dancers... out of the 80 kids who auditioned?
Some decisions were easy. Others, not so much.
Once the auditions wrapped, I sat down and made my own list: the top dancers I felt should be on each team. The studio owner, did the same. Then came the moment of truth. We compared our lists.
To our relief, we’d matched up almost perfectly.
Although, upon collating our lists, we registered that it made sense to enter two teams, and even better, those teams seemed to naturally correlate to be a younger and an older team.
This wasn’t just about picking the most talented dancers. It was about choosing the right dancers for the team. The ones who would show up, give it their all, and work as one unit. So what were we actually judging them on?
Energy – Did they bring it the whole way through? Could they maintain it, even when tired?
Ability to improvise – And not just freestyle randomly, but stay in genre. We wanted street dance improvisation, not contemporary or lyrical drifting in.
Passion and mindset – Were they hungry to learn? Did they show resilience, or shut down when things got tough? How did they react to criticism? Could they fix errors in a positive way?
Team spirit – We needed team players, not solo performers looking to outshine the rest.
Rhythm – Could they stay in time, pick up on musical cues, and move with intention?
Musicality – Not just dancing to the beat, but dancing with it.
Creativity – Especially in their freestyle, were they brave, bold, and imaginative?
Classroom behaviour – Were they respectful and focused in regular lessons? Did they contribute to a positive atmosphere, or disrupt it?
Building The Team
How do you pick 20 dancers... out of the 80 kids who auditioned?
Some decisions were easy. Others, not so much.
Once the auditions wrapped, I sat down and made my own list: the top dancers I felt should be on each team. The studio owner, did the same. Then came the moment of truth. We compared our lists.
To our relief, we’d matched up almost perfectly.
Although, upon collating our lists, we registered that it made sense to enter two teams, and even better, those teams seemed to naturally correlate to be a younger and an older team.
This wasn’t just about picking the most talented dancers. It was about choosing the right dancers for the team. The ones who would show up, give it their all, and work as one unit. So what were we actually judging them on?
Energy – Did they bring it the whole way through? Could they maintain it, even when tired?
Ability to improvise – And not just freestyle randomly, but stay in genre. We wanted street dance improvisation, not contemporary or lyrical drifting in.
Passion and mindset – Were they hungry to learn? Did they show resilience, or shut down when things got tough? How did they react to criticism? Could they fix errors in a positive way?
Team spirit – We needed team players, not solo performers looking to outshine the rest.
Rhythm – Could they stay in time, pick up on musical cues, and move with intention?
Musicality – Not just dancing to the beat, but dancing with it.
Creativity – Especially in their freestyle, were they brave, bold, and imaginative?
Classroom behaviour – Were they respectful and focused in regular lessons? Did they contribute to a positive atmosphere, or disrupt it?
Building The Team
How do you pick 20 dancers... out of the 80 kids who auditioned?
Some decisions were easy. Others, not so much.
Once the auditions wrapped, I sat down and made my own list: the top dancers I felt should be on each team. The studio owner, did the same. Then came the moment of truth. We compared our lists.
To our relief, we’d matched up almost perfectly.
Although, upon collating our lists, we registered that it made sense to enter two teams, and even better, those teams seemed to naturally correlate to be a younger and an older team.
This wasn’t just about picking the most talented dancers. It was about choosing the right dancers for the team. The ones who would show up, give it their all, and work as one unit. So what were we actually judging them on?
Energy – Did they bring it the whole way through? Could they maintain it, even when tired?
Ability to improvise – And not just freestyle randomly, but stay in genre. We wanted street dance improvisation, not contemporary or lyrical drifting in.
Passion and mindset – Were they hungry to learn? Did they show resilience, or shut down when things got tough? How did they react to criticism? Could they fix errors in a positive way?
Team spirit – We needed team players, not solo performers looking to outshine the rest.
Rhythm – Could they stay in time, pick up on musical cues, and move with intention?
Musicality – Not just dancing to the beat, but dancing with it.
Creativity – Especially in their freestyle, were they brave, bold, and imaginative?
Classroom behaviour – Were they respectful and focused in regular lessons? Did they contribute to a positive atmosphere, or disrupt it?
Phase 3: The Logistics:
We had our teams. We had the date of the competition. We just needed to sort out our logistics.
First came the essentials:
Permission from parents
Scheduling the extra comp-prep lessons
Securing a venue for those lessons
Calculating the total cost
Setting expectations clearly
These additional rehearsals had to fit around everyone’s timetable, mine included, but also the dancers’, some of whom were juggling other classes and commitments.
Then came the financials: one lump sum that covered all rehearsals and the competition entry fee.
Step Two: Clear Communication
Once all of that was confirmed, we sent out the big info email:
Dates and times of every rehearsal, including Bank Holiday Monday, which would be the last lesson before the competition.
A reminder that missing sessions wasn't an option.
Details on the fee structure, including how to pay and the deadline for doing so.
Let’s be real: tracking payments, scheduling, and managing attendance can be a full-time job. That’s where having reliable class management software is a lifesaver, it allows us to keep on top of it all: billing and payment, and class schedules.
Step Three: Costumes
The look. This was sorted several weeks before the competition, and we wanted the dancers to have as much say in this as possible.
In the end. We kept it clean, stylish, and affordable. The teams decided on the outfit together:
Black uncuffed cargo trousers
White t-shirts (which they all had)
White or black trainers – the only rule? They had to be clean, and the whole team had to match. So either all black trainers, or all white trainers. (Again, they all had these.)
Bomber jackets – provided by the studio
Hair, slicked back in a ponytail (with hairbands, clips, and grips in matching colours to their hair).
Phase 3: The Logistics:
We had our teams. We had the date of the competition. We just needed to sort out our logistics.
First came the essentials:
Permission from parents
Scheduling the extra comp-prep lessons
Securing a venue for those lessons
Calculating the total cost
Setting expectations clearly
These additional rehearsals had to fit around everyone’s timetable, mine included, but also the dancers’, some of whom were juggling other classes and commitments.
Then came the financials: one lump sum that covered all rehearsals and the competition entry fee.
Step Two: Clear Communication
Once all of that was confirmed, we sent out the big info email:
Dates and times of every rehearsal, including Bank Holiday Monday, which would be the last lesson before the competition.
A reminder that missing sessions wasn't an option.
Details on the fee structure, including how to pay and the deadline for doing so.
Let’s be real: tracking payments, scheduling, and managing attendance can be a full-time job. That’s where having reliable class management software is a lifesaver, it allows us to keep on top of it all: billing and payment, and class schedules.
Step Three: Costumes
The look. This was sorted several weeks before the competition, and we wanted the dancers to have as much say in this as possible.
In the end. We kept it clean, stylish, and affordable. The teams decided on the outfit together:
Black uncuffed cargo trousers
White t-shirts (which they all had)
White or black trainers – the only rule? They had to be clean, and the whole team had to match. So either all black trainers, or all white trainers. (Again, they all had these.)
Bomber jackets – provided by the studio
Hair, slicked back in a ponytail (with hairbands, clips, and grips in matching colours to their hair).
Phase 3: The Logistics:
We had our teams. We had the date of the competition. We just needed to sort out our logistics.
First came the essentials:
Permission from parents
Scheduling the extra comp-prep lessons
Securing a venue for those lessons
Calculating the total cost
Setting expectations clearly
These additional rehearsals had to fit around everyone’s timetable, mine included, but also the dancers’, some of whom were juggling other classes and commitments.
Then came the financials: one lump sum that covered all rehearsals and the competition entry fee.
Step Two: Clear Communication
Once all of that was confirmed, we sent out the big info email:
Dates and times of every rehearsal, including Bank Holiday Monday, which would be the last lesson before the competition.
A reminder that missing sessions wasn't an option.
Details on the fee structure, including how to pay and the deadline for doing so.
Let’s be real: tracking payments, scheduling, and managing attendance can be a full-time job. That’s where having reliable class management software is a lifesaver, it allows us to keep on top of it all: billing and payment, and class schedules.
Step Three: Costumes
The look. This was sorted several weeks before the competition, and we wanted the dancers to have as much say in this as possible.
In the end. We kept it clean, stylish, and affordable. The teams decided on the outfit together:
Black uncuffed cargo trousers
White t-shirts (which they all had)
White or black trainers – the only rule? They had to be clean, and the whole team had to match. So either all black trainers, or all white trainers. (Again, they all had these.)
Bomber jackets – provided by the studio
Hair, slicked back in a ponytail (with hairbands, clips, and grips in matching colours to their hair).
Phase 3: The Logistics:
We had our teams. We had the date of the competition. We just needed to sort out our logistics.
First came the essentials:
Permission from parents
Scheduling the extra comp-prep lessons
Securing a venue for those lessons
Calculating the total cost
Setting expectations clearly
These additional rehearsals had to fit around everyone’s timetable, mine included, but also the dancers’, some of whom were juggling other classes and commitments.
Then came the financials: one lump sum that covered all rehearsals and the competition entry fee.
Step Two: Clear Communication
Once all of that was confirmed, we sent out the big info email:
Dates and times of every rehearsal, including Bank Holiday Monday, which would be the last lesson before the competition.
A reminder that missing sessions wasn't an option.
Details on the fee structure, including how to pay and the deadline for doing so.
Let’s be real: tracking payments, scheduling, and managing attendance can be a full-time job. That’s where having reliable class management software is a lifesaver, it allows us to keep on top of it all: billing and payment, and class schedules.
Step Three: Costumes
The look. This was sorted several weeks before the competition, and we wanted the dancers to have as much say in this as possible.
In the end. We kept it clean, stylish, and affordable. The teams decided on the outfit together:
Black uncuffed cargo trousers
White t-shirts (which they all had)
White or black trainers – the only rule? They had to be clean, and the whole team had to match. So either all black trainers, or all white trainers. (Again, they all had these.)
Bomber jackets – provided by the studio
Hair, slicked back in a ponytail (with hairbands, clips, and grips in matching colours to their hair).
Phase 3: The Logistics:
We had our teams. We had the date of the competition. We just needed to sort out our logistics.
First came the essentials:
Permission from parents
Scheduling the extra comp-prep lessons
Securing a venue for those lessons
Calculating the total cost
Setting expectations clearly
These additional rehearsals had to fit around everyone’s timetable, mine included, but also the dancers’, some of whom were juggling other classes and commitments.
Then came the financials: one lump sum that covered all rehearsals and the competition entry fee.
Step Two: Clear Communication
Once all of that was confirmed, we sent out the big info email:
Dates and times of every rehearsal, including Bank Holiday Monday, which would be the last lesson before the competition.
A reminder that missing sessions wasn't an option.
Details on the fee structure, including how to pay and the deadline for doing so.
Let’s be real: tracking payments, scheduling, and managing attendance can be a full-time job. That’s where having reliable class management software is a lifesaver, it allows us to keep on top of it all: billing and payment, and class schedules.
Step Three: Costumes
The look. This was sorted several weeks before the competition, and we wanted the dancers to have as much say in this as possible.
In the end. We kept it clean, stylish, and affordable. The teams decided on the outfit together:
Black uncuffed cargo trousers
White t-shirts (which they all had)
White or black trainers – the only rule? They had to be clean, and the whole team had to match. So either all black trainers, or all white trainers. (Again, they all had these.)
Bomber jackets – provided by the studio
Hair, slicked back in a ponytail (with hairbands, clips, and grips in matching colours to their hair).
Phase 4: The Preparation
There’s a lot more to competition prep than people realise. Beyond choreography and rehearsals, it’s all the behind-the-scenes work, the stuff no one sees but makes all the difference.
First things first: read the rulebook. (More on this later, but there was a crucial section that we missed.) oops
Then came the music. Hours (actually, weeks) of listening, editing, mixing. It had to follow the rules, be the right length, clean, with no swearing, no rude sentences, and nothing that could be misconstrued as rude. The music also had to be on ‘theme’ for street dance. A mi of upbeat/slow happy/slad music that could reflect the dynamics of the choregorahy. (Also giving the kids more of a chance to show a variety of skills).
Phase 4: The Preparation
There’s a lot more to competition prep than people realise. Beyond choreography and rehearsals, it’s all the behind-the-scenes work, the stuff no one sees but makes all the difference.
First things first: read the rulebook. (More on this later, but there was a crucial section that we missed.) oops
Then came the music. Hours (actually, weeks) of listening, editing, mixing. It had to follow the rules, be the right length, clean, with no swearing, no rude sentences, and nothing that could be misconstrued as rude. The music also had to be on ‘theme’ for street dance. A mi of upbeat/slow happy/slad music that could reflect the dynamics of the choregorahy. (Also giving the kids more of a chance to show a variety of skills).
Phase 4: The Preparation
There’s a lot more to competition prep than people realise. Beyond choreography and rehearsals, it’s all the behind-the-scenes work, the stuff no one sees but makes all the difference.
First things first: read the rulebook. (More on this later, but there was a crucial section that we missed.) oops
Then came the music. Hours (actually, weeks) of listening, editing, mixing. It had to follow the rules, be the right length, clean, with no swearing, no rude sentences, and nothing that could be misconstrued as rude. The music also had to be on ‘theme’ for street dance. A mi of upbeat/slow happy/slad music that could reflect the dynamics of the choregorahy. (Also giving the kids more of a chance to show a variety of skills).
Phase 4: The Preparation
There’s a lot more to competition prep than people realise. Beyond choreography and rehearsals, it’s all the behind-the-scenes work, the stuff no one sees but makes all the difference.
First things first: read the rulebook. (More on this later, but there was a crucial section that we missed.) oops
Then came the music. Hours (actually, weeks) of listening, editing, mixing. It had to follow the rules, be the right length, clean, with no swearing, no rude sentences, and nothing that could be misconstrued as rude. The music also had to be on ‘theme’ for street dance. A mi of upbeat/slow happy/slad music that could reflect the dynamics of the choregorahy. (Also giving the kids more of a chance to show a variety of skills).
Phase 4: The Preparation
There’s a lot more to competition prep than people realise. Beyond choreography and rehearsals, it’s all the behind-the-scenes work, the stuff no one sees but makes all the difference.
First things first: read the rulebook. (More on this later, but there was a crucial section that we missed.) oops
Then came the music. Hours (actually, weeks) of listening, editing, mixing. It had to follow the rules, be the right length, clean, with no swearing, no rude sentences, and nothing that could be misconstrued as rude. The music also had to be on ‘theme’ for street dance. A mi of upbeat/slow happy/slad music that could reflect the dynamics of the choregorahy. (Also giving the kids more of a chance to show a variety of skills).
Phase 5: The Lessons
We had ten weeks. That was it. Ten one-hour lessons per group to learn, adapt and perfect our routines. No time to waste - it was crunch time.
Phase 5: The Lessons
We had ten weeks. That was it. Ten one-hour lessons per group to learn, adapt and perfect our routines. No time to waste - it was crunch time.
Phase 5: The Lessons
We had ten weeks. That was it. Ten one-hour lessons per group to learn, adapt and perfect our routines. No time to waste - it was crunch time.
Phase 5: The Lessons
We had ten weeks. That was it. Ten one-hour lessons per group to learn, adapt and perfect our routines. No time to waste - it was crunch time.
Phase 5: The Lessons
We had ten weeks. That was it. Ten one-hour lessons per group to learn, adapt and perfect our routines. No time to waste - it was crunch time.
Weeks 1–2: Information Overload
I front-loaded the choreography. It was intense, and yes, the kids were overwhelmed. But, that's how muscle memory kicks in. They might have panicked at the moment, but I knew it would settle into their bodies soon enough. We powered through the bulk of the choreography in those first two weeks.
Weeks 1–2: Information Overload
I front-loaded the choreography. It was intense, and yes, the kids were overwhelmed. But, that's how muscle memory kicks in. They might have panicked at the moment, but I knew it would settle into their bodies soon enough. We powered through the bulk of the choreography in those first two weeks.
Weeks 1–2: Information Overload
I front-loaded the choreography. It was intense, and yes, the kids were overwhelmed. But, that's how muscle memory kicks in. They might have panicked at the moment, but I knew it would settle into their bodies soon enough. We powered through the bulk of the choreography in those first two weeks.
Weeks 1–2: Information Overload
I front-loaded the choreography. It was intense, and yes, the kids were overwhelmed. But, that's how muscle memory kicks in. They might have panicked at the moment, but I knew it would settle into their bodies soon enough. We powered through the bulk of the choreography in those first two weeks.
Weeks 1–2: Information Overload
I front-loaded the choreography. It was intense, and yes, the kids were overwhelmed. But, that's how muscle memory kicks in. They might have panicked at the moment, but I knew it would settle into their bodies soon enough. We powered through the bulk of the choreography in those first two weeks.
Weeks 3–5: Fun, Flow, and Foundations
Once the heavy lifting was done, the lessons became more fun, refining sections, experimenting with new steps, building confidence, and boosting morale. We played games, encouraged creativity, and focused on presence and performance.
Remember that rule book I mentioned earlier? Well… turns out we hadn’t read it as thoroughly as we thought. Around week 5 or 6, we discovered, when we were registering the students for each team, and submitting our music. That students couldn’t appear in multiple age categories, which meant they couldn’t be in both teams. A rule we’d completely overlooked.
And we’d literally choreographed the routines with that crossover in mind, using the older ones as bases and the younger ones as flyers. So, halfway through our ten weeks, we had to re-choreograph major sections and reshuffle the teams. Fun.
Weeks 3–5: Fun, Flow, and Foundations
Once the heavy lifting was done, the lessons became more fun, refining sections, experimenting with new steps, building confidence, and boosting morale. We played games, encouraged creativity, and focused on presence and performance.
Remember that rule book I mentioned earlier? Well… turns out we hadn’t read it as thoroughly as we thought. Around week 5 or 6, we discovered, when we were registering the students for each team, and submitting our music. That students couldn’t appear in multiple age categories, which meant they couldn’t be in both teams. A rule we’d completely overlooked.
And we’d literally choreographed the routines with that crossover in mind, using the older ones as bases and the younger ones as flyers. So, halfway through our ten weeks, we had to re-choreograph major sections and reshuffle the teams. Fun.
Weeks 3–5: Fun, Flow, and Foundations
Once the heavy lifting was done, the lessons became more fun, refining sections, experimenting with new steps, building confidence, and boosting morale. We played games, encouraged creativity, and focused on presence and performance.
Remember that rule book I mentioned earlier? Well… turns out we hadn’t read it as thoroughly as we thought. Around week 5 or 6, we discovered, when we were registering the students for each team, and submitting our music. That students couldn’t appear in multiple age categories, which meant they couldn’t be in both teams. A rule we’d completely overlooked.
And we’d literally choreographed the routines with that crossover in mind, using the older ones as bases and the younger ones as flyers. So, halfway through our ten weeks, we had to re-choreograph major sections and reshuffle the teams. Fun.
Weeks 3–5: Fun, Flow, and Foundations
Once the heavy lifting was done, the lessons became more fun, refining sections, experimenting with new steps, building confidence, and boosting morale. We played games, encouraged creativity, and focused on presence and performance.
Remember that rule book I mentioned earlier? Well… turns out we hadn’t read it as thoroughly as we thought. Around week 5 or 6, we discovered, when we were registering the students for each team, and submitting our music. That students couldn’t appear in multiple age categories, which meant they couldn’t be in both teams. A rule we’d completely overlooked.
And we’d literally choreographed the routines with that crossover in mind, using the older ones as bases and the younger ones as flyers. So, halfway through our ten weeks, we had to re-choreograph major sections and reshuffle the teams. Fun.
Weeks 3–5: Fun, Flow, and Foundations
Once the heavy lifting was done, the lessons became more fun, refining sections, experimenting with new steps, building confidence, and boosting morale. We played games, encouraged creativity, and focused on presence and performance.
Remember that rule book I mentioned earlier? Well… turns out we hadn’t read it as thoroughly as we thought. Around week 5 or 6, we discovered, when we were registering the students for each team, and submitting our music. That students couldn’t appear in multiple age categories, which meant they couldn’t be in both teams. A rule we’d completely overlooked.
And we’d literally choreographed the routines with that crossover in mind, using the older ones as bases and the younger ones as flyers. So, halfway through our ten weeks, we had to re-choreograph major sections and reshuffle the teams. Fun.
Weeks 6–8: The Stress Builds
This was where it got harder. Attendance started to slip. Some kids missed key lessons, meaning we were constantly re-covering old ground. It was frustrating and unsustainable.
By Week 7, I had to put my foot down. Everyone had agreed to photo and video consent, so we posted the final choreography videos in the group chat. The message was clear: watch the videos, ask your teammates, come prepared. If you didn’t know it in the lesson, you weren’t dancing that section.
Some students were pulled from sections, others were moved around due to injuries. It was tough love, but necessary.
Weeks 6–8: The Stress Builds
This was where it got harder. Attendance started to slip. Some kids missed key lessons, meaning we were constantly re-covering old ground. It was frustrating and unsustainable.
By Week 7, I had to put my foot down. Everyone had agreed to photo and video consent, so we posted the final choreography videos in the group chat. The message was clear: watch the videos, ask your teammates, come prepared. If you didn’t know it in the lesson, you weren’t dancing that section.
Some students were pulled from sections, others were moved around due to injuries. It was tough love, but necessary.
Weeks 6–8: The Stress Builds
This was where it got harder. Attendance started to slip. Some kids missed key lessons, meaning we were constantly re-covering old ground. It was frustrating and unsustainable.
By Week 7, I had to put my foot down. Everyone had agreed to photo and video consent, so we posted the final choreography videos in the group chat. The message was clear: watch the videos, ask your teammates, come prepared. If you didn’t know it in the lesson, you weren’t dancing that section.
Some students were pulled from sections, others were moved around due to injuries. It was tough love, but necessary.
Weeks 6–8: The Stress Builds
This was where it got harder. Attendance started to slip. Some kids missed key lessons, meaning we were constantly re-covering old ground. It was frustrating and unsustainable.
By Week 7, I had to put my foot down. Everyone had agreed to photo and video consent, so we posted the final choreography videos in the group chat. The message was clear: watch the videos, ask your teammates, come prepared. If you didn’t know it in the lesson, you weren’t dancing that section.
Some students were pulled from sections, others were moved around due to injuries. It was tough love, but necessary.
Weeks 6–8: The Stress Builds
This was where it got harder. Attendance started to slip. Some kids missed key lessons, meaning we were constantly re-covering old ground. It was frustrating and unsustainable.
By Week 7, I had to put my foot down. Everyone had agreed to photo and video consent, so we posted the final choreography videos in the group chat. The message was clear: watch the videos, ask your teammates, come prepared. If you didn’t know it in the lesson, you weren’t dancing that section.
Some students were pulled from sections, others were moved around due to injuries. It was tough love, but necessary.
Week 9: Game On
Something clicked. The pressure hit, and they responded. The kids came in knowing the choreography, having practised at home. They upped their game and brought new energy. Playing the bad cop, strict, focused, no re-teaching? Paid off. We felt ready.
Week 9: Game On
Something clicked. The pressure hit, and they responded. The kids came in knowing the choreography, having practised at home. They upped their game and brought new energy. Playing the bad cop, strict, focused, no re-teaching? Paid off. We felt ready.
Week 9: Game On
Something clicked. The pressure hit, and they responded. The kids came in knowing the choreography, having practised at home. They upped their game and brought new energy. Playing the bad cop, strict, focused, no re-teaching? Paid off. We felt ready.
Week 9: Game On
Something clicked. The pressure hit, and they responded. The kids came in knowing the choreography, having practised at home. They upped their game and brought new energy. Playing the bad cop, strict, focused, no re-teaching? Paid off. We felt ready.
Week 9: Game On
Something clicked. The pressure hit, and they responded. The kids came in knowing the choreography, having practised at home. They upped their game and brought new energy. Playing the bad cop, strict, focused, no re-teaching? Paid off. We felt ready.
Week 10: All Love
By the final rehearsal, it was all encouragement and excitement. They knew it. They felt it. They were ready. This lesson was all about games, good vibes, and positivity to get them buzzing for Sunday's competition.
Week 10: All Love
By the final rehearsal, it was all encouragement and excitement. They knew it. They felt it. They were ready. This lesson was all about games, good vibes, and positivity to get them buzzing for Sunday's competition.
Week 10: All Love
By the final rehearsal, it was all encouragement and excitement. They knew it. They felt it. They were ready. This lesson was all about games, good vibes, and positivity to get them buzzing for Sunday's competition.
Week 10: All Love
By the final rehearsal, it was all encouragement and excitement. They knew it. They felt it. They were ready. This lesson was all about games, good vibes, and positivity to get them buzzing for Sunday's competition.
Week 10: All Love
By the final rehearsal, it was all encouragement and excitement. They knew it. They felt it. They were ready. This lesson was all about games, good vibes, and positivity to get them buzzing for Sunday's competition.
Phase 6: Competition Day
And just like that, ten weeks flew by, and competition day was finally here.
In the final weeks leading up to the big day, we’d been in full prep mode, emailing, texting, and reminding parents and students of everything they needed to know:
Where to be, and when
What to wear (down to the last hair tie)
What to bring (water, snacks, shoes, backup clothes, you name it)
Spectator ticket reminders for parents
We covered every detail. Nothing was left to chance.
And the kids? They delivered. They didn’t just perform, they smashed it.
🥉 3rd place
🥇 5th place
🎉 Qualified for both the Euros and Worlds
I was one very, very, very proud teacher.
My advice to you? If you’re debating entering that competition. Do it. You won’t regret it.
We’re already planning for next year, bigger, better, and more performances.
(Read more about the day of the competition in our post: ‘Day in the life of a street dance teacher: competition edition’.)
Phase 6: Competition Day
And just like that, ten weeks flew by, and competition day was finally here.
In the final weeks leading up to the big day, we’d been in full prep mode, emailing, texting, and reminding parents and students of everything they needed to know:
Where to be, and when
What to wear (down to the last hair tie)
What to bring (water, snacks, shoes, backup clothes, you name it)
Spectator ticket reminders for parents
We covered every detail. Nothing was left to chance.
And the kids? They delivered. They didn’t just perform, they smashed it.
🥉 3rd place
🥇 5th place
🎉 Qualified for both the Euros and Worlds
I was one very, very, very proud teacher.
My advice to you? If you’re debating entering that competition. Do it. You won’t regret it.
We’re already planning for next year, bigger, better, and more performances.
(Read more about the day of the competition in our post: ‘Day in the life of a street dance teacher: competition edition’.)
Phase 6: Competition Day
And just like that, ten weeks flew by, and competition day was finally here.
In the final weeks leading up to the big day, we’d been in full prep mode, emailing, texting, and reminding parents and students of everything they needed to know:
Where to be, and when
What to wear (down to the last hair tie)
What to bring (water, snacks, shoes, backup clothes, you name it)
Spectator ticket reminders for parents
We covered every detail. Nothing was left to chance.
And the kids? They delivered. They didn’t just perform, they smashed it.
🥉 3rd place
🥇 5th place
🎉 Qualified for both the Euros and Worlds
I was one very, very, very proud teacher.
My advice to you? If you’re debating entering that competition. Do it. You won’t regret it.
We’re already planning for next year, bigger, better, and more performances.
(Read more about the day of the competition in our post: ‘Day in the life of a street dance teacher: competition edition’.)
Phase 6: Competition Day
And just like that, ten weeks flew by, and competition day was finally here.
In the final weeks leading up to the big day, we’d been in full prep mode, emailing, texting, and reminding parents and students of everything they needed to know:
Where to be, and when
What to wear (down to the last hair tie)
What to bring (water, snacks, shoes, backup clothes, you name it)
Spectator ticket reminders for parents
We covered every detail. Nothing was left to chance.
And the kids? They delivered. They didn’t just perform, they smashed it.
🥉 3rd place
🥇 5th place
🎉 Qualified for both the Euros and Worlds
I was one very, very, very proud teacher.
My advice to you? If you’re debating entering that competition. Do it. You won’t regret it.
We’re already planning for next year, bigger, better, and more performances.
(Read more about the day of the competition in our post: ‘Day in the life of a street dance teacher: competition edition’.)
Phase 6: Competition Day
And just like that, ten weeks flew by, and competition day was finally here.
In the final weeks leading up to the big day, we’d been in full prep mode, emailing, texting, and reminding parents and students of everything they needed to know:
Where to be, and when
What to wear (down to the last hair tie)
What to bring (water, snacks, shoes, backup clothes, you name it)
Spectator ticket reminders for parents
We covered every detail. Nothing was left to chance.
And the kids? They delivered. They didn’t just perform, they smashed it.
🥉 3rd place
🥇 5th place
🎉 Qualified for both the Euros and Worlds
I was one very, very, very proud teacher.
My advice to you? If you’re debating entering that competition. Do it. You won’t regret it.
We’re already planning for next year, bigger, better, and more performances.
(Read more about the day of the competition in our post: ‘Day in the life of a street dance teacher: competition edition’.)
Planning an event or recital?
Visit our sister company, Stage Stubs
for all your ticketing needs.
Free for studios.
© Class Manager 2025, All Rights Reserved
Resources
Planning an event or recital?
Visit our sister company, Stage Stubs
for all your ticketing needs.
Free for studios.
© Class Manager 2025, All Rights Reserved
Email Us
Contact Sales
Planning an event or recital?
Visit our sister company, Stage Stubs
for all your ticketing needs.
Free for studios.
© Class Manager 2025, All Rights Reserved
Email Us
Contact Sales
Planning an event or recital?
Visit our sister company, Stage Stubs
for all your ticketing needs.
Free for studios.
© Class Manager 2025, All Rights Reserved