Why compete? Why take your students on the road, put them in front of judges, clinicians and adjudicators, and give up evenings, weekends and personal time with family and friends to do it? Early in my career, I had to answer those questions for myself. Over time, I’ve learned that every music educator answers them differently. That answer can change as your program, your students and your own life evolve.
Over the next several months, I want to be transparent and honest about something that often gets oversimplified: competitive events in the performing arts. Whether it is a choral, marching band, winter guard, drum line or solo competition, this isn’t an argument for or against competition. It’s a conversation about why many of us choose to engage anyway. All while withstanding the very real challenges.
Competition as Culture
I grew up in Indiana, where competition, especially basketball, is a part of the culture. Competitive show choir and marching band also have their roots not far from where I was raised. Arts competitions became an outlet for students who were athletes, students who weren’t and those who fell somewhere in between. For me, performing for evaluation felt normal. But “normal” doesn’t mean easy, healthy or always right.
I also know many outstanding educators who choose not to compete and do INCREDIBLE, artistic work. That perspective deserves respect.
Exploring the Pros and Cons
In this series, I will explore both sides: one concern and one benefit each month. I’ll start with the common reasons directors hesitate to compete, not because they’re wrong, but because those fears are justified. I hope by naming those concerns openly, we can have a more thoughtful, less defensive conversation about how competitive experiences can fit into a healthy, student-centered program.
We’re in This Together
If you’re a director, I hope this feels familiar. If you’re a parent or administrator reading along, I hope it offers context and clarity. It’s not about trophies. It’s about perspective.
Yours in song,
Dan