Latest / Making The Impact - A Dance Competition Podcast / Q&A with Courtney - October Edition

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Q&A with Courtney - October Edition · Making The Impact - A Dance Competition Podcast

• 0:07
  SPEAKER_04: Hey everyone, it's Courtney Ortiz, and welcome to Making the Impact a Dance Competition podcast.
• 0:13
  SPEAKER_04: I'm your host, and we are here today for a special episode called QA with Courtney.
• 0:19
  SPEAKER_04: I'm here to answer all of your questions about dance competitions.
• 0:23
  SPEAKER_04: We've had a ton of awesome questions being sent in from our followers and supporters of Impact Dance Adjudicators, and I can't wait to answer them.
• 0:30
  SPEAKER_04: If you have a question that you may want answered by me, send them over right now on our website, and I'll answer directly on the air.
• 0:38
  SPEAKER_04: To everyone who's already sent us a question, thank you so much for your support.
• 0:42
  SPEAKER_04: We couldn't do it without you.
• 0:43
  SPEAKER_04: We wouldn't be here without you.
• 0:44
  SPEAKER_04: So we're so, so grateful.
• 0:46
  SPEAKER_04: We've had questions coming in all across the United States and even Canada.
• 0:51
  SPEAKER_04: Some of our questions have come from dance teachers, studio owners, dance parents, and even dancers themselves.
• 0:56
  SPEAKER_04: So keep sending them in.
• 0:58
  SPEAKER_04: We can't wait to answer all of your questions.
• 1:00
  SPEAKER_04: If you want to submit a question to us into Making the Impact, head over to our website now where you can submit a text question or even send us an audio recording that we will play on the air.
• 1:11
  SPEAKER_04: You also don't have to share your name and can remain completely anonymous when submitting your questions.
• 1:16
  SPEAKER_04: So please don't be afraid.
• 1:17
  SPEAKER_04: Head over to our website now.
• 1:18
  SPEAKER_04: We can't wait to answer your questions.
• 1:21
  SPEAKER_04: If you have been enjoying the first few episodes of our new podcast, please don't forget to head over to Apple Podcasts and leave us a fabulous review.
• 1:28
  SPEAKER_04: We would love to hear your thoughts.
• 1:30
  SPEAKER_04: And please don't forget to subscribe as well so you can tune in right away when we launch our weekly episodes.
• 1:36
  SPEAKER_04: So let's get right to it.
• 1:37
  SPEAKER_04: Let's get started with some of your questions.
• 1:40
  SPEAKER_04: Our first question is coming from a dance parent named Marlo in Louisiana.
• 1:45
  SPEAKER_04: Hey Marlo.
• 1:46
  SPEAKER_04: She would like to know as a judge who sits through hours of competition, what would you say is something that stands out in a performance that you will remember?
• 1:55
  SPEAKER_04: This is a great question.
• 1:57
  SPEAKER_04: And if you think about it, as judges, we definitely watch close to at least probably 200 solos in a weekend and could watch up to 500 dances total in a three-day weekend event.
• 2:11
  SPEAKER_04: That is a lot of dancing.
• 2:13
  SPEAKER_04: And we love our job, obviously, but at the same time, how do you stand out?
• 2:18
  SPEAKER_04: How do you separate yourself from the competition and let the judges, you know, remember you when it comes down to it?
• 2:24
  SPEAKER_04: So something that I always love are when dancers take risks.
• 2:29
  SPEAKER_04: I love a dancer who is bringing something new to the table, isn't really following the trends, but is, you know, showcasing their best self on stage, specifically as a soloist.
• 2:39
  SPEAKER_04: And, you know, we're really looking for a total package.
• 2:42
  SPEAKER_04: I think that every dancer has their strengths and their weaknesses.
• 2:45
  SPEAKER_04: And some people might excel at technique, but others might outshine that dancer in their performance.
• 2:51
  SPEAKER_04: You know, it really depends on your judging panel, obviously.
• 2:55
  SPEAKER_04: But I know for me that whenever I see a dancer, just lay it out on the stage.
• 2:59
  SPEAKER_04: Like they walk on stage and they take those three minutes to give it their all.
• 3:04
  SPEAKER_04: And I love when I'm taking on a journey with a dancer's performance.
• 3:08
  SPEAKER_04: And of course, flawless technique is obviously beautiful to watch as well.
• 3:12
  SPEAKER_04: But sometimes a performance that, you know, is beautiful to watch and compelling and different, you know, that really will help stand out to us and remember, like, oh my gosh, do you remember that lyrical dance where that dancer was just leaving it on the dance floor?
• 3:28
  SPEAKER_04: Like, we will remember that.
• 3:30
  SPEAKER_04: Other things too, you know, let's say your strength is explosive jumps.
• 3:34
  SPEAKER_04: Don't forget to show us your explosive jumps.
• 3:37
  SPEAKER_04: That will keep us engaged and also not let us forget you.
• 3:42
  SPEAKER_04: And, you know, things like that, little tiny things that make you unique are what we want to see and what helps us remember you.
• 3:49
  SPEAKER_04: And even thinking of it in a group routine aspect or as a studio as a whole, we really want to see variety.
• 3:57
  SPEAKER_04: We want to see you guys take some risks and not play it safe with every dance that you bring.
• 4:02
  SPEAKER_04: Of course, I love a clean routine.
• 4:04
  SPEAKER_04: I want to make sure it's well rehearsed, but make sure that you're showing us some, you know, variation in styles.
• 4:10
  SPEAKER_04: I think that makes it memorable for me.
• 4:12
  SPEAKER_04: Or even a studio that comes out that just kind of throws like an oddball dance out there that like kind of didn't even blend with any of their other choices that they've put on the stage yet.
• 4:22
  SPEAKER_04: And I'm like, oh my God, that contemporary dance was mind-blowing.
• 4:26
  SPEAKER_04: The style was so different.
• 4:27
  SPEAKER_04: I am so happy that they branched out and tried something new as a studio.
• 4:32
  SPEAKER_04: That's memorable to me because we want to remember that, of course, we follow trends very often in the dance competition world.
• 4:38
  SPEAKER_04: And I love how inspired we are from watching each other, but at the same time, we also want to make sure that we have individuality and aren't afraid to use it.
• 4:47
  SPEAKER_04: So if your choreographer has a very unique style and the dancers understand that style well, bring that to the competition stage because it might be different than what we're used to seeing.
• 4:59
  SPEAKER_04: And the judges, I'm sure, will appreciate it.
• 5:02
  SPEAKER_04: Usually it's a breath of fresh air when we see something a little bit more unique and different.
• 5:06
  SPEAKER_04: So I would say don't be afraid to stand out.
• 5:09
  SPEAKER_04: Take risks, dancers.
• 5:10
  SPEAKER_04: So definitely find your performance quality, really take us on a journey because that's what we're looking for.
• 5:15
  SPEAKER_04: And performance is also a part of your score.
• 5:18
  SPEAKER_04: And of course, technique is super important, but really find what works for you and find your best you for the competition stage.
• 5:26
  SPEAKER_04: Our next question is coming from a studio owner named Stacey in Illinois.
• 5:30
  SPEAKER_04: She submitted an audio question, so let's give it a listen.
• 5:33
  SPEAKER_02: Hi, my question would be uh others' opinions on this subject.
• 5:38
  SPEAKER_02: Um, I judge sometimes too.
• 5:40
  SPEAKER_02: I'm curious as to what others think when you see the same dancer doing multiple uh competition pieces, even in the same genre, that don't really change the skills in it.
• 5:51
  SPEAKER_02: So you're seeing the same dancer do Alison turns or Fuente turns or or what have you multiple times during a competition weekend.
• 6:00
  SPEAKER_02: My feeling is I would much rather see them do something different.
• 6:04
  SPEAKER_02: Once I've seen them once or twice, I don't need to see them again four or five times.
• 6:10
  SPEAKER_02: But I'm curious to what others think.
• 6:12
  SPEAKER_02: If you think they need to do that many pieces in a competition, or if you can see their talent within one or two pieces or a couple different genres, if that's enough for you to make a judgment or score that answer.
• 6:24
  SPEAKER_04: All right.
• 6:25
  SPEAKER_04: So what I think is so interesting about this question is that it totally relates to the question before.
• 6:30
  SPEAKER_04: As far as what we're looking for and what we need to see as judges at competition, I'm pretty sure that the majority of judges out there will say quality over quantity.
• 6:42
  SPEAKER_04: We don't want to see you come out and do 20 sloppy dances.
• 6:46
  SPEAKER_04: We'd rather see you come out and do five super clean, super polished dances that shows your best you, just like I said in the previous question.
• 6:54
  SPEAKER_04: So I do see very often many dancers and many soloists who have multiple solos that just kind of bring out a version of the same exact solo and put it in a different genre, but all the same skills are in there.
• 7:09
  SPEAKER_04: So, like Stacey mentioned in her question, there are the same exact turn sequence that we saw in the jazz routine that we saw in the lyrical routine, or you know, the same head spin that we saw in the contemporary was added into the open fusion acro solo that they brought to the stage.
• 7:28
  SPEAKER_04: So, of course, what I would love to see is if a dancer is going to bring multiple solos to the competition stage, I want those solos to be completely different in every way.
• 7:40
  SPEAKER_04: I don't want to see two of the same solos.
• 7:42
  SPEAKER_04: I would love, love, love to see dancers taking more risks, like I just said before, and not being afraid to try a new style.
• 7:49
  SPEAKER_04: I think that this also comes down to the teachers as well, making sure that when viewing both dancer solos or however many solos they have, making sure that you also agree and feel that you're not watching the same solo again.
• 8:03
  SPEAKER_04: If the same teacher choreographed both solos, then you then I think that the teacher needs to make sure, all right, well, you know, we did that turn sequence in your jazz, you're really great at it, but we have to find a variation of this to try in our lyrical.
• 8:15
  SPEAKER_04: And we have to make sure that we don't put the exact same skills and the exact same things in those dances.
• 8:21
  SPEAKER_04: So from a judge's perspective, I can tell if it's the same one.
• 8:25
  SPEAKER_04: I most likely will remember it, especially if it's something that is like your go-to.
• 8:29
  SPEAKER_04: Um, specifically speaking of a turn sequence for sure, but everybody has their particular tricks that work best for them.
• 8:36
  SPEAKER_04: At the same time, we have to remember that how are we gonna separate our ourselves from everybody else?
• 8:42
  SPEAKER_04: How are we going to stand out, right?
• 8:44
  SPEAKER_04: Which was exactly what Marlo asked in our first question.
• 8:47
  SPEAKER_04: And we have to do that by really being versatile.
• 8:49
  SPEAKER_04: Don't be afraid to show me a contemporary solo and then come out and give me a tap solo.
• 8:54
  SPEAKER_04: If you are going to bring multiple solos to the stage to make sure that they are nice and different, that is really something that all of the judges are looking to see.
• 9:02
  SPEAKER_04: So, you know, if that means that you would rather not have two identical solos and focus all of your energy and time on dedicating it to making this one solo amazing, that's awesome as well.
• 9:14
  SPEAKER_04: I support that in a hundred ways.
• 9:16
  SPEAKER_04: I think that a lot of dancers feel that they need multiple solos because they want another way to redeem themselves or another chance to maybe make the top 10 or get first place.
• 9:25
  SPEAKER_04: And to be honest, sometimes one memorable solo is what we will remember as a judge than when we see the same person come out multiple times over and over and over again.
• 9:35
  SPEAKER_04: Less is always more.
• 9:37
  SPEAKER_04: Just like I said, quality over quantity, less is more.
• 9:41
  SPEAKER_04: Um, show us your best you.
• 9:42
  SPEAKER_04: As a judge, I don't need to see the dancers do the same tricks in multiple solos, or even the same dancer is always featured doing the same tricks in multiple group routines.
• 9:54
  SPEAKER_04: As a teacher, I would love, love, love to see teachers select a different dancer to highlight or a different dancer to feature for that moment.
• 10:03
  SPEAKER_04: So it's not always the same dancer in the front or doing their leg catch turn or doing their skater turn and a side bleep or whatever it is.
• 10:12
  SPEAKER_04: Um, definitely don't be afraid to uh spread the love as much as possible and keep us as judges invested and interested in warning more all the time.
• 10:22
  SPEAKER_04: Thanks so much, Stacy, for sending over that question.
• 10:24
  SPEAKER_04: It was a super great one.
• 10:25
  SPEAKER_04: So really happy to answer that.
• 10:28
  SPEAKER_04: Heading to our next question, we have an anonymous question sent in from a dance parent.
• 10:34
  SPEAKER_04: She would like to know current rules specify that a dancer who takes five plus hours of classes a week should be considered elite level.
• 10:41
  SPEAKER_04: However, with many dancers spending as many as 20 hours a week at their studios, it seems that those who spend five or six hours are not in the same category of ability.
• 10:50
  SPEAKER_04: Do you feel that the dance world should update their rules?
• 10:53
  SPEAKER_04: This is a wonderful question.
• 10:54
  SPEAKER_04: I think that this also pertains to levels, which is an extremely hot topic in the dance competition world.
• 11:02
  SPEAKER_04: That is actually the majority of our questions that we've gotten in so far are relating to levels.
• 11:07
  SPEAKER_04: So this definitely applies to that.
• 11:09
  SPEAKER_04: And I'm just gonna start off by giving my personal opinion about the level system because this is asking, you know, speaking about the elite level and how that there are dancers who do train more than what is required to be an elite or an advanced level dancer at competition these days.
• 11:28
  SPEAKER_04: So my thoughts about the level system.
• 11:30
  SPEAKER_04: I really don't love levels, they're not my favorite.
• 11:33
  SPEAKER_04: Um, we didn't have levels when I was growing up as a competitive dancer.
• 11:36
  SPEAKER_04: Towards the end of my time, recreational started popping into the scene.
• 11:41
  SPEAKER_04: But back in the early 2000s and the 90s, it was you're a competitive dancer or you're not.
• 11:47
  SPEAKER_04: And now there's a lot of levels that are being added into the competition world, sometimes at least three, sometimes up to five or six levels, which is so crazy.
• 11:58
  SPEAKER_04: But there is a need for levels, absolutely, because at competition, we are now offering the opportunity for recreational dancers who don't dance, you know, as often in the studio to have a chance to come to competition and see that experience and see what it's like, which is awesome.
• 12:14
  SPEAKER_04: But when it comes to that middle level, which is the one that everyone's kind of sensitive about, I'd say, because a lot of rule breaking goes on and a lot of people are misplacing their dancers based on, you know, the hours of training.
• 12:26
  SPEAKER_04: I don't really feel that we should have the middle level, mainly because when we have three levels, let's say they're recreational, intermediate, and advanced at competition, that at that point creates three separate competitions at one event instead of actually having one big competition where everyone competes against everybody.
• 12:44
  SPEAKER_04: So when it comes down to it, I would love for everybody to compete against everybody.
• 12:49
  SPEAKER_04: When you break it down into how many hours dancers are dancing a week, it gets a little tough because some people are every competition is different as to their guidelines of the levels.
• 12:58
  SPEAKER_04: Some people will base it around amount of hours training, but then some studios or some competitions don't count hours spent in rehearsal as that, which I think is a little confusing.
• 13:08
  SPEAKER_04: Some competitions will base it on how many competitions you've attended before, which means something completely different.
• 13:15
  SPEAKER_04: And I wish that there was a set guideline as to how to enforce the levels and also what really determines the level.
• 13:23
  SPEAKER_04: You know, are the hours a week actually what should determine the level placement at competition?
• 13:29
  SPEAKER_04: I'm not quite sure if that's the right thing, but I know that it's frustrating because we often see a lot of people abusing the level system just for a win.
• 13:39
  SPEAKER_04: And I don't think that's what competition really should be about.
• 13:41
  SPEAKER_04: Of course, it's about competing and competing against other dancers and other studios, but at the same time, competition is about a learning experience.
• 13:49
  SPEAKER_04: It's about receiving the quality feedback from your judges, taking it back into the studio and working on that and improving for next time.
• 13:57
  SPEAKER_04: You know, your adjudication means something as well, but really it should be a training process in the competition world and a performance opportunity to get back on stage.
• 14:05
  SPEAKER_04: So, that being said, in regards to the advanced level, I do think that the advanced level should increase.
• 14:13
  SPEAKER_04: However, I feel like that people are already abusing that intermediate level that if we did, you know, increase the amount of hours for the advanced level, let's say instead of six plus hours a week, you put it to eight or ten plus hours a week.
• 14:29
  SPEAKER_04: I still think that a lot of intermediate level dancers would fall into the advanced category, but I think that that would give people an opportunity to abuse that middle level even more if the number difference between hours between intermediate and advanced was a larger spread.
• 14:44
  SPEAKER_04: Because as I previously mentioned, and I'm sure you all feel the same way, we very often see a lot of dancers in the intermediate level that definitely should be in the advanced level.
• 14:55
  SPEAKER_04: Sometimes we, as judges, aren't allowed to really bump or enforce the level changes.
• 15:01
  SPEAKER_04: You know, we don't want to penalize a dancer for a misplacement of where their level should be.
• 15:08
  SPEAKER_04: But I just am reaching out and telling studios and telling teachers, follow the rules and actually place your dancers in the appropriate levels.
• 15:16
  SPEAKER_04: Don't be afraid of getting beat.
• 15:19
  SPEAKER_04: That's what competition is about.
• 15:21
  SPEAKER_04: If you are definitely training eight hours a week, you know, and in this scenario from our question, six plus hours makes you advanced.
• 15:30
  SPEAKER_04: If you take three ballet classes a week, if you take two jazz classes a week and one tap class, you're advanced.
• 15:38
  SPEAKER_04: That is a lot of dancing.
• 15:40
  SPEAKER_04: And I want teachers to include rehearsal time into this equation of hourly because I think a lot of people aren't.
• 15:49
  SPEAKER_04: And for me, it's very confusing as a judge when I see dancers who are in the intermediate level claiming that they only dance three to four to five hours a week, yet they're in 20 dances.
• 16:00
  SPEAKER_04: And I'm just thinking to myself, how in the world have you learned and you know, remember 20 dances and been in rehearsal for 20 dances?
• 16:09
  SPEAKER_04: And you're only training five hours a week.
• 16:12
  SPEAKER_04: I don't really think that's possible.
• 16:13
  SPEAKER_04: So maybe the competition should, you know, reconsider their wording a little bit to make sure that it's not just training hours, but also dance hours in general.
• 16:24
  SPEAKER_04: You know, if you step foot in the studio more than five hours a week, more than six hours a week, more than seven hours a week, you are considered advanced dancer.
• 16:32
  SPEAKER_04: I think that could be a helpful way.
• 16:34
  SPEAKER_04: So those are my thoughts on levels.
• 16:37
  SPEAKER_04: Levels are the hottest topic in the world right now.
• 16:41
  SPEAKER_04: It's gonna be a podcast topic that we will discuss in full detail uh with a few other IDA judges.
• 16:48
  SPEAKER_04: And it's definitely one of our most asked questions that gets sent in.
• 16:52
  SPEAKER_04: So don't worry, I will answer all of your level questions.
• 16:56
  SPEAKER_04: You'll be hearing lots of that from me.
• 16:58
  SPEAKER_04: That's my rundown of the level questions.
• 17:01
  SPEAKER_04: So thank you to our anonymous submission.
• 17:06
  SPEAKER_04: And we've arrived to our final question of this episode.
• 17:09
  SPEAKER_04: It is coming from Tiffany Turchie from Rockaway Beach, New York.
• 17:12
  SPEAKER_04: She is a studio owner of Miss Elaine's School of Dance, and she would like to know.
• 17:17
  SPEAKER_04: We all know the obvious answer, but when it comes to being technically clean or level of difficulty, why do judges deduct points from dancers in the beginner or intermediate level who are technically clean but don't necessarily have a full dance of tricks?
• 17:30
  SPEAKER_04: So, IDA judges, what is more valuable to you?
• 17:34
  SPEAKER_04: A dance that is technically clean or one that has more advanced tricks?
• 17:38
  SPEAKER_04: We decided to reach out and have our IDA judges answer these questions.
• 17:42
  SPEAKER_04: So let's hear our first response from IDA judge Jessica.
• 17:46
  SPEAKER_00: Hi, I'm Jessica Olnick, and I have been teaching dance for nearly 20 years.
• 17:50
  SPEAKER_00: And as a judge and dance teacher, I can answer this so quickly and easily.
• 17:55
  SPEAKER_00: It's technique, always technique, focus on the technique.
• 17:59
  SPEAKER_00: The basis of our dancers' foundation and technical skills far surpasses any trick that could possibly be delivered on stage.
• 18:08
  SPEAKER_00: We need to build our dancers from the ground up and provide them with the building blocks that will set them up for success in their dance careers.
• 18:16
  SPEAKER_00: Tricks will only last a little bit, but that technique is gonna last a lifetime.
• 18:22
  SPEAKER_00: Not only are they gonna be able to um stand out on stage with amazing technical abilities, they're going to be able to get into college.
• 18:30
  SPEAKER_00: They're gonna be able to ace auditions, and they're gonna be able to pass on as a dance educator like ourselves.
• 18:37
  SPEAKER_00: I hope that we can all just take that extra time and hone in on these moments with our dancers on stage and in the classroom and let them know that it's so valuable to their dance education and their career.
• 18:52
  SPEAKER_04: Jessica's response is so spot on.
• 18:54
  SPEAKER_04: I completely agree with everything that she said.
• 18:56
  SPEAKER_04: And we have two more judges that want to chime in and give their perspective on this topic.
• 19:01
  SPEAKER_04: Next up is IDA judge Tracy.
• 19:04
  SPEAKER_01: I always prefer to see a dance that is more technically clean than one with a bunch of tricks.
• 19:09
  SPEAKER_01: Uh quality over quantity, if you ask me, um, 100% of the time.
• 19:14
  SPEAKER_01: I like tricks.
• 19:15
  SPEAKER_01: If done well, correctly, safely, and incorporated thoughtfully into a routine.
• 19:22
  SPEAKER_01: I absolutely appreciate them.
• 19:23
  SPEAKER_01: Um, they can add a dynamic that is cool, like a like a wow factor.
• 19:28
  SPEAKER_01: Um, also, they they are a good way to simply just show a variety in one's physical ability, specifically for a soloist.
• 19:36
  SPEAKER_01: However, generally speaking, I honestly have more respect for a good, clean, technically sound piece that shows off dancers in a smart and realistic way.
• 19:46
  SPEAKER_01: Um, that still values their youth and amplifies like how well they are trained.
• 19:52
  SPEAKER_01: I'd rather see that any day than um a bunch of tricks because tricks kind of change, you know, but technique and actually again quality movement um stands the test of time every time.
• 20:04
  SPEAKER_04: So there you have it.
• 20:05
  SPEAKER_04: There's Tracy's answer.
• 20:06
  SPEAKER_04: And honestly, it sounds like we are all on the same page.
• 20:09
  SPEAKER_04: Exactly what Tracy said is what I said all throughout the first part of this episode.
• 20:14
  SPEAKER_04: And she completely agreed with Jessica.
• 20:16
  SPEAKER_04: I mean, technique is where it's at.
• 20:19
  SPEAKER_04: That is what we're really looking for.
• 20:21
  SPEAKER_04: You can't go wrong with clean technique.
• 20:23
  SPEAKER_04: Let's hear what IDA Judge Carrie has to say.
• 20:25
  SPEAKER_03: I definitely value a technically clean dance over more tricks, especially at the beginning and intermediate level.
• 20:34
  SPEAKER_03: Um, I would much rather see clean grambatmas with straight knees and pointed feet, shoulders down, uh strong core, as opposed to uh something with more height.
• 20:46
  SPEAKER_03: Uh height is not that important as long as the knees are straight, toes pointed.
• 20:49
  SPEAKER_03: Also, clean pirouettes with proper placement, toes attached to the knee, arms held, uh any position, but probably in first position for beginners.
• 20:58
  SPEAKER_03: Shoulders down, abs engaged, and a strong releve.
• 21:03
  SPEAKER_03: Um, releve meaning not just the ankle and being high up on the toes, but also straight knees.
• 21:08
  SPEAKER_03: And also, let's see, for beginners, chassis with pointed feet before they touch the floor, as opposed to uh stepping heel toe.
• 21:17
  SPEAKER_03: So we want uh the ball of the foot to be hitting the floor first, things like that.
• 21:22
  SPEAKER_03: So I would much more appreciate seeing those fundamentals in the beginning levels as opposed to tricks like fouettes.
• 21:30
  SPEAKER_03: I don't think beginners really need to be doing fouettes if they don't have clean, clean single pirouettes to begin with.
• 21:36
  SPEAKER_04: So it sounds like all of us IDA judges want to see clean technique, especially in the beginner intermediate level.
• 21:43
  SPEAKER_04: Don't be afraid to show us the fundamentals and foundations of dance.
• 21:46
  SPEAKER_04: That's really what we're seeking, specifically in that level.
• 21:49
  SPEAKER_04: If you are in the beginner level, I want to make sure that you have a proper understanding of what it's like to articulate through your feet, what it's like to use your plie, what it's like to push off the floor in your chasse steps.
• 22:02
  SPEAKER_04: Show us all of those fundamentals that you work super hard on in your technique classes and bring that to the competition stage so us as judges can see that your teachers are really creating that proper foundation that we are looking for.
• 22:14
  SPEAKER_04: So thank you to all of our IDA judges who have chimed in to answer this final question.
• 22:19
  SPEAKER_04: I hope that you all enjoyed this episode of QA with Courtney.
• 22:23
  SPEAKER_04: If you did, don't forget to head over to our Apple Podcast page and leave us an awesome review.
• 22:28
  SPEAKER_04: We'd love to hear your thoughts.
• 22:30
  SPEAKER_04: Head over to our website now to submit your questions at ImpactDance Adjudicators.com slash podcast.
• 22:36
  SPEAKER_04: Send us your audio questions, send us your anonymous questions.
• 22:39
  SPEAKER_04: We want to hear from you.
• 22:42
  SPEAKER_04: We have some exciting episodes coming up on the podcast, so stay tuned for tips and tricks for competition cleaning, lyrical versus contemporary, technique, poison dance, age range, expectations, and more.
• 22:55
  SPEAKER_04: Thanks again so much for supporting Making the Impact a Dance Competition Podcast.
• 23:00
  SPEAKER_04: We will see you next time.
• 23:01
  SPEAKER_04: Keep dancing.