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Behind the Curtain - What You Need to Know Backstage at Competition · Making The Impact - A Dance Competition Podcast

• 0:07
  SPEAKER_01: Have you ever wondered what goes on behind the table at a dance competition?
• 0:10
  SPEAKER_01: Exactly what are the judges looking for anyway?
• 0:13
  SPEAKER_01: This is Making the Impact, a dance competition podcast.
• 0:15
  SPEAKER_01: Each week we'll cover a different topic related to the world of competitive dance from the perspective of the judges behind the table.
• 0:25
  SPEAKER_01: While the action of a dance competition happens on stage, there's an entire production going on backstage that allows the show to go on.
• 0:32
  SPEAKER_01: Today on Making the Impact, we're joined by former Dance Competition Stage Manager Jordan Lumprey, an IBA judge and former competition director, Ashley Peter, to give you the rundown on exactly what your backstage manager wants you to know at competition.
• 0:47
  SPEAKER_05: Hey y'all, welcome to this week's episode of Making the Impact.
• 0:50
  SPEAKER_05: I'm your host, Courtney Ortiz, and I'm here with my co-host, Leslie Mueller.
• 0:54
  SPEAKER_05: Hello, Courtney, hello world.
• 0:56
  SPEAKER_05: How's everyone?
• 0:56
  SPEAKER_05: I'm doing great.
• 0:57
  SPEAKER_05: I'm doing great too.
• 0:59
  SPEAKER_05: And we're here with another fantastic episode this week, and we are diving into competition season again.
• 1:05
  SPEAKER_05: Oh my gosh, I got to be a judge.
• 1:07
  SPEAKER_01: That sounds weird.
• 1:08
  SPEAKER_01: I got to participate.
• 1:09
  SPEAKER_01: I don't know.
• 1:10
  SPEAKER_01: I got to judge for the first time in such a long time, a few weekends ago, uh, for an IDA affiliated competition, DECA Dance.
• 1:17
  SPEAKER_01: We had an excellent time.
• 1:18
  SPEAKER_01: It was so nice to be back behind the table.
• 1:21
  SPEAKER_01: And I really, really am excited just to jump back into the season uh this year now that I am available.
• 1:26
  SPEAKER_05: Yes, I'm so happy that you're back in action.
• 1:28
  SPEAKER_05: It makes me happy, it makes my heart happy, and you're such a great judge.
• 1:32
  SPEAKER_05: So you belong behind the judges table.
• 1:34
  SPEAKER_01: I belong behind the judges table.
• 1:35
  SPEAKER_01: So yeah, and this episode is gonna be a really good one considering we're getting back into the season like hardcore in February specifically.
• 1:43
  SPEAKER_01: That's when most people I feel like really start.
• 1:46
  SPEAKER_01: And so this episode with our backstage managers, I think is gonna be really informative.
• 1:50
  SPEAKER_05: Yeah, we just talked about award ceremonies two weeks ago, y'all.
• 1:54
  SPEAKER_05: So if you hadn't had a chance to listen to that one, make sure that you do because it really covers everything, a crash course on what to expect when you go to an award ceremony for the parents, for the studios, for the dancers.
• 2:04
  SPEAKER_05: But now we're taking it one step further and we're going to be talking about backstage at competitions, which maybe you think that's not important.
• 2:11
  SPEAKER_05: Maybe it's an afterthought, and maybe all you're focused on is the on-stage performance.
• 2:16
  SPEAKER_05: But backstage is equally as important.
• 2:18
  SPEAKER_05: What is happening before you hit the stage?
• 2:20
  SPEAKER_05: There's a lot of things going on back there that you probably didn't even think about.
• 2:23
  SPEAKER_05: So we're gonna cover that topic today in full detail.
• 2:27
  SPEAKER_05: But before we do, let's hear from our sponsors.
• 2:29
  SPEAKER_01: Our season five premiere sponsor, Francisco Gella Danceworks, will be hosting a unique seven-day intensive this summer in Miami, Florida.
• 2:37
  SPEAKER_01: Ballet Plus is an in-depth intensive leading students towards developing a strong technical foundation in ballet, modern, and jazz with a highly refined and authentic artistic voice.
• 2:46
  SPEAKER_01: Intermediate and advanced dancers ages 10 through 22 are able to attend this exciting week-long event with over 60 hours of dancing from an exceptional faculty, including Francisco Gella, Yusha Marie Sorzano, and even Making the Impact's own Courtney Ortiz.
• 3:00
  SPEAKER_01: Dancers will take a variety of different classes like ballet, point, musical theater, modern dance with live percussion, Horton, Contemporary, Conditioning, Pilates, Repertoire, and so much more.
• 3:11
  SPEAKER_01: Parents will even have a chance to sit in and watch certain classes throughout the week, and all dancers are eligible for scholarships to future Francisco Gela Dance Works events.
• 3:20
  SPEAKER_01: Mark your calendars to attend Ballet Plus from June 9th through 15th, 2024.
• 3:24
  SPEAKER_01: And register now to receive$75 off tuition with our exclusive podcast promo code.
• 3:29
  SPEAKER_01: Use the code MAKINGTHEIMPATINGALL CAPS when registering for the Ballet Plus Intensive at FranciscogelaDance.com.
• 3:36
  SPEAKER_05: Alright, listeners, it's time to jump into this week's episode, and we are in the heat of competition season.
• 3:43
  SPEAKER_05: And we knew we had to have a few episodes to just send some reminders to all of our listeners out there, the parents, the teachers, the studios, the dancers.
• 3:52
  SPEAKER_05: A little bit more about what it takes when you get to backstage at a competition.
• 3:57
  SPEAKER_05: All of the backstage staff, maybe the backstage manager.
• 4:00
  SPEAKER_05: Are you checking into your routines properly?
• 4:02
  SPEAKER_05: Are you one of the teachers that lingers in the wings?
• 4:05
  SPEAKER_05: We're gonna talk about all of those details today with two spectacular brand new guests who are joining us on Making the Impact.
• 4:12
  SPEAKER_05: The first guest I'm excited to welcome to the pod is an IDA judge.
• 4:16
  SPEAKER_05: I've had the pleasure of getting to know her through the past few two seasons on IDA, and she is an exceptional judge who you might see out on IDA affiliated events this season.
• 4:28
  SPEAKER_05: I'm excited to welcome Ashley Peter to the podcast.
• 4:31
  SPEAKER_05: Welcome, Ashley.
• 4:33
  SPEAKER_06: Hi, Courtney.
• 4:34
  SPEAKER_06: Thanks for having me.
• 4:34
  SPEAKER_06: I'm so excited to be here.
• 4:36
  SPEAKER_06: I love listening to the pod, so it's gonna be so fun to be on the other side.
• 4:40
  SPEAKER_05: Yes, you're finally here.
• 4:42
  SPEAKER_05: I'm so happy that you're here.
• 4:43
  SPEAKER_05: And one of the reasons why I knew you'd be a great guest for this is on in the IDA world, you are actively a judge, but I know that you have also been on other sides of the table when it comes to working at studios as well as working behind the scenes at dance competitions as potentially backstage manager and director.
• 5:04
  SPEAKER_05: You've been backstage before.
• 5:05
  SPEAKER_06: Yeah, absolutely.
• 5:06
  SPEAKER_06: I've definitely hit all of the positions.
• 5:08
  SPEAKER_06: I've been at competition as just a guest, supporting friends, supporting old students.
• 5:13
  SPEAKER_06: I've been there with my students, my comp kids.
• 5:16
  SPEAKER_06: I've been a dance competition director, and you put your hat on and you have to be able to jump into all of the positions.
• 5:23
  SPEAKER_06: So you have to know how to be the backstage manager.
• 5:26
  SPEAKER_06: You know, have to, you know, jump onto merch, things like that.
• 5:30
  SPEAKER_06: I'm also the program director and lead instructor at a summer dance camp.
• 5:34
  SPEAKER_06: We have locations all over the country.
• 5:36
  SPEAKER_06: Sometimes we have like 80 kids for our show on a Friday night, and it's not a competitive atmosphere, but to keep things moving and shaken backstage, we really rehearse their costume changes and things like that because a lot of them don't come from the dance comp world.
• 5:52
  SPEAKER_06: So we have to teach them the details as if they've never done it before.
• 5:57
  SPEAKER_06: And I feel like that's something that all studio directors, competition, and uh directors uh could take take a note from, things like that.
• 6:05
  SPEAKER_06: But yeah, I teach in choreograph, I go all over the uh tri-state area.
• 6:10
  SPEAKER_06: We call it the dance teacher express, you know, set in concorio, teaching the kids.
• 6:14
  SPEAKER_06: Every time you ride, you see people on the train that you know you did a show with or you went to school with, or it's really fun.
• 6:20
  SPEAKER_06: There's like a camaraderie, or you're walking to find a seat and you hear dance teachers having a kiki on the ride home, and you just you don't interrupt, or you just kind of show, you know, give them a what's up, but you know they're dance teachers, you know, coming home.
• 6:32
  SPEAKER_06: So super, super fun.
• 6:35
  SPEAKER_05: Always spot a dance dancer, a dance teacher, you can spot them.
• 6:38
  SPEAKER_06: Always, always, always, always the coffee, the attire, the conversation, the way they carry themselves.
• 6:43
  SPEAKER_06: Like you just know, you know, we're riding that dance teacher express.
• 6:47
  SPEAKER_06: Um, but I'm but I'm so excited, you know, having worn so many hats in in the dance comp world, growing up competing, things like that.
• 6:55
  SPEAKER_06: Um, I think this is such a great and important episode, and I think people are gonna learn a lot.
• 6:59
  SPEAKER_06: So yes.
• 7:01
  SPEAKER_05: Well, Ashley, if you wouldn't mind just sharing a brief little intro about you, where you grew up, any career credits, and what you're working on now.
• 7:09
  SPEAKER_06: Yeah, absolutely.
• 7:10
  SPEAKER_06: So I grew up in Lakeland, Florida, hardcore ballet dancer.
• 7:13
  SPEAKER_06: I trained at an arts high school, ballet modern, and my studio did some competitions, but we weren't hardcore.
• 7:19
  SPEAKER_06: We would do like maybe three a year.
• 7:22
  SPEAKER_06: So my focus really was kind of in the you know, very strong ballet, you know, we would do a full-length ballet for our recital, things like that.
• 7:30
  SPEAKER_06: And after a couple years at the arts high school, I was like, I'm done.
• 7:33
  SPEAKER_06: This is sucking my soul out, and I want to dance professionally, and if I stay here, I'm not going to.
• 7:38
  SPEAKER_06: So I transferred to my public high school that had a dance team, and I was there for my last two years, but it was so good for me to like take the bun out and learn how to do palm and hip hop, and then that actually led me to my first professional job out of high school, which was being a UDA instructor on staff, so traveling all over the southeast, doing the things in the summer.
• 7:59
  SPEAKER_06: I didn't get to judge the nationals, which I know is really hot right now because they just happened, but we would judge the regionals for people qualifying to go to the nationals, so I ended up not staying in the dance team world once um I went to Point Park University.
• 8:12
  SPEAKER_06: I was a Bachelor of Arts in jazz ballet.
• 8:15
  SPEAKER_06: I minored in advertising, PR, things like that that could translate over.
• 8:20
  SPEAKER_06: But I still like that UDA job was just the cool I still one of my favorite professional jobs I've ever had.
• 8:27
  SPEAKER_06: And I bring so much of what I learned there, especially with precision and cleaning into my teaching now.
• 8:33
  SPEAKER_06: And then once I graduated, I moved straight to New York.
• 8:36
  SPEAKER_06: I was very close to going to Chicago and doing the company thing.
• 8:40
  SPEAKER_06: I made it to the final rounds of certain companies and things like that, but just didn't quite get hired.
• 8:45
  SPEAKER_06: So I said, you know what, I'm going to New York.
• 8:47
  SPEAKER_06: And since I've been here, I've just lived been living that freelancer life.
• 8:51
  SPEAKER_06: Like I choreograph a lot of industrials, I do a lot of commercial things, I've done some smaller regional theater credits, but mostly my passion lies in teaching and choreography.
• 9:02
  SPEAKER_06: So I started teaching when I got here at a very young age, and not kind of as a side hustle, but as as my passion.
• 9:09
  SPEAKER_06: You know, I've always loved teaching and choreographing and things like that.
• 9:13
  SPEAKER_06: So what I'm working on now is I'm thinking about applying to master's programs because I want to teach at the collegiate level.
• 9:21
  SPEAKER_06: So I've been really getting into researching schools and taking it to that next level.
• 9:27
  SPEAKER_06: A lot of schools will pay for you to get your master's while you're also teaching at their college.
• 9:32
  SPEAKER_06: So I'm not quite ready to leave New York yet, but I do feel like I want to take it to the next level.
• 9:37
  SPEAKER_06: So that's kind of where my focus is right now when I'm not on the road judging and traveling and all that good stuff.
• 9:43
  SPEAKER_06: So that's me.
• 9:45
  SPEAKER_05: I love it.
• 9:46
  SPEAKER_05: And it's also so great to learn all about you.
• 9:48
  SPEAKER_05: Um as well because hopefully I'll get to meet you in person one day soon.
• 9:52
  SPEAKER_06: Yes, for sure, for sure.
• 9:53
  SPEAKER_06: I know.
• 9:53
  SPEAKER_05: Obviously down the street.
• 9:56
  SPEAKER_05: Well, Ashley, I'm so happy to have you here on the podcast.
• 9:58
  SPEAKER_05: Thanks for joining us.
• 9:59
  SPEAKER_01: Yes, thanks for having me.
• 10:01
  SPEAKER_05: Uh Leslie, would you like to introduce our next guest?
• 10:04
  SPEAKER_01: I would.
• 10:05
  SPEAKER_01: So while I love Ashley and I know Ashley, I've only known Ashley for like a year, but I've known this guest for I just did the math 26 years.
• 10:13
  SPEAKER_00: Oh well my goodness.
• 10:17
  SPEAKER_01: Which is absurd.
• 10:18
  SPEAKER_01: This gentleman has been my best friend for 26 years.
• 10:21
  SPEAKER_01: He is a phenomenal dance educator, very well versed in all things dance, as you'll hear when he tells us about all the things he's done.
• 10:29
  SPEAKER_01: Uh, welcoming Jordan Keon Moncrief to the podcast.
• 10:32
  SPEAKER_00: Thank you.
• 10:33
  SPEAKER_00: Thank you for having me.
• 10:34
  SPEAKER_00: I'm so excited to be here.
• 10:36
  SPEAKER_00: Obviously, 26 years, long, long time.
• 10:40
  SPEAKER_00: But it's also great to be here with you, Courtney, as well.
• 10:43
  SPEAKER_00: I'm so excited that we get to spend some time together.
• 10:46
  SPEAKER_05: Yes.
• 10:47
  SPEAKER_05: I've heard so much about you, so I'm so glad you are finally here on the pod.
• 10:50
  SPEAKER_00: Episode 173, here I am.
• 10:55
  SPEAKER_05: Well, Jordan, same type of deal.
• 10:57
  SPEAKER_05: If you wouldn't mind telling us more about you.
• 10:59
  SPEAKER_00: Yeah, so like Leslie said, I've kind of done a lot of different things in this industry.
• 11:04
  SPEAKER_00: So to the point I don't even say I'm a dancer or I'm a choreographer anymore.
• 11:09
  SPEAKER_00: I say I'm an industry, dance industry professional.
• 11:11
  SPEAKER_00: Because I um I started as a dance educator at a pre-professional concert dance studio.
• 11:17
  SPEAKER_00: So we we did nutcrackers, we did the festivals, they didn't compete, but we did that.
• 11:23
  SPEAKER_00: I grew up actually rewinding.
• 11:26
  SPEAKER_00: I actually should tell you 26 years is really special.
• 11:31
  SPEAKER_00: But what is even more special about my relationship with Leslie is that her mom was my dance teacher.
• 11:38
  SPEAKER_00: And yeah, and so shout out to Miss Brenda, always.
• 11:42
  SPEAKER_00: But she's a very, very special, important part of my life.
• 11:45
  SPEAKER_00: And then also another familial uh kind of tie, I was dance partners with Leslie's younger sister, who's a year younger than us.
• 11:54
  SPEAKER_00: And so yeah, I am a fan.
• 12:00
  SPEAKER_05: You are connected in the mailer house.
• 12:02
  SPEAKER_05: Yes.
• 12:02
  SPEAKER_00: Yes.
• 12:03
  SPEAKER_00: And so uh, uh like I was saying, I I went on to do concert dance focus uh at my studio where I trained dancers, and then that led to kind of teaching all over the country.
• 12:15
  SPEAKER_00: It led to work internationally.
• 12:17
  SPEAKER_00: I've done TV, I've done film, I've done a lot of stage.
• 12:21
  SPEAKER_00: Uh I've done several theaters here in Atlanta, a lot of regional theater, a lot of musical theater.
• 12:26
  SPEAKER_00: Uh then I kind of shifted into the comp world as far as judging, and then that transitioned into backstage managing, which then transition transitioned into directing.
• 12:37
  SPEAKER_00: And so after that, I kind of said, I love being in the dance world.
• 12:42
  SPEAKER_00: I love doing all these different things, but how do I kind of parlay what I do in the event production and event management side of things into something a little more variety or varied, excuse me.
• 12:55
  SPEAKER_00: And so I am now uh working at a country club.
• 12:58
  SPEAKER_00: I'm one of their food and beverage managers, and we do large-scale events.
• 13:02
  SPEAKER_00: So all of those competition directing weekends have parlayed into something else and made it super easy to be honest.
• 13:09
  SPEAKER_00: Dancers remember that.
• 13:11
  SPEAKER_00: Skills will translate very quickly, and everything will be a breeze because we all know dancers work hard.
• 13:18
  SPEAKER_01: Truth.
• 13:19
  SPEAKER_05: Oh, I love that.
• 13:20
  SPEAKER_05: And yes, it's so great to hear it's so awesome to hear what both of you have done in your careers and where it's transitioned you throughout your careers.
• 13:29
  SPEAKER_05: I think that that is something that's really helpful for a lot of young dancers and parents to hear where your career is gonna actually take you.
• 13:36
  SPEAKER_05: Where you, you know, you might have the dream of starting here and you will achieve those dreams, and then it's gonna lead you to something else and something else.
• 13:41
  SPEAKER_05: And sometimes you don't even know where you're gonna go with with the skills that you've learned throughout your professional life.
• 13:47
  SPEAKER_05: But now look at where you're at now, Jordan.
• 13:49
  SPEAKER_05: Like how awesome of a job you have.
• 13:51
  SPEAKER_05: So congrats on that.
• 13:52
  SPEAKER_05: And yeah, we're really excited to have you both.
• 13:54
  SPEAKER_05: So let's jump in.
• 13:56
  SPEAKER_01: Let's jump in.
• 13:57
  SPEAKER_01: Awesome.
• 13:58
  SPEAKER_01: All right, well, so all of us, you know, except except for really you, Courtney.
• 14:02
  SPEAKER_01: You're the outlier here without any backstage management experience.
• 14:06
  SPEAKER_05: I I MC'd a competition like once.
• 14:10
  SPEAKER_01: Yeah.
• 14:10
  SPEAKER_01: How did that go?
• 14:11
  SPEAKER_03: But like, uh well, uh, I mean, it was fine, but like I definitely butchered words on the mic, and I I don't think it was my it's I wasn't good at it.
• 14:21
  unknown: Let's just say that.
• 14:22
  SPEAKER_01: Well, that was probably way podcast before you had like you know extemporaneous speaking experience.
• 14:28
  SPEAKER_01: But okay, so you'll learn a lot here, I think, today too.
• 14:31
  SPEAKER_01: Um just along with our listeners.
• 14:33
  SPEAKER_01: But okay, so I guess my first question is, you know, so it's the day of the competition.
• 14:39
  SPEAKER_01: Let's say comp starts at eight o'clock in the morning.
• 14:41
  SPEAKER_01: First of all, what time are people even gonna supposed to be getting there?
• 14:44
  SPEAKER_01: Because, you know, I think the rule of thumb is two hours beforehand.
• 14:48
  SPEAKER_01: Well, if it starts at eight, are you as the backstage manager expecting somebody to walk in the door at six o'clock backstage and say hello, I'm ready for my solo?
• 14:56
  SPEAKER_06: No, I mean there are those diehard people that are there ready to go.
• 15:02
  SPEAKER_06: Maybe they want to give themselves full class or something like that.
• 15:05
  SPEAKER_06: But a lot of venues won't even open the door until an hour beforehand when it's that early.
• 15:11
  SPEAKER_06: Maybe an hour and a half, but I think you'd be hard pressed to find a venue that's letting people in at 6 a.m.
• 15:17
  SPEAKER_06: for an 8 a.m.
• 15:19
  SPEAKER_06: start.
• 15:20
  SPEAKER_06: My advice for the people that want to get there so so early is warm up in your room, warm up at your hotel room, things like that, so you're not feeling the stress of you know getting there early.
• 15:30
  SPEAKER_06: But generally, I think the crew isn't called until an hour and a half before start time max, if it's that early in the morning.
• 15:37
  SPEAKER_06: I'm not sure about you, Jordan, but yeah, I would say no earlier than 6:30 earliest.
• 15:43
  SPEAKER_00: So I um I absolutely concur with Ashley on this, like nothing before an hour in advance.
• 15:50
  SPEAKER_00: I mean, we should be we do this often, right?
• 15:52
  SPEAKER_00: Most of our comp kids aren't first-time comp kids.
• 15:56
  SPEAKER_00: And so we do this often.
• 15:58
  SPEAKER_00: So let's make sure we're preparing our makeup and our hair at the hotel before we get there.
• 16:02
  SPEAKER_00: So it makes it that much easier when you do arrive to just costume, warm up, you know, check in, all of that jazz.
• 16:10
  SPEAKER_00: But like, let's not overwhelm ourselves when we get in the building and let's not get there too early because that's also nervous energy.
• 16:16
  SPEAKER_01: Right.
• 16:16
  SPEAKER_01: Well, and the last thing anybody wants is to have all this adrenaline, get there early, only to be told to wait outside because that's real.
• 16:25
  SPEAKER_01: Like if the venue won't let you in, if the director says, no, our our staff is here two hours early, but people don't, doors don't open until X time.
• 16:33
  SPEAKER_01: Don't set yourself up for failure by coming trying to come too early and then being told no, because then you're gonna be cold or you know, in a weird parking spot or whatever.
• 16:44
  SPEAKER_01: Um, and that's worse than just coming at a reasonable time.
• 16:47
  SPEAKER_05: Yeah.
• 16:47
  SPEAKER_05: And I think that what you said earlier, Leslie, about the whole like be there two hours early rule, that really only applies to any time before the doors open call.
• 16:57
  SPEAKER_05: So, you know, the most competitions will say doors open on this time.
• 17:03
  SPEAKER_05: And sometimes it is only, like you said, an hour max an hour and a half.
• 17:08
  SPEAKER_05: So do not anticipate on getting there early when you're you're the first entry of the day.
• 17:14
  SPEAKER_01: But well, and the two the two-hour thing, like I think that's a traditional amount of time that studios tell their kids.
• 17:19
  SPEAKER_01: But the reason for that is not because you need two hours, right?
• 17:22
  SPEAKER_01: It's because the competition might run early.
• 17:25
  SPEAKER_01: It has nothing really to do with you.
• 17:26
  SPEAKER_01: It has everything to do with the event and how it goes and the fact that a lot of places aren't gonna slow down if they've gained some time to wait on you.
• 17:34
  SPEAKER_01: So so it doesn't apply to the beginning of the day because hopefully, hopefully we've started on time.
• 17:40
  SPEAKER_01: Hopefully, barring all complications.
• 17:43
  SPEAKER_05: And something to think about when it comes to like being prepared and like how much time do you need to get ready.
• 17:49
  SPEAKER_05: And again, I'm saying this from coming from a per professional perspective, but even on Broadway shows, your call time isn't until half hour before the show starts.
• 18:00
  SPEAKER_05: You are not required to be there.
• 18:02
  SPEAKER_05: You absolutely, you know, as a Broadway performer, can get there sooner if you need to, because your dressing room is typically always open and it's your dressing room.
• 18:09
  SPEAKER_05: So I can understand at dance competitions, you want to know where you're going and you don't know where the dressing room is, and you have to get acclimated with the space and set up your whole station and whatever you gotta do.
• 18:18
  SPEAKER_05: But at the same time, it's either you're gonna spend time doing that and you're coming prepared, or you're gonna just go and straight into the dressing room and start getting your makeup on and start getting your hair done.
• 18:28
  SPEAKER_05: And you shouldn't really need more than 30 minutes to be able to put your makeup on and do some warm-up stretches, think about what you're about to do and hit the stage.
• 18:36
  SPEAKER_05: Like you shouldn't need more time than that, but everybody does.
• 18:41
  SPEAKER_01: So we've so if if you know, let's talk about middle of the day dance, right?
• 18:47
  SPEAKER_01: You're you're at a 12 o'clock, 12.02 dance time.
• 18:50
  SPEAKER_01: What time should you get backstage to check in?
• 18:53
  SPEAKER_01: Like I know every comp sort of has their rule of thumb, but in your experience, both of you working backstage, what feels comfortable to you?
• 19:00
  SPEAKER_01: What feels like, okay, this is gonna keep the day rolling is when people get in at this time.
• 19:05
  SPEAKER_00: I'm a big, so I'm a three numbers beforehand.
• 19:09
  SPEAKER_00: I I like it nice and tidy, nice and clean backstage, as far as being the backstage manager, making sure that it's not overcrowded, making sure that you've got an eye on every dancer that's coming.
• 19:21
  SPEAKER_00: But then I also respect, respect those kids that come up and they're like, when is my number?
• 19:27
  SPEAKER_00: Even if they're five numbers from now, when is it?
• 19:29
  SPEAKER_00: What number are we on?
• 19:30
  SPEAKER_00: Okay, one time.
• 19:31
  SPEAKER_00: Game one time, and then kind of see where that pace is.
• 19:35
  SPEAKER_00: But then, you know, typically three for me.
• 19:37
  SPEAKER_06: Yeah.
• 19:38
  SPEAKER_06: I agree with you 100%, Jordan.
• 19:40
  SPEAKER_06: I was gonna say about 10 minutes before, which is about a three number thing.
• 19:44
  SPEAKER_06: Of course, it varies a little depending on how it's scheduled, whether it's all solos or groups and things like that.
• 19:50
  SPEAKER_06: But what tends to happen is if dancers check in too soon, then the backstage manager thinks they're ready.
• 19:57
  SPEAKER_06: But if there's too much time, they meander and then they're gone and then they don't have that moment.
• 20:03
  SPEAKER_06: So I'll say you can be like, hey, we're ready, even though it may be six, seven numbers away, but that's not your check-in.
• 20:11
  SPEAKER_06: That's just like, you know, communicating and things like that.
• 20:15
  SPEAKER_06: Solos are a different ballgame.
• 20:16
  SPEAKER_06: If it's senior solos, Sunday night, things like that, they can generally get themselves there.
• 20:21
  SPEAKER_06: I think when it gets a little hairy is when competitions will mix group numbers in with solos and duos because you have to you have to take in the space, how much and I think it's up to the backstage manager ultimately.
• 20:32
  SPEAKER_06: Like, I think a good thing to do for the studio director or competition, you know, manager when they get there, check in with the backstage manager and see what the space is and what they want.
• 20:43
  SPEAKER_06: So they can kind of set the tone for the weekend.
• 20:46
  SPEAKER_06: Like Jordan wants to keep it nice and tight, he wants three numbers, then you know, where another competition um backstage manager, they may want it, you know, 10 numbers in advance, roll call.
• 20:56
  SPEAKER_06: Um, but that's usually how I am too.
• 20:58
  SPEAKER_06: 10 minutes, three numbers.
• 21:00
  SPEAKER_06: Because anything more than that, it gets a little messy.
• 21:02
  SPEAKER_06: It gets they're there, they're checked in, but they're not really there and ready to go.
• 21:07
  SPEAKER_00: And I do love that, like you said, when you're getting there in the first thing in the morning, teachers, studio owners, directors just stop by backstage.
• 21:16
  SPEAKER_00: Hey, nice to meet you.
• 21:17
  SPEAKER_00: I'm gonna be here with you this weekend.
• 21:18
  SPEAKER_00: And same thing for the director, backstage manager.
• 21:21
  SPEAKER_00: Hey, I'm gonna be with you all weekend.
• 21:23
  SPEAKER_00: This is the rapport that we kind of got going.
• 21:25
  SPEAKER_00: This is what you can expect from me.
• 21:26
  SPEAKER_00: This is what I'm hoping to expect from you.
• 21:28
  SPEAKER_00: Set your expectations.
• 21:31
  SPEAKER_01: Well, and show your face because that's what always, you know, whenever I had to jump in as a backstage person in my director role, it was always, you know, I never knew who anybody was because, you know, and and this is your prerogative, dance studio director.
• 21:45
  SPEAKER_01: You know, my mom as a studio director sits in the audience because she has deserved the right to just sit there.
• 21:50
  SPEAKER_01: She sends her teachers to do all the work.
• 21:51
  SPEAKER_01: And that's fine.
• 21:52
  SPEAKER_01: But if I, as the director or the backstage manager, need to speak to her, I need to know who that is.
• 21:57
  SPEAKER_01: Or I need to at least know hey, Sally comes from X.
• 22:00
  SPEAKER_01: Dance studio, she's the representative.
• 22:02
  SPEAKER_01: I can I can eyeball her.
• 22:03
  SPEAKER_01: I know who she is.
• 22:04
  SPEAKER_01: And so what would happen sometimes is that there would just be sort of absentee leadership from studios.
• 22:10
  SPEAKER_01: And I would have no idea who to go to if you know dancer X fell and hurt herself.
• 22:16
  SPEAKER_01: Well, who am I supposed to be reaching out to?
• 22:18
  SPEAKER_01: Like what am I supposed to be doing?
• 22:19
  SPEAKER_01: So I think on that regard too, like like y'all both said, like, introduce yourself.
• 22:23
  SPEAKER_01: We're all working together to make this happen.
• 22:25
  SPEAKER_01: And I need to know who you are.
• 22:27
  SPEAKER_06: Yeah, a hundred percent.
• 22:28
  SPEAKER_06: I agree with that so so much, Leslie, because sometimes the studio owner is there or they're in and out, but they're not the point person.
• 22:36
  SPEAKER_06: So exactly right.
• 22:37
  SPEAKER_06: The director, the backstage manager, I make it my job to know who the owner is, but then also who my point person is, who's the constant throughout the weekend, things like that.
• 22:47
  SPEAKER_06: And it just makes our jobs easier, the backstage manager jobs easier if the studio representative, owner, whoever goes up and introduces themselves.
• 22:56
  SPEAKER_06: So you, you know, you have that idea.
• 22:58
  SPEAKER_06: Yeah.
• 22:59
  SPEAKER_00: And we used to do at uh one of the comps I worked for, I would have in my packet of things studio director name, but then also I would write down for myself who's my studio ambassador or whatever you, however, you want to refer to it.
• 23:12
  SPEAKER_00: And then this is just me kind of little cheat code, but I'm like brown hair, blue dress today.
• 23:17
  SPEAKER_00: So I remember until I put a name with a face, like, hey, that's who I go to.
• 23:22
  SPEAKER_00: That's who I go to for X Studio.
• 23:24
  SPEAKER_05: Now, do you feel like on the competition's end, it would be helpful?
• 23:27
  SPEAKER_05: Because I know some competitions do this, but would it be helpful for the competitions to like give out studio lanyards or give out some type of something that they can give to their staff members so they can wear throughout the weekend to show I am affiliated with this studio or I am a teacher, I am one of the people in charge here when I come backstage.
• 23:46
  SPEAKER_05: Because sometimes, and we all know, like we a lot of studios have young teachers.
• 23:49
  SPEAKER_05: Sometimes the kids look like kids, like the younger teachers look like kids.
• 23:54
  SPEAKER_05: So to have some type of something to designate who's who, and even I mean, I think they could go as far as having it have your studio like code or color coordinated or the the title of your studio or something on it, so you can, you know, put a face to a name.
• 24:11
  SPEAKER_01: I think the hard part about that is that even if you do that, you gotta, y'all gotta wear them.
• 24:15
  SPEAKER_01: That was always my issue, is that like, you know, because at our competition we would have at many competitions, there's a designated teacher row.
• 24:22
  SPEAKER_01: Well, half the time there's random people in it.
• 24:24
  SPEAKER_01: And if you don't have your lanyard on, I don't know who you are.
• 24:27
  SPEAKER_01: And I I can't take responsibility or feel bad about calling you out about sitting there, and you're like, Oh, I'm a teacher.
• 24:33
  SPEAKER_01: Well, where's your lanyard?
• 24:34
  SPEAKER_01: We gave you 10.
• 24:35
  SPEAKER_01: Like, I, you know, just follow the rules.
• 24:37
  SPEAKER_01: And like so, I think a lot of places do do that, but they just don't actually follow through and wear it.
• 24:43
  SPEAKER_06: Where's your VIP pass?
• 24:44
  SPEAKER_06: No, I I agree with you both.
• 24:46
  SPEAKER_06: The competition I directed for, they did hand out those teacher lanyards and you could get as many as you needed for your teachers.
• 24:53
  SPEAKER_06: It was just them actually wearing them, or maybe they'd start out wearing them and then take them off throughout.
• 25:00
  SPEAKER_06: But exactly if they're not rocking them, then but it's a great idea.
• 25:03
  SPEAKER_06: I think if it was implemented and made to be mandatory, I think it would help so so much.
• 25:10
  SPEAKER_06: But easier said than done.
• 25:11
  SPEAKER_00: But like, yeah, they're gonna be mad when you mess up the fit with a lanyard.
• 25:17
  unknown: Right.
• 25:19
  SPEAKER_00: Yes, you know, those teachers like to come back there sometimes looking they're like their bomb best self because you see them in sweats all the time and you're like, yes, you better come through.
• 25:30
  SPEAKER_01: Don't ruin it with a lanyard.
• 25:33
  SPEAKER_01: No.
• 25:34
  SPEAKER_05: Speaking of the teachers and speaking of the lanyards and knowing who's the teacher and who's the dancer that's about to perform and things like that.
• 25:42
  SPEAKER_05: Do you feel, and I'm curious to hear your perspectives, do you want the teachers to come backstage with the dancers?
• 25:48
  SPEAKER_05: And I guess it might depend on age, but is that something that you would like to see happen like across the board?
• 25:54
  SPEAKER_05: Or are you excited when you see dancers that don't need their teacher to, you know, hold their hand and get them checked in backstage?
• 26:01
  SPEAKER_06: I'm always a hundred percent when I see that maturity and I see dancers who can get themselves there, get themselves checked in and handle themselves.
• 26:10
  SPEAKER_06: Of course, if they're younger kids, they may need their teacher there.
• 26:14
  SPEAKER_06: But more often than not, sometimes the teacher can be a distraction for the kids, as you know, right?
• 26:20
  SPEAKER_06: Or if they're still kind of directing them.
• 26:22
  SPEAKER_06: So I've seen teachers backstage basically running a rehearsal with their dancer right before they go on stage.
• 26:28
  SPEAKER_06: Just that lack of like spatial awareness, situational awareness.
• 26:31
  SPEAKER_06: And in that moment, it's not being helpful.
• 26:34
  SPEAKER_06: It's just kind of thinking that they own the backstage space when really we're talking about the three, four numbers backstage.
• 26:41
  SPEAKER_06: So I would say only in cases where it say you have a really chatty trio and you know they're just gonna be causing a ruckus backstage, go back there with them, or even send an older, like a senior dancer, you know, that's an assistant um with the younger kids.
• 26:58
  SPEAKER_06: But unless they absolutely need it, I love to see the kids getting themselves backstage because I think that rehearsing, their quick changes, getting letting them know when they need to be backstage, that is a part of the rehearsal process as much as their pieces, you know.
• 27:13
  SPEAKER_06: So I love to see it when they are self-sufficient.
• 27:16
  SPEAKER_06: I think it's great.
• 27:22
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• 27:32
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• 27:37
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• 27:48
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• 27:49
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• 27:54
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• 28:01
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• 28:06
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• 28:11
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• 28:20
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• 28:25
  SPEAKER_05: Hope to see you in Miami this summer.
• 28:36
  SPEAKER_00: Well, and I'm gonna piggyback on that by saying I'm a big believer that so many of us in dance, dance educators are teaching more than just dance.
• 28:45
  SPEAKER_00: We're teaching life skills, right?
• 28:46
  SPEAKER_00: And so like you said, creating that independence, creating that level of empowerment, saying, hey, you're capable of going backstage and doing this by yourself.
• 28:56
  SPEAKER_00: Obviously, going again with the younger dancers, be a guide to them.
• 29:00
  SPEAKER_00: Um, it's a little different scenario, or those first-time comp kids.
• 29:04
  SPEAKER_00: Obviously, that's a you know, a different scenario.
• 29:07
  SPEAKER_00: But if you can, you know, be backstage by yourself and be responsible all about it.
• 29:13
  SPEAKER_00: Like teach that independence.
• 29:15
  SPEAKER_01: Yeah.
• 29:16
  SPEAKER_01: And just also depending on the venue, you just don't have the space for all these folks.
• 29:20
  SPEAKER_01: Like it just and some places are we're really lucky, and you have this amazing, huge, big, beautiful backstage space, and nobody's causing a problem if they run uh uh the turn section or if they, you know, whatever with one person.
• 29:32
  SPEAKER_01: Maybe don't run your group piece, fouette section, um, backstage.
• 29:36
  SPEAKER_01: But but yeah, I mean, I think backstage is not a place to rehearse.
• 29:38
  SPEAKER_01: We don't rehearse backstage.
• 29:40
  SPEAKER_01: You you stand there and you center yourself and you go on stage backstage.
• 29:45
  SPEAKER_01: So that is was always one of my biggest pet peeves, is like, this is not the space for that.
• 29:49
  SPEAKER_01: You should have been rehearsing weeks and weeks and weeks ago.
• 29:52
  SPEAKER_01: If you ain't got it now, you don't got it.
• 29:53
  SPEAKER_01: And please don't do it back here.
• 29:56
  SPEAKER_05: I feel that way about the whole venue entirely, honestly.
• 29:58
  SPEAKER_05: Like, unless there is a very, very secluded separate space that you have hunted down and found that you're allowed to go to.
• 30:05
  SPEAKER_05: Allowed to go to?
• 30:07
  SPEAKER_05: Allowed to go to.
• 30:08
  SPEAKER_05: You shouldn't be having full blown rehearsals at a venue.
• 30:12
  SPEAKER_05: Like, I have seen it to a point where studios will take, like you said, like it's their space and no one else matters.
• 30:19
  SPEAKER_05: They will take over an entire dressing room area that is meant for getting dressed and changing your costume to run a rehearsal.
• 30:26
  SPEAKER_05: And that isn't, it is not the time or the place.
• 30:28
  SPEAKER_05: I've seen it happen in the middle of a lobby.
• 30:31
  SPEAKER_05: Like there aren't people around.
• 30:32
  SPEAKER_05: I'm like, what is going on?
• 30:34
  SPEAKER_05: It's just so inconsiderate.
• 30:35
  SPEAKER_05: It really rubs me the wrong way.
• 30:37
  SPEAKER_05: And you never know who's watching and who's walking by.
• 30:40
  SPEAKER_05: And that judge could be turned off by that choice that you're making because you're you're not being considerate to everyone's spaces.
• 30:47
  SPEAKER_05: Like it's not just about your studio in that moment.
• 30:49
  SPEAKER_05: It's about getting on stage in a timely fashion and being a team player with all the other studios that are here.
• 30:55
  SPEAKER_05: Like, like you said, Leslie, if you need to practice so much at the venue that you you probably aren't ready to even get, go on stage and be like, no, I'll run a rehearsal.
• 31:04
  SPEAKER_01: Maybe just like use the power of visualization and just do it in your mind.
• 31:08
  SPEAKER_00: And the caveat, I will say the caveat is if you have a dancer that can't make it and you have to last minute resage something, that is one thing.
• 31:15
  SPEAKER_00: But do not run the number, you're blocking totally different than running a rehearsal.
• 31:21
  SPEAKER_05: You can do a blocking in like a small space, like you don't need a large amount of space to be able to work on traffic patterns and know what windows people are supposed to be in.
• 31:29
  SPEAKER_05: Like that, there's a very distinct difference.
• 31:30
  SPEAKER_05: So I'm glad you clarified that.
• 31:32
  SPEAKER_06: Totally.
• 31:33
  SPEAKER_06: And I agree with you, Jordan.
• 31:34
  SPEAKER_06: And this is the other thing where communication is key.
• 31:37
  SPEAKER_06: You don't want to, you know, overwhelm your backstage manager or director.
• 31:41
  SPEAKER_06: But if something happened where there was a car accident or a couple dancers couldn't make it and you need that extra 10 minutes or you need that space or something like that, then just chat and let them know.
• 31:52
  SPEAKER_06: And chances are they may help you find a space that you're allowed to go to, or you know, let the staff and people know that they're not taking over.
• 32:01
  SPEAKER_06: They, you know, something happened and they need this moment.
• 32:04
  SPEAKER_06: Yeah.
• 32:04
  SPEAKER_06: So that it's received.
• 32:06
  SPEAKER_01: Yeah, like in the way that you want it to be.
• 32:08
  SPEAKER_06: Exactly.
• 32:09
  SPEAKER_06: Yeah.
• 32:10
  SPEAKER_01: I have piggybacking off of that scenario, because now that leads me to a question that I'm interested in hearing your answers to.
• 32:16
  SPEAKER_01: So, you know, in a perfect world, everybody's ready on time, everybody goes in the order that they've been scheduled, and everything is just fine.
• 32:25
  SPEAKER_01: But we know that very rarely does that happen for a variety of reasons.
• 32:30
  SPEAKER_01: What are some good reasons, some reasonable reasons that anyone should ask to change their order?
• 32:37
  SPEAKER_01: Oh, I like the competition.
• 32:39
  SPEAKER_01: Oh, I love it.
• 32:40
  SPEAKER_01: What are some acceptable reasons that would be entertained by both of you?
• 32:44
  SPEAKER_00: Okay, I'll go with one off the top of my head here.
• 32:47
  SPEAKER_00: If we made a mistake as the competition and scheduled your numbers so closely together that it is truly physically impossible to make a quick change and and it's you know, like you're I'm going from this solo to that solo or group number to this number, understandable.
• 33:02
  SPEAKER_00: And so it's like in that opportunity, excuse me, in that space, I allow an opportunity for like, hey, maybe you want to come in like two numbers later, fine, I can work with you or a number later.
• 33:13
  SPEAKER_05: I have a question with the mention of the quick change before we go into more.
• 33:17
  SPEAKER_05: How quick is a quick change?
• 33:19
  SPEAKER_05: What do you feel is the uh the least amount of time a dancer should be able to get ready?
• 33:26
  SPEAKER_00: Senior dancers, one number.
• 33:29
  SPEAKER_00: If you can't get ready in three minutes, what are we doing?
• 33:32
  SPEAKER_00: I mean, because unless you're changing, I will say, unless it's a complicated hair change.
• 33:37
  SPEAKER_00: Because sometimes you have the pens, you have the things, blah, blah, blah.
• 33:41
  SPEAKER_00: I'm not a girl, so I don't have the hair, or a guy with long hair, but yeah.
• 33:44
  SPEAKER_02: You have like a headpiece or something that gives you a little extra time.
• 33:47
  SPEAKER_01: Or you're supposed to go from like a faux hawk bun, faux hawk situation to I don't know, or maybe the opposite, like you have to put up a faux hawk bun from a from a half up, half down, like fair.
• 33:57
  SPEAKER_06: I agree with that.
• 33:58
  SPEAKER_06: The senior, if there's not like a complicated hair situation, one number, set up your space off to the side, let people know I'm I'm here for it.
• 34:10
  SPEAKER_01: Well, and and if and if we've asked, if anybody has asked you to do a quick change, the ask is not please run three miles to the dressing room because maybe we're in a big ballroom center and it's really far.
• 34:20
  SPEAKER_01: That I'm not asking you to do all of that in one number.
• 34:22
  SPEAKER_01: Right.
• 34:23
  SPEAKER_01: But what I am asking you to do is find a pop-up tent, pop it up, turn your back to someone, put a sheet up, whatever you have to do, because it is possible.
• 34:30
  SPEAKER_01: I think we have all done it.
• 34:32
  SPEAKER_05: Competition should provide that for quick change purposes.
• 34:35
  SPEAKER_05: Like if they want to have quick changes scheduled, then they need to make a little pop-up tent somewhere that's like quick change station and it's a communal space that it's like, hey guys, I have to run in here afterwards.
• 34:46
  SPEAKER_05: I I have my costume preset, I'm already ready, I'm doing a quick change, like everybody stay out my way.
• 34:50
  SPEAKER_05: Like that type of communication, but also the competition's providing an access to that because that's how it would happen in like a Broadway show or you know, in any other performance set situation.
• 35:00
  SPEAKER_05: They wouldn't be.
• 35:01
  SPEAKER_05: I mean, most of the time in in a show, you're getting changed off to the side or backstage, which is like close proximity to the stage.
• 35:07
  SPEAKER_05: You're not running up down, up and down five flights of stairs or something.
• 35:11
  SPEAKER_05: So to make it more seamless for everybody and make it possible because I think three minutes is enough time.
• 35:16
  SPEAKER_05: I agree with you.
• 35:17
  SPEAKER_06: I'm trying to think of other examples, like say a studio emailed a competition ahead of time asking for more time for a complicated switch.
• 35:28
  SPEAKER_06: Maybe they have a big, you know, complicated headpiece, hair change, things like that.
• 35:32
  SPEAKER_06: And sometimes when they're making the the schedule, there's just no way to accommodate everyone.
• 35:38
  SPEAKER_06: But so if you're looking at it and realizing everything that they need to get done and they don't have quite enough time to get done what they requested to, then you're like, okay, yeah, we can give you one more number, this or that.
• 35:49
  SPEAKER_06: But generally, I mean, short of um emergencies, you know, someone was in a car accident, there was a major accident, you know, stuff happens and it's that fine line of wanting to keep the customer and the studios happy while not overapeasing everyone and it just turns into chaos, you know, it's finding that that fine line.
• 36:10
  SPEAKER_06: But I feel like generally competitions are pretty good at the scheduling, you know.
• 36:14
  SPEAKER_06: So what has been done should be able to happen, you know, the studio should be able to make it happen.
• 36:20
  SPEAKER_05: I will say that there have been, I can't remember when it was um recently and like in the past few years of judging, there was a time where it was a smaller event.
• 36:28
  SPEAKER_05: Like there wasn't a lot of there may might not have been as many studios competing.
• 36:32
  SPEAKER_05: So the like turnaround time for the studio to come back out on stage was maybe like between three to four dances in between.
• 36:40
  SPEAKER_05: So like a 15, 20 minute block in between.
• 36:42
  SPEAKER_05: And there was a time where we would kind of like be waiting, like the judges are waiting.
• 36:47
  SPEAKER_05: You know, most of the time the judges are they're trying to crank out these dances.
• 36:50
  SPEAKER_05: They're like, Okay, you're barely finished putting your score in before the next dancer is walking on stage.
• 36:55
  SPEAKER_05: That's the pressure we're getting all day long at the judges' table.
• 36:58
  SPEAKER_05: And then all of a sudden, it's just like we're sitting around waiting, killing time.
• 37:02
  SPEAKER_05: And I remember being like, What's the holdup?
• 37:04
  SPEAKER_05: Like, what what are we what's going on?
• 37:06
  SPEAKER_05: And they're like, Oh, the dancers are doing hair changes and or the dance, the studio is um rehearsing the routine before it goes out on stage, even though they know they have a quick change, essentially.
• 37:19
  SPEAKER_05: It's kind of a quick change, but they're choosing to for her, so we're waiting for them to finish their rehearsal.
• 37:24
  SPEAKER_05: Right.
• 37:24
  SPEAKER_01: And not only just us, the whole audience, the whole day is waiting, not just the three of us.
• 37:29
  SPEAKER_01: Yeah.
• 37:30
  SPEAKER_05: Inconsiderate.
• 37:30
  SPEAKER_05: Like when I when I and that's what I heard.
• 37:32
  SPEAKER_05: And of course, I'm not gonna like say anything on the critique or change my score, but it's just inconsiderate and it shouldn't be happening.
• 37:38
  SPEAKER_05: Like, no, you do you do not rule this competition studio.
• 37:42
  SPEAKER_05: Like, we're all here together.
• 37:43
  SPEAKER_05: And and going back to the same thing I said about doing the rehearsal in a public space, like you have to look at the schedule.
• 37:50
  SPEAKER_05: If you don't think that you can get the hair change done in that short amount of time, maybe we don't do the hair that time.
• 37:56
  SPEAKER_05: Maybe that's the sacrifice we have to make to keep the schedule going.
• 37:59
  SPEAKER_05: Instead of asking a million emails and asking to shift things around and completely adjusting the schedule.
• 38:04
  SPEAKER_05: I mean, I actually work with the competition owners on IDA's end a lot.
• 38:08
  SPEAKER_05: And one of the competition owners already this season, it is early in the season, already said she had to change the schedule seven times because every single time it went out, someone came back with another complaint.
• 38:21
  SPEAKER_05: Someone came back with another, oh, I can't do this, I can't do that.
• 38:24
  SPEAKER_05: We have to shift this.
• 38:24
  SPEAKER_05: I need to add this entry.
• 38:26
  SPEAKER_05: It's like, no, no, no.
• 38:27
  SPEAKER_05: I think there we need to set things in stone a little bit sooner.
• 38:31
  SPEAKER_01: It that just creates so much more room for error, also on the competition's end when you've gotten that many asks for something different.
• 38:39
  SPEAKER_01: Like, and that's a human person doing that job.
• 38:42
  SPEAKER_01: That's not an algorithm, that might be an algorithm at the beginning, but then it's a human person having to shift and move and change.
• 38:49
  SPEAKER_01: And again, the the elements of error that could come in to do that, like that's part just a part of it, I think.
• 38:55
  SPEAKER_01: And then another thing I wanted to mention was, you know, yes, we've kind of given you a couple of good reasons to ask to switch something, like in the moment.
• 39:03
  SPEAKER_01: Don't ask, please don't ask to switch.
• 39:06
  SPEAKER_01: Well, Sarah wants to do her lyrical solo before her jazz solo.
• 39:09
  SPEAKER_01: Nope.
• 39:09
  SPEAKER_01: Nope.
• 39:10
  SPEAKER_01: That's right.
• 39:12
  SPEAKER_01: No.
• 39:13
  SPEAKER_01: Nope.
• 39:13
  SPEAKER_01: There's just that's just a personal preference that doesn't have any bearing on why we should do that for you.
• 39:19
  SPEAKER_01: No, you know, we have if if everybody asked for that, you'd never get a schedule.
• 39:22
  SPEAKER_01: You would literally never get a schedule, you'd never get to the do the event.
• 39:26
  SPEAKER_01: So I think I've personally experienced those questions.
• 39:29
  SPEAKER_01: And it is hard to say no.
• 39:31
  SPEAKER_01: You have to.
• 39:32
  SPEAKER_01: You just have to.
• 39:33
  SPEAKER_01: And the reason is because if I did this for you, I'd have to do it for everybody.
• 39:37
  SPEAKER_01: And we don't have time for that.
• 39:38
  SPEAKER_01: This is the schedule.
• 39:39
  SPEAKER_05: And you're competing in a category that is designed for a reason.
• 39:43
  SPEAKER_05: If you want to switch around, then you're not even competing in your category anymore.
• 39:47
  SPEAKER_01: If that's the case, I'd be like, then you're just getting an adjudicated score because I can't and part of the ask in my from my perspective is I want to do my lyrical in the midst of all these other jazz solos.
• 39:58
  SPEAKER_01: So maybe I'll score better because you didn't watch 15 lyrical before me.
• 40:03
  SPEAKER_01: No.
• 40:03
  SPEAKER_01: Listen, I just have a very cynical view of everything.
• 40:06
  SPEAKER_00: No, that's gamesmanship.
• 40:08
  SPEAKER_00: Gamesmanship is a real thing.
• 40:09
  SPEAKER_01: I think that's what a lot of the reasoning is behind things.
• 40:12
  SPEAKER_01: And, you know, we can see that.
• 40:14
  SPEAKER_01: We understand that and know.
• 40:17
  SPEAKER_00: So here's my question.
• 40:19
  SPEAKER_00: Could we not like implement some sort of like hotels?
• 40:23
  SPEAKER_00: 48 hours, you'll be charged if you have it canceled or rental car or whatever.
• 40:27
  SPEAKER_00: You know, like we're gonna say, hey, hard stop at 48 hours before comp because this is a physical person doing this job.
• 40:35
  SPEAKER_00: And also, it's gonna make sure we have your music.
• 40:37
  SPEAKER_00: We're gonna make sure we have everything so we're not like, hey, Susie Studio, come on down, bring us your music.
• 40:43
  SPEAKER_00: Right.
• 40:44
  SPEAKER_01: Awkward, time, time consuming, like non-professional sounding.
• 40:49
  SPEAKER_05: Yeah, maybe they're well, I mean, how quick how um early do people typically get this schedule from the competition?
• 40:56
  SPEAKER_05: Is it about like two weeks out?
• 40:58
  SPEAKER_05: If you're lucky.
• 40:59
  SPEAKER_05: Okay.
• 40:59
  SPEAKER_05: So, like two weeks out within that time, you have a week deadline.
• 41:03
  SPEAKER_05: If we the the week is the cutoff.
• 41:05
  SPEAKER_05: After that, there's penalty and fees involved if we need to adjust the schedule anymore because you couldn't send us an email and ask for a different request.
• 41:12
  SPEAKER_05: But the competition shouldn't be bending over backwards to adjust and accommodate.
• 41:15
  SPEAKER_05: And and on top of that, and we'll probably get to things like this when it comes to littering the stage and props and stuff.
• 41:24
  SPEAKER_05: But those things we need to know ahead of time.
• 41:26
  SPEAKER_05: The competition needs to know ahead of time so they can put that into the algorithm of the creation of the schedule to give you enough time and also maybe put it before awards or put it at the start of the session so you can set that prop up and not waste 10 minutes.
• 41:39
  SPEAKER_05: Because let's be real, even though there's rules, people spend, I've watched it, I've put a timer on 10 minutes to set up a prop.
• 41:46
  SPEAKER_05: And I don't care how big the dance is, it shouldn't be happening.
• 41:48
  SPEAKER_05: This isn't a theatrical production, this is a dance competition.
• 41:52
  SPEAKER_01: Come on.
• 41:53
  SPEAKER_01: And if you're setting up a 10-minute prop, you better use it the whole time.
• 41:56
  SPEAKER_00: Oh, the entire time.
• 41:58
  SPEAKER_01: Beyond that porch that you built.
• 42:00
  SPEAKER_01: The whole time be life-changing that prop.
• 42:03
  SPEAKER_01: Yeah.
• 42:04
  SPEAKER_01: Oh, so we're talking about props now.
• 42:06
  SPEAKER_01: Yay.
• 42:07
  SPEAKER_01: We're talking about props.
• 42:08
  SPEAKER_01: That's a good segue.
• 42:09
  SPEAKER_01: Tell us more about your desires as a backstage manager in terms of props.
• 42:14
  SPEAKER_01: When do you want to know about them?
• 42:15
  SPEAKER_01: Where do they go?
• 42:17
  SPEAKER_01: How do you deal with them uh in the moment?
• 42:19
  SPEAKER_00: So when you check in, I want to know everything.
• 42:22
  SPEAKER_00: I want to know props.
• 42:23
  SPEAKER_00: I want to know if you start on stage or off.
• 42:26
  SPEAKER_00: I want to know if there's a trick exit, if there is a stop in the music.
• 42:30
  SPEAKER_00: Tell me all of these random things that you think no one really needs to know or doesn't really matter.
• 42:35
  SPEAKER_00: Nope, I need to know all of them because yeah, it makes a big difference.
• 42:39
  SPEAKER_00: Also, who's gonna be responsible for that prop?
• 42:42
  SPEAKER_00: I need to know that in advance too.
• 42:44
  SPEAKER_00: Is it you?
• 42:45
  SPEAKER_00: Is it Susie's friend?
• 42:46
  SPEAKER_00: Is it studio owner?
• 42:48
  SPEAKER_00: Is it prop parents?
• 42:49
  SPEAKER_00: Like, I love a prop pop.
• 42:51
  SPEAKER_00: He's gonna be right there.
• 42:52
  SPEAKER_00: Great.
• 42:52
  SPEAKER_00: I don't need to worry, I don't need to go on stage following behind the dance.
• 42:56
  SPEAKER_00: I can continue checking dancers in and keep the show rolling on time.
• 43:00
  SPEAKER_01: And we are happy to help you, backstage friends.
• 43:03
  SPEAKER_01: If you need help, if you don't have a prop pop, some of us don't, then you know, tell tell backstage manager Jordan and Ashley, hey, I need some help with this prop.
• 43:11
  SPEAKER_01: Cool, got you, done.
• 43:13
  SPEAKER_01: But I can't help you if I don't know.
• 43:15
  SPEAKER_06: I agree a hundred percent.
• 43:16
  SPEAKER_06: I love that.
• 43:17
  SPEAKER_06: A prop pop.
• 43:18
  SPEAKER_06: I've never heard that before.
• 43:20
  SPEAKER_06: And I think mo uh, well, not always, but you know, most of the time we'll get the information of props, major props, ahead of time.
• 43:29
  SPEAKER_06: But I would say the session before you need to just check in because we don't want you dropping off a prop on Friday night that's going to be used on Sunday, because that's when the dad with the trailer can do it, because there may not be space at this high school or this loading dock for that.
• 43:46
  SPEAKER_06: So I always say check in the session before so that during the switchover, the awards, you can kind of coordinate because it can be inconvenient, but you have to schedule that as well because sometimes there's not a there's literally Not enough space backstage, or there's you know, fire hazard and fire code and all sorts of stuff like that.
• 44:06
  SPEAKER_06: Or if it's I remember I was at a competition in Pittsburgh once where everybody there had massive like theatrical props.
• 44:14
  SPEAKER_06: So coordinating and choreographing those coming in and out of the loading dock was like a show in itself.
• 44:21
  SPEAKER_06: So I always say touch base, the session before, and then also that session.
• 44:26
  SPEAKER_06: And like Jordan said, as small as you know, a chair up to you know something you're building on stage, the more information they have, the better it's gonna be, the smoother it's gonna be.
• 44:37
  SPEAKER_05: Yeah.
• 44:38
  SPEAKER_05: I mean, especially the ones that need time, which again I have a lot of mixed feelings about because I feel like that people just take advantage of that.
• 44:47
  SPEAKER_05: Agreed.
• 44:48
  SPEAKER_05: And I wish that competitions would enforce that.
• 44:50
  SPEAKER_05: I I think there are a lot of competitions now that will say, like, if it's a production number, you get more time to build your prop.
• 44:57
  SPEAKER_05: And hooray for that.
• 44:59
  SPEAKER_05: But there's a lot of times it's not a production number and people are taking advantage.
• 45:03
  SPEAKER_05: But if it's any, if it's ever a scenario where it's gonna take you more than 30 seconds to get that prop out there, that needs to be told ahead of time.
• 45:12
  SPEAKER_05: It absolutely has to, and it needs to be built into the schedule because then you're ruining the schedule if it took you five minutes to haul these things out, and you also have to be con you know considerate of the space that it like you said.
• 45:24
  SPEAKER_05: What if there isn't a loading dock?
• 45:26
  SPEAKER_05: What if there isn't a I mean I've heard of crazy scenarios where people have to like carry them up flights of stairs because the elevator wasn't working, you know?
• 45:33
  SPEAKER_01: Like you have to or like take down the wings.
• 45:36
  SPEAKER_01: We've had I've had a scenario where the prop is so big that if we had a built-up wing, like wings that weren't attached to a theater, we've had to physically take them off the stage.
• 45:46
  SPEAKER_01: No.
• 45:46
  SPEAKER_01: So like that takes time too.
• 45:47
  SPEAKER_01: And I mean, you yeah, hard hard to say whether you can like tell whether that's gonna happen or not based on where you are.
• 45:53
  SPEAKER_01: Like, you don't know how your stage might be, but I don't know.
• 45:57
  SPEAKER_01: That just goes to show maybe a big prop is not it all the time because of how much work it takes sometimes to get that to happen at any given space.
• 46:06
  SPEAKER_00: Well, I mean, we are dancers.
• 46:07
  SPEAKER_00: If we can't tell the story without a prop, what are we doing?
• 46:14
  SPEAKER_06: Yes.
• 46:16
  SPEAKER_06: I love that.
• 46:17
  SPEAKER_06: And one thing I was thinking about is uh just be honest, whether it's the you know, studio owner or whoever, when you're communicating with the competition, how long the prop is going to actually take, like Courtney said, to work it into the schedule and know if it fits within those time parameters because or when you're checking in the session before and they're letting you know what it is, you can kind of guesstimate if if this is gonna be more of a production than you really thought.
• 46:43
  SPEAKER_06: And then you can work some of those other, you know, number changes in to maybe help with that.
• 46:50
  SPEAKER_05: And that needs to be rehearsed, and we've talked about that many times on the podcast, but that needs to be rehearsed.
• 46:54
  SPEAKER_05: If prop ads are responsible, you as a studio need to get the prop dads together and say, we're gonna run through all of your on stage exits, on stage and offstage exits before we go to competition this weekend.
• 47:05
  SPEAKER_05: You guys ready?
• 47:05
  SPEAKER_05: You're gonna have a nice little workout for the next, you know, 30 minutes, lift in the props.
• 47:09
  SPEAKER_05: And if there's power tools, we have to set a timer and we have to see how fast can we do this and make it efficient because it's not we can't just be like, I've seen like prop dads just like wandering around on stage, like no sense of urgency.
• 47:23
  SPEAKER_05: Like people, yeah, exactly.
• 47:24
  SPEAKER_05: Like people can't find center.
• 47:26
  SPEAKER_05: I'm like, oh my gosh, I'm sitting there, like, you know, just waiting around and it's just holding up the whole show.
• 47:32
  SPEAKER_05: So it's important.
• 47:32
  SPEAKER_01: But I could have gone to the bathroom, but you didn't tell me that there was a 10-minute prop setup, and now I'm sitting here having to pee, but now I like, are you done yet?
• 47:38
  SPEAKER_01: I don't know.
• 47:39
  SPEAKER_01: I could have gone pee.
• 47:40
  SPEAKER_06: Leslie, you read my mind with the bathroom because if the backstage manager knows like this is gonna be complicated, and you know the bathroom or the judges have sent down a note or they haven't had a bathroom break for a while, even if it's only 20 minutes till the wards sometimes that can help, you know, let them go.
• 47:56
  SPEAKER_06: Those little things matter.
• 47:58
  SPEAKER_06: Kind of going off what Courtney said.
• 47:59
  SPEAKER_06: I've seen this more with the prop dads, of course, but with the studio owners, when they get on the stage, it almost feels like they're like showboating a little bit, like a little bit to the right, a little bit to the left.
• 48:10
  SPEAKER_06: Yes, picking up time.
• 48:12
  SPEAKER_06: And it's like, no, no, no, like you're not showing us how great.
• 48:15
  SPEAKER_06: You know what?
• 48:15
  SPEAKER_06: I can't put into words, but you know what I'm talking about.
• 48:18
  SPEAKER_00: Jordan's not even here's the thing center is marked always.
• 48:27
  SPEAKER_00: Why can't we find center?
• 48:29
  SPEAKER_00: Why can't we?
• 48:30
  SPEAKER_00: Why can't we?
• 48:31
  SPEAKER_00: I don't know.
• 48:32
  SPEAKER_01: Well, and we're adults, like, okay, you're six, sure.
• 48:34
  SPEAKER_01: That it's a really bright, you've never been here before.
• 48:37
  SPEAKER_01: Uh, sure.
• 48:37
  SPEAKER_01: But an adult person who knows what we're doing, it's just center, it's just right there.
• 48:42
  SPEAKER_01: And listen, competitions, if you're not marking center, because somehow I hear about this being a thing, it is please mark center.
• 48:48
  SPEAKER_01: It's not hard, it's two pieces of tape.
• 48:51
  SPEAKER_01: Yeah, like I don't, I don't understand.
• 48:54
  SPEAKER_05: Upstage, why wouldn't center downstage?
• 48:56
  SPEAKER_06: Yeah, that needs to happen.
• 48:58
  SPEAKER_05: Minimum.
• 48:59
  SPEAKER_05: We need quarter, we need number lines, but that's a whole nother thing.
• 49:04
  SPEAKER_00: And I do want to circle back.
• 49:05
  SPEAKER_00: I do want to circle back to our our showboaters and say this if we are teaching our dancers to hustle on stage, hustle off stage, we need to be doing that ourselves.
• 49:19
  SPEAKER_02: Mm-hmm.
• 49:20
  SPEAKER_02: 100%.
• 49:21
  SPEAKER_02: Yeah, I think I honestly it comes across sometimes as like they think it's their moment and then like the kids are like, do we have her, yes, and like you know, it's like uh I guess this is your moment.
• 49:30
  SPEAKER_05: And they have like a little walk off stage, but it's like, no, we should have rehearsed how to find center with the prop dads.
• 49:36
  SPEAKER_05: Or if the kids are bringing out the prop, they need to be guiding off a center.
• 49:40
  SPEAKER_05: Or if you're bringing out the prop teacher, why like why is it so hard for you to find center?
• 49:44
  SPEAKER_05: You're the teacher.
• 49:45
  SPEAKER_05: Like, come on.
• 49:46
  SPEAKER_05: It to me, it's like a no-brainer.
• 49:48
  SPEAKER_05: And I will say when it comes to props, if it's something that is not extremely heavy, I always thank the dancers if they're the ones that are setting up their own props.
• 49:57
  SPEAKER_05: I absolutely love that.
• 49:59
  SPEAKER_05: I think it teaches them like independence, like we've talked about.
• 50:02
  SPEAKER_05: I think it puts them responsible because if it's if they set it up and it's off center, then that's on them the rest of the dance.
• 50:09
  SPEAKER_05: How do you fix that?
• 50:10
  SPEAKER_05: And it's not your teacher's fault anymore.
• 50:12
  SPEAKER_05: It's your fault at that point.
• 50:13
  SPEAKER_05: But I respect them that they chose to put it out because there are so many times where I see a little friend bring the prop out and then the girl skips out afterwards.
• 50:22
  SPEAKER_05: And it's like you could have brought that prop out yourself and sat on the chair.
• 50:25
  SPEAKER_05: Like, why did your little friend need to do it?
• 50:28
  SPEAKER_05: Exactly.
• 50:28
  SPEAKER_05: Like, we need to get our dancers to understand how to move props as well, because that's a part, that's a skill in itself that you might need to do down the road.
• 50:36
  SPEAKER_01: Totally.
• 50:37
  SPEAKER_01: Speaking of friends, I'm gonna circle towards the friends and then come back to other prop-related things.
• 50:43
  SPEAKER_01: Should your friends be backstage all million percent no?
• 50:48
  SPEAKER_06: One million percent no.
• 50:51
  SPEAKER_06: I mean, short of say it's a really emotional solo that someone has that they were affected by something personal or something.
• 51:00
  SPEAKER_06: I have had this before.
• 51:01
  SPEAKER_06: And they're like, Can my best friend be back there with me for emotional support or they went through something together, something like that.
• 51:08
  SPEAKER_06: Sure, but just in general, the cheering in the wings, you see it as a judge, you see the friends cheering in the wings, you see them doing the dance alongside with them in the wings.
• 51:17
  SPEAKER_06: It's just going back to just kind of that situational awareness and and manners being considerate of everyone.
• 51:24
  SPEAKER_06: There's just not enough space, right?
• 51:25
  SPEAKER_06: Whether it's groups or solos, because the friends back there are pulling away from the other dancers that are waiting to go on.
• 51:32
  SPEAKER_06: Like you said, Leslie, it's your time when you're backstage to gather your piece and get centered.
• 51:36
  SPEAKER_06: So if the friends are having a kiki backstage for the number that's on, it's pulling away from other dances, dancers' piece.
• 51:44
  SPEAKER_06: And probably also confusing the backstage manager because they're like, are you my next number?
• 51:48
  SPEAKER_06: Are you dancing?
• 51:48
  SPEAKER_06: Are you yeah, what's happening?
• 51:50
  SPEAKER_06: Yeah.
• 51:51
  SPEAKER_00: Well, I think a lot of what you just said can be summed up in two words theater etiquette.
• 51:56
  SPEAKER_00: Like, are we teaching our dancers theater etiquette?
• 51:59
  SPEAKER_00: Like when you're backstage, it's not a time to play.
• 52:01
  SPEAKER_00: It's not the time to, like you said, key key.
• 52:04
  SPEAKER_00: And if it is those extenuating circumstances where it's an emotional solo or it is your senior solo, and it's like, this is my best friend.
• 52:11
  SPEAKER_00: We've danced together since we were three.
• 52:12
  SPEAKER_00: Is it possible to have one person backstage?
• 52:15
  SPEAKER_00: Sure.
• 52:15
  SPEAKER_00: But your posse, your crew, your whole, you know, your whole company, no.
• 52:20
  SPEAKER_00: Like, cheer from the audience.
• 52:22
  SPEAKER_00: That's why I need the support coming at me from the front.
• 52:26
  SPEAKER_05: And honestly, like I want the teachers to watch from the front too.
• 52:30
  SPEAKER_05: No, I desperately want that for them.
• 52:33
  SPEAKER_05: I see them, like I can see them in the wing.
• 52:37
  SPEAKER_05: Like they're so close to the wing, and they don't even, I don't even think they realize that they are seen by the people in the audience.
• 52:44
  SPEAKER_05: But if you're sometimes like depending on the venue, I've seen them standing in wing one and and like cheering and screaming, and it's such a distraction.
• 52:53
  SPEAKER_05: I've actually even heard teachers coaching from backstage, like clapping the clap, the turn sequence pattern, or what the timing's supposed to be, or saying audible things from the audience, coaching it in different ways.
• 53:05
  SPEAKER_05: It's like we gotta get again, it's the etiquette, it's it's being prepared, it's trusting your dancers.
• 53:11
  SPEAKER_05: Like they can do this.
• 53:12
  SPEAKER_05: They can, you know, if even the minis can do it.
• 53:15
  SPEAKER_05: You can drop them off and and go say, okay, guys, good luck.
• 53:19
  SPEAKER_05: I'm gonna watch from the front, can't wait to see it.
• 53:21
  SPEAKER_01: You know, like and don't you want to see it from the front?
• 53:23
  SPEAKER_01: Because I just I just know from having taught watching my mom teach for years and years and years, you never get to see your dance from the front.
• 53:31
  SPEAKER_01: Right.
• 53:32
  SPEAKER_01: And you're you need to see your dance from the front because that looks very different than from the side.
• 53:36
  SPEAKER_01: Yes.
• 53:36
  SPEAKER_01: And you deserve to see it from the front, to see the full, you know, span of your creativity and your dancer's hard work on stage.
• 53:44
  SPEAKER_01: It's a very different experience than standing in the wings.
• 53:46
  SPEAKER_01: And like, yeah, there's like something to watching from the wings, but I really think in these circumstances, because we are there's so many other things going on, it's not just a performance.
• 53:56
  SPEAKER_01: There's judging happening, there's other people.
• 53:58
  SPEAKER_01: You know, run to the front, figure it out.
• 54:00
  SPEAKER_01: Or again, send your senior dancer friend, child, helper with the minis, have them set them up, and then she can go because she has other things to do.
• 54:09
  SPEAKER_01: But like you, as the teacher, I feel like can be in the audience and experience your work that way.
• 54:14
  SPEAKER_01: And I just think that's gonna be better for everyone.
• 54:22
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• 54:24
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• 54:30
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• 54:33
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• 54:38
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• 54:45
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• 54:52
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• 55:05
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• 55:21
  SPEAKER_00: I I'm absolutely with you on this, like viewing from the front.
• 55:25
  SPEAKER_00: You get to see your full vision.
• 55:26
  SPEAKER_00: You get to see, okay, I need to maybe clean up the spacing.
• 55:29
  SPEAKER_00: I need to, oh, that transition did not work.
• 55:32
  SPEAKER_00: I need to make sure I make this a little easier for my dancers or whatever it may be.
• 55:35
  SPEAKER_00: It allows you to take notes for self to go back in the studio to continue working.
• 55:40
  SPEAKER_00: Oh, yeah, I saw the same thing that that judge then later comments on on my recording.
• 55:45
  SPEAKER_00: Right.
• 55:46
  SPEAKER_00: Okay, this makes perfect sense.
• 55:47
  SPEAKER_00: Because if you're on the side, you're not necessarily seeing that same angle and be on the side at recital, you know, be be on the side at your spring festival.
• 55:55
  SPEAKER_06: Like I was gonna say the exact same thing, Jordan.
• 55:59
  SPEAKER_06: Being in the wings is like recital energy.
• 56:02
  SPEAKER_06: And going off what you said, Leslie, you you can't feel the energy emanating from your dancers off the stage in the wing.
• 56:08
  SPEAKER_06: So if they get any sort of performance critiques or anything like that, you know, if you've been in the wings, you're not, you're not the video, doesn't 100% capture that either.
• 56:17
  SPEAKER_06: Going off what you said too, Courtney, you know, we're we're not just training them and rehearsing them for the stage.
• 56:22
  SPEAKER_06: It's a skill, it's the theater etiquette.
• 56:25
  SPEAKER_06: So teach them to be self-sufficient, drop those babies off and go.
• 56:29
  SPEAKER_06: And then the little nuggets, when they're unsure of their choreo, they're not looking stage right into the wings for help.
• 56:35
  SPEAKER_06: They don't have that crutch, you know.
• 56:36
  SPEAKER_06: So it might be scary the first time or two, but once they have that confidence, it's just gonna boost everything.
• 56:43
  SPEAKER_05: Something else I randomly want to mention that it's another thing that you talked about, uh, Jordan, where you said, I want to know every single thing about your dance.
• 56:52
  SPEAKER_05: Another major thing that people need to know about are crossovers during a dance.
• 56:57
  SPEAKER_05: Because I feel like we've seen that happen so many times where the dancers know that there's a backstage crossover, someone's doing that, you know, horrible run from stage left to stage right in 10 seconds, and they are hauling booty to get back in the wing in time.
• 57:13
  SPEAKER_05: But there are dancers in the way and there are people just strolling along backstage, and next thing you know, dance.
• 57:19
  SPEAKER_05: Right.
• 57:20
  SPEAKER_05: And like if everyone is aware that there's a very quick crossover and it the backstage manager is made aware of it, then they can put everyone out to the side and say, we have to stand back because there's a lot of things happening.
• 57:31
  SPEAKER_05: Same thing happens when we have those big production numbers where there's different costumes and different shoes happening, and it's like, if it's just like a surprise to everyone backstage, of course there's going to be disaster and collisions and traffic and things that go wrong.
• 57:46
  SPEAKER_05: So the more communication with those types of things, the better.
• 57:49
  SPEAKER_00: I absolutely agree.
• 57:50
  SPEAKER_00: Like, yes, please be communicative, tell me so that way I can, if it's a production, I can clear the backstage of other productions.
• 57:57
  SPEAKER_00: Don't have anybody waiting on the wings.
• 57:58
  SPEAKER_00: I can say, hey, this is designated for them.
• 58:01
  SPEAKER_00: You will have your 10 minutes to set up and get backstage and all that jazz.
• 58:05
  SPEAKER_00: Uh, but then also studio owners, choreographers, teachers, make sure we're teaching our dancers how to crossover without a backstage.
• 58:14
  SPEAKER_00: If there is no backstage, what do you do?
• 58:17
  SPEAKER_00: If there's no access backstage behind the stage, what do you do?
• 58:21
  SPEAKER_00: If there's no hallway, what do you do?
• 58:23
  SPEAKER_00: Like we should be teaching them, hey, if you have to do a crossover, we're gonna do it on stage, or I'm gonna restage this because I, you know, or whatever it may be, but like you have to kind of prepare them for all options.
• 58:36
  SPEAKER_05: I'm like a I'm a big advocate for no crossovers.
• 58:39
  SPEAKER_05: I don't think we need to choreograph crossovers into dances.
• 58:42
  SPEAKER_05: Why are we even doing that?
• 58:43
  SPEAKER_05: Like, unless it's like comp like extremely crucial to your vision, but I highly doubt it.
• 58:48
  SPEAKER_05: It's not.
• 58:48
  SPEAKER_05: I'm sure there's a way we could figure out to let them re-enter from the same side they came off.
• 58:53
  SPEAKER_01: Yeah.
• 58:53
  SPEAKER_01: I feel like they're less and less these days.
• 58:55
  SPEAKER_01: I feel like I don't see them that often, but when I do, it's even more impressive when it's done well because they are it's hard.
• 59:01
  SPEAKER_01: It's crossover's hard.
• 59:03
  SPEAKER_01: And you know, like you said, you just never know the space that you're gonna be in.
• 59:06
  SPEAKER_01: And unfortunately, some spaces out there don't have that option.
• 59:10
  SPEAKER_01: There's just not an option to have a crossover space, and that stinks.
• 59:14
  SPEAKER_01: But live theater, you gotta go with the flow.
• 59:17
  SPEAKER_06: Totally.
• 59:17
  SPEAKER_06: Going off what you said, Courtney, just describing the backstage when there is a crossover and you know, you're yelling for people to get out of the way.
• 59:25
  SPEAKER_06: And if the backstage manager doesn't know, it's just chaos.
• 59:28
  SPEAKER_06: Competition lends itself to a chaotic environment.
• 59:30
  SPEAKER_06: So everything that you can do to minimize that, whether it's not choreographing the crossovers in or just being so communicative with your backstage manager.
• 59:39
  SPEAKER_06: And then also, too, it can create some drama and strife between, you know, other studios and dancers because a studio um director or choreographer is, you know, yelling at kids, move, move, move.
• 59:50
  SPEAKER_06: And then, you know, they come to me or, you know, saying, Hey, this studio director or this choreographer yelled at my kids to move out of the way, shove their art.
• 59:59
  SPEAKER_06: You know, that's when all that sort of stuff starts to happen and it can be avoided with communication for sure.
• 1:00:05
  SPEAKER_00: Well, then also tagging on that, allow the competition director, allow the backstage manager to do their job.
• 1:00:12
  SPEAKER_00: There is no need for you to step in.
• 1:00:14
  SPEAKER_00: If, you know, if there's someone that's backstage that's efficient at what they do, they've got this figured out.
• 1:00:20
  SPEAKER_00: They know, okay, I've got to clear this space, I've got to talk to these kids, I've got to do this.
• 1:00:24
  SPEAKER_00: So, yeah, like don't interfere in that because it does create strife backstage.
• 1:00:29
  SPEAKER_01: Totally.
• 1:00:30
  SPEAKER_01: Totally let them do their job.
• 1:00:32
  SPEAKER_01: A piece of just information for for anybody bringing kids to an event like this, and something to teach them that I think I've experienced people being really incredulous that backstage is dark.
• 1:00:45
  SPEAKER_01: Oh.
• 1:00:46
  SPEAKER_01: It's dark.
• 1:00:46
  SPEAKER_01: It's dark back there because if I turn the lights on, it's not a theatrical event.
• 1:00:51
  SPEAKER_01: And yeah, sometimes you're in a ballroom and like we can't get the lights to do what we need them to do because this is one big thing of lights.
• 1:00:57
  SPEAKER_01: But at a theater, you have the ability to turn off the lights backstage, which which most people do.
• 1:01:03
  SPEAKER_01: Yes, there's gonna be some glow tape somewhere.
• 1:01:04
  SPEAKER_01: There might be a little lamp here and there, but like it's dark, which also means you can't run, shouldn't run, need to be careful and aware of your space.
• 1:01:13
  SPEAKER_01: And the amount of times I've had people ask me to turn on the lights backstage during the show.
• 1:01:19
  SPEAKER_01: It's just not a it's just not a thing, yeah.
• 1:01:21
  SPEAKER_01: And it's again, I just it makes me wonder, what do you guys think a theatrical performance is?
• 1:01:26
  SPEAKER_01: Like, this isn't it.
• 1:01:27
  SPEAKER_01: If the lights are on, that's the work lights.
• 1:01:29
  SPEAKER_01: Right.
• 1:01:29
  SPEAKER_01: We turn those off while we're performing, we use the stage lights.
• 1:01:32
  SPEAKER_01: And so I think it's just again another sort of theater theatrical etiquette thing that like, don't forget we're here in a performance setting and we're doing everything as safely as possible within the realm of what a performance setting is, but there's also a responsibility of the people bringing kids into that situation.
• 1:01:49
  SPEAKER_01: Hi, here's Mr.
• 1:01:50
  SPEAKER_01: Jordan, the backstage manager.
• 1:01:52
  SPEAKER_01: The lights are off, so I need you to be careful and walk.
• 1:01:54
  SPEAKER_01: Like, Mr.
• 1:01:54
  SPEAKER_01: Jordan shouldn't probably have to say that, but that's that comes before you get to the competition.
• 1:01:59
  SPEAKER_01: That just like when we're talking about crossovers, the amount of like, oh, but it's so dark back here.
• 1:02:03
  SPEAKER_01: Well, yes, it is, but so you have to be careful.
• 1:02:07
  SPEAKER_04: I have a final-ish question pending because I don't know where we're at in time at this point, but I want to talk about the thing that I talk about often on our podcast, which is littering the stage.
• 1:02:21
  SPEAKER_04: And we briefly have talked about it in a recent episode, but I feel like this is the episode to kind of go a little bit deeper with this uh discussion because it's used and abused so much.
• 1:02:34
  SPEAKER_04: And as the backstage managers, y'all are the ones that are being used and abused with the littering of the stage.
• 1:02:41
  SPEAKER_05: And what I mean by that, if anyone's wondering, that means when you throw confetti in your dance, when when you throw feathers in your dance, when you have rose petals that are everywhere, I've even seen glitter, little specks of glitter thrown all over the stage.
• 1:02:58
  SPEAKER_05: I mean, you name it, I've probably seen it, and guess what?
• 1:03:01
  SPEAKER_05: There are rules that again no one enforces and people don't care.
• 1:03:05
  SPEAKER_05: And they just break them.
• 1:03:06
  SPEAKER_05: They don't care.
• 1:03:07
  SPEAKER_05: Or when there's like a lot of people are doing for some reason this year, the painted hands and and things like that, where if your hand touches the Marley, you might be leaving residue on the stage.
• 1:03:19
  SPEAKER_05: And now we're taking time up to wipe up the residue.
• 1:03:22
  SPEAKER_05: There's a difference between like a sweat drop and like you actually, you know, covering the stage in paint or something that shouldn't belong there in the first place.
• 1:03:31
  SPEAKER_05: So those types of things where you're affecting the stage, or even honestly, now that I'm going even further with it, a prop that could damage the stage if you're moving the prop around.
• 1:03:40
  SPEAKER_05: You have to be considerate of those types of things.
• 1:03:42
  SPEAKER_05: So back to the littering.
• 1:03:44
  SPEAKER_05: What are our thoughts on it?
• 1:03:46
  SPEAKER_05: As backstage managers, as judges, as educators, what do we think when we see that happen?
• 1:03:51
  SPEAKER_00: Literally, the word that comes to mind with littering is tiresome.
• 1:03:58
  SPEAKER_00: I have grown so tiresome of the littering of the stage, especially when you don't say anything in advance.
• 1:04:05
  SPEAKER_00: You're like, I want it to be a surprise for everybody.
• 1:04:08
  SPEAKER_00: No, I'm here backstage to help you, so I need to know.
• 1:04:14
  SPEAKER_00: So most definitely, like, I want to know in advance.
• 1:04:17
  SPEAKER_00: So then that way, if we do have to help you with your rose petals, we can get a broom.
• 1:04:23
  SPEAKER_00: I can tell my logistics, hey, I need you to be on the other side of the stage meeting me so we can knock this out in two passes versus me going by myself in four, or even have your prop parents.
• 1:04:36
  SPEAKER_00: I don't want to make it prop pops anymore.
• 1:04:38
  SPEAKER_00: It could be prop mamas.
• 1:04:41
  SPEAKER_00: We are, yeah, all inclusive here.
• 1:04:43
  SPEAKER_00: But yeah, I want you guys like being in the at the ring in the wings at the ready.
• 1:04:48
  SPEAKER_00: Like, okay, I know that there are about to be 55 rose petals on this stage.
• 1:04:52
  SPEAKER_00: Let me have my little bag.
• 1:04:53
  SPEAKER_00: Let me get it.
• 1:04:53
  SPEAKER_01: You need 355.
• 1:04:57
  SPEAKER_00: Well, this was a solo, Leslie.
• 1:04:58
  SPEAKER_00: This was a solo.
• 1:04:59
  SPEAKER_00: Sorry, sorry.
• 1:05:00
  SPEAKER_01: 55 rose petals, one for every you know, flat-footed pyramid I saw today.
• 1:05:06
  SPEAKER_00: The shade.
• 1:05:09
  SPEAKER_06: Oh my gosh, Jordan.
• 1:05:11
  SPEAKER_06: You you just nailed it on the head though, because there's so many moving parts in a competition, right?
• 1:05:16
  SPEAKER_06: So if they don't communicate it to you, even if it was communicated ahead of time to the competition, not everything always makes it down to the director and the backstage manager.
• 1:05:26
  SPEAKER_06: So just give us a quick heads up because it's it's like a choreographed dance.
• 1:05:29
  SPEAKER_06: So you can have the second backstage manager or second backstage staff who's on awards or you know, setting up their awards table ready to go in the wings to push, push in a in a pass, because otherwise you're on the headset, maybe pulling someone from a job.
• 1:05:42
  SPEAKER_06: But if you know you can be at the ready, especially when it's something that's gonna take five minutes.
• 1:05:50
  SPEAKER_06: And as far as you know, it being enforced and things like that, like said, sometimes it goes above you depending on the competition and what they allow and things like that, or what you know.
• 1:06:00
  SPEAKER_06: Judges can issue a red card or do a point deduction, but a lot of times things do get very lax, and almost more often than not, it never adds to the piece.
• 1:06:10
  SPEAKER_06: It just it's just a nuisance, you know, and the communication is not always there.
• 1:06:15
  SPEAKER_06: Another thing I notice a lot is say there's, you know, those um costumes with like the shiny discs are really right now.
• 1:06:24
  SPEAKER_06: Or, you know, maybe feathers or something like that.
• 1:06:26
  SPEAKER_06: Beating, beating.
• 1:06:28
  SPEAKER_06: And you can tell when a c a studio hasn't rehearsed their pieces full out with feeling multiple times in a row, because then there's costume disasters on stage.
• 1:06:38
  SPEAKER_06: It's not always safe for the dancers on stage or the next piece.
• 1:06:41
  SPEAKER_06: Sometimes the judges or someone may not see it, so they're getting ready to announce the next piece, and someone's on a headset, like, wait downstage right.
• 1:06:49
  SPEAKER_06: And it it may just be one piece, but if someone slipped on that bead and you see the backstage person running, trying to find this nude bead that blends in with the gray, you know.
• 1:06:58
  SPEAKER_06: So running your dances, making sure you know exactly what's going to happen with your costumes, especially say anytime there's movement on the costume, treat it like a prop because it's gonna have a mind of its own on stage.
• 1:07:10
  SPEAKER_06: Wow.
• 1:07:12
  SPEAKER_00: I'm sorry, I was just gonna kind of tag on to what you said, Ashley.
• 1:07:14
  SPEAKER_00: Like, yeah, sometimes we uh, you know, judges don't see it or the MC doesn't see the little fallen piece of prop or whatever, but also, hey, in that rehearsal process, in you rehearsing, it's gonna help us because there's nothing worse than hearing on headset, oh hey, the numbers being announced, but also can you go on stage and grab that feather, that one feather or that one bead?
• 1:07:37
  SPEAKER_06: And you're like, oh but you have to because someone could hurt themselves or slip or and then this goes off things with earrings.
• 1:07:44
  SPEAKER_06: I've seen lots of dingly earrings too.
• 1:07:46
  SPEAKER_06: I don't want to get too far off topic, but if you know it's not gonna stay on, does the piece need it?
• 1:07:52
  SPEAKER_06: You know, and could it could it affect you?
• 1:07:55
  SPEAKER_06: Could you hurt yourself if you slipped on it?
• 1:07:56
  SPEAKER_06: You probably don't need it on stage.
• 1:07:59
  SPEAKER_05: I don't think that that type of mind that approach is is happening.
• 1:08:03
  SPEAKER_05: I think it's like, well, this looks so cute.
• 1:08:05
  SPEAKER_05: I'm gonna wear it.
• 1:08:06
  SPEAKER_05: Oh my god, I love how this looks with my costume.
• 1:08:08
  SPEAKER_05: But every time you've practiced it's fallen off.
• 1:08:10
  SPEAKER_05: And you know it's probably gonna fall off again when you get on stage, even if you've doubled, quadrupled, super glued it, like it doesn't matter because it becomes a safety hazard.
• 1:08:19
  SPEAKER_05: And that's that's the other aspect of littering the stage that I don't like because I just think about the fact that if there are dollar bills, if there is confetti, if there is feathers littered all over the stage, and whatever the reason within the choreography, now I'm just thinking about that you could probably slip the rest of the dance.
• 1:08:36
  SPEAKER_05: I'm afraid for your safety.
• 1:08:38
  SPEAKER_05: I'm not even aesthetically taking this visual in anymore.
• 1:08:41
  SPEAKER_05: I'm just like, please don't step on a feather, please don't twist your ankle, please don't do your front aerial and land on a dollar bill.
• 1:08:48
  SPEAKER_05: Like anything could happen.
• 1:08:50
  SPEAKER_05: And it makes me like cringe in my seat because I can't even enjoy the rest of the routine.
• 1:08:54
  SPEAKER_05: I know that sounds ridiculous, but as a judge who cares about safety, it's not because I never even thought about that type of a like perspective until I was a professional dancer on stage in a show that had nothing but confetti on the stage.
• 1:09:07
  SPEAKER_05: And I felt scared for my safety every time I danced.
• 1:09:11
  SPEAKER_05: So then when I see teachers putting young dancers, non-professionals, in those situations, it really concerns me.
• 1:09:17
  SPEAKER_05: So it's a safety hazard, plus it takes up time to clean up.
• 1:09:21
  SPEAKER_05: And are those two things really worth this vision of yours?
• 1:09:25
  SPEAKER_05: I don't know.
• 1:09:26
  SPEAKER_05: I don't think it's that worth it.
• 1:09:27
  SPEAKER_05: Like you said, Ashley, most of the time it'd be the same dance with or without the vision of the literature.
• 1:09:32
  SPEAKER_06: 100% almost always.
• 1:09:34
  SPEAKER_00: It's just like props too.
• 1:09:36
  SPEAKER_00: Like we were saying, if you can't do this dance without a prop, then what are we doing?
• 1:09:39
  SPEAKER_00: If you can't do this dance in a black leotard or, you know, a black tank and some black shorts or whatever it may be, then what are we doing?
• 1:09:47
  SPEAKER_05: Oh, we went there, y'all.
• 1:09:51
  SPEAKER_05: We did, we did, but you know, and and you know what?
• 1:09:55
  SPEAKER_05: I think the important part about going here is like, yes, we are dance educators, and yes, we are we've also been judges, but we're talking about the backstage this time.
• 1:10:04
  SPEAKER_05: So, like the backstage also has a whole show back there.
• 1:10:07
  SPEAKER_01: Yes, it's a whole show behind the scenes, you know, that you don't even see.
• 1:10:12
  SPEAKER_01: And I want to ask a fun question before we finish.
• 1:10:14
  SPEAKER_01: Um, what's your favorite part of being a backstage manager?
• 1:10:17
  SPEAKER_01: Because again, it's a very different experience being back there than it is in the front of the house.
• 1:10:23
  SPEAKER_01: Yeah.
• 1:10:24
  SPEAKER_06: For me, I think it's getting to know the kids and their personalities, you know, seeing them throughout the weekend.
• 1:10:30
  SPEAKER_06: You know, there's not a lot of time for conversations, but just seeing how they interact as dancers backstage and getting to know them.
• 1:10:38
  SPEAKER_06: I love when they walk off stage and they know that they nailed it, that like instant joy that they have, you know, that feeling, you know, just that feeling.
• 1:10:46
  SPEAKER_06: I think that's my favorite part.
• 1:10:47
  SPEAKER_06: And then also just seeing all the moving parts, right?
• 1:10:51
  SPEAKER_06: Because we always are out in the front and there's a lot of moving parts in comp, but the backstage is where the real magic happens and not just with the dancers, you know, with all the moving parts.
• 1:11:01
  SPEAKER_06: I know I've said that a couple of times, but it's really just this coordination.
• 1:11:05
  SPEAKER_06: Yeah, I love getting to know the dancers, I love to see them throughout.
• 1:11:08
  SPEAKER_06: And there is something special about being in the wings and seeing something from that perspective of dances that aren't your own.
• 1:11:15
  SPEAKER_06: It's very different than you know, sitting in the front, critiquing, taking it in that way.
• 1:11:20
  SPEAKER_06: Yeah.
• 1:11:21
  SPEAKER_00: So when I was uh teaching, every single dance year, I would start my classes, all of them, and say the same three things.
• 1:11:30
  SPEAKER_00: I want you to work hard, I want you to be kind towards others, and I want you to have fun.
• 1:11:35
  SPEAKER_00: That's kind of my three rules that I keep backstage.
• 1:11:38
  SPEAKER_00: So I want you obviously to work hard, and that is you going on stage and showing how hard you've worked, being backstage, being polite to other dancers, interacting with other dancers.
• 1:11:47
  SPEAKER_00: Hey, nice to meet you.
• 1:11:48
  SPEAKER_00: You're dancing with other studios.
• 1:11:49
  SPEAKER_00: Oh my gosh, I loved your dance or whatever it may be.
• 1:11:52
  SPEAKER_00: But then also have fun.
• 1:11:54
  SPEAKER_00: Like me being back there.
• 1:11:55
  SPEAKER_00: I used to love when the kids would be like, Oh, do you know that little TikTok dance?
• 1:11:58
  SPEAKER_00: And I'm like, I don't even TikTok, but teach me your little dance.
• 1:12:01
  SPEAKER_00: Like, let's have fun because I want you to feel safe, safe with me backstage.
• 1:12:06
  SPEAKER_00: I want your treat, your teacher, your studio owners to be able to say, okay, Mr.
• 1:12:10
  SPEAKER_00: Jordan's back there.
• 1:12:11
  SPEAKER_00: I trust that he's got my kids.
• 1:12:13
  SPEAKER_00: So I want it to be a non-judgment zone.
• 1:12:15
  SPEAKER_00: I want it to be a safe space because that's what we all want, right?
• 1:12:18
  SPEAKER_00: We all want to come into a space and share our talent, share our artistry, and not feel like someone's, you know, over there like whispering to their friend about you or whatever it may be.
• 1:12:28
  SPEAKER_00: We want to just be like, hey, this was a great time.
• 1:12:30
  SPEAKER_00: Dance is about community.
• 1:12:31
  SPEAKER_00: Let's meet other dancers, let's engage with each other, let's maybe even take something from each other.
• 1:12:36
  SPEAKER_06: Yeah.
• 1:12:36
  SPEAKER_06: Oh, I love that.
• 1:12:37
  SPEAKER_06: The other thing I was gonna say, kind of going off of that with like dancing with you and having fun, is the the judges, they're there's a wall there, right?
• 1:12:45
  SPEAKER_06: They're they're inaccessible and they should be, right?
• 1:12:48
  SPEAKER_06: You're not hanging out with them, talking with them because there's a separation, but they look up to you.
• 1:12:53
  SPEAKER_06: So you're kind of like a celebrity because you're part of the competition, but you get to engage with them in a way that you wouldn't as a judge, right?
• 1:13:01
  SPEAKER_06: Because you have to keep that lineup.
• 1:13:02
  SPEAKER_06: So it's really fun to make that connection with the dancers, especially if they're coming back.
• 1:13:06
  SPEAKER_06: Oh, I had so much fun with Mr.
• 1:13:08
  SPEAKER_06: Jordan backstage.
• 1:13:08
  SPEAKER_06: You know, I can't wait to show him my new solo this year.
• 1:13:12
  SPEAKER_06: You know, that that connection is really special that you you connect with the dancers in a different way when you're a judge, but there's that like really tangible in-person connection that you get to have and create those, you know, relationships.
• 1:13:26
  SPEAKER_06: It's true.
• 1:13:26
  SPEAKER_00: And I think it even carries over to choreographers and teachers too.
• 1:13:30
  SPEAKER_00: Like you get to, oh my gosh, I love your work.
• 1:13:33
  SPEAKER_00: I love how you, you know, like I never would have thought to do something like that to this.
• 1:13:36
  SPEAKER_00: Like, so this is very cool being able to interact with you backstage and get to know you on a personal level because it's just gonna make everything, like you said, more accessible, more comfortable.
• 1:13:47
  SPEAKER_05: Yeah, I love that question.
• 1:13:48
  SPEAKER_05: What a great question to round out this fantastic discussion, Leslie.
• 1:13:52
  SPEAKER_05: So thank you for that.
• 1:13:53
  SPEAKER_05: And of course, thank you for our two special guests, Jordan and Ashley, for joining us on this episode.
• 1:13:59
  SPEAKER_05: This was so helpful and informative.
• 1:14:01
  SPEAKER_05: I think that people are going to love it.
• 1:14:03
  SPEAKER_05: Everyone needs to listen to it before they head to competition.
• 1:14:05
  SPEAKER_05: Share it with your dancers, share it with your studio, share it with your teachers because this is a really important chat.
• 1:14:11
  SPEAKER_05: And it's just really getting dancers prepared for the season.
• 1:14:14
  SPEAKER_05: This is launching at the top of the season.
• 1:14:16
  SPEAKER_05: So, all of these tips and tricks that we talked about today, we want to see implemented from your backstage managers, from the staff at the competition, from the directors at the event, across the board from all studios.
• 1:14:28
  SPEAKER_05: So share away, everybody.
• 1:14:30
  SPEAKER_05: Happy competition season.
• 1:14:32
  SPEAKER_05: And for our guests, we always have y'all lead us out with one final thought on the topics.
• 1:14:37
  SPEAKER_05: You can talk to whoever you'd like out there when it comes to what your backstage managers looking for in studios, dancers at competition this season.
• 1:14:46
  SPEAKER_06: Oh, so for me, I think I was just talking about awareness, kind of situational awareness and manners, etiquette.
• 1:14:55
  SPEAKER_06: Um, it's so easy to get lost in your own, you know, journey.
• 1:15:00
  SPEAKER_06: It's just me at this competition with my studio.
• 1:15:03
  SPEAKER_06: But kind of what we've touched on in the episode, it's about community and creating these relationships.
• 1:15:08
  SPEAKER_06: That's a big part of the competition world.
• 1:15:11
  SPEAKER_06: And a big part of that is being considerate of your other dancers and fellow teachers and studio directors.
• 1:15:19
  SPEAKER_06: And I say to studio directors and studio owners, rehearse your kids, their backstage etiquette, everything, top to bottom, their makeup, their transitions, their quick changes, how they act backstage.
• 1:15:32
  SPEAKER_06: Give that much, uh, give that as much time in rehearsal as you do the dances on stage because it's just as important kind of through this whole episode, talking about everything that goes back on stage.
• 1:15:42
  SPEAKER_06: Because someone might be fabulous and gorgeous on stage, but just clueless backstage.
• 1:15:47
  SPEAKER_06: So really, really run that backstage, you know, top to bottom, go over scenarios that could happen, help them be calm so that they can just enjoy the experience more.
• 1:15:57
  SPEAKER_00: And I actually have, so I'm like writing quick little notes because I'm like, yes, I want to say this and I want to say this, and I want to keep it brief.
• 1:16:04
  SPEAKER_00: But I like my comments are very similar to yours, Ashley, in the fact that I have written down, I wrote, I want uh studio owners and teachers and choreographers to definitely hone in on this theater etiquette that we've been talking about for the past hour because it is so important.
• 1:16:20
  SPEAKER_00: But then also, you know, there should be a level of trust that's put in us by these parents that we are gonna uh teach their kids life lessons and we take that responsibility very seriously.
• 1:16:33
  SPEAKER_00: So, like trust that they need to know, you know, the independence, the empowerment, they need to know timeliness, they need to know all of these skills.
• 1:16:42
  SPEAKER_00: While they, I don't even want to say soft skills.
• 1:16:44
  SPEAKER_00: These aren't soft skills, these are like major skills in life.
• 1:16:47
  SPEAKER_00: And so it's like make sure that we're doing our part as educators to give them a well-rounded education of dance.
• 1:16:55
  SPEAKER_00: But then also to dancers and everyone involved with the competition.
• 1:17:00
  SPEAKER_00: Let's not forget why we do this.
• 1:17:02
  SPEAKER_00: We do this because we love it.
• 1:17:04
  SPEAKER_00: So, that being said, show that love when you're on stage.
• 1:17:08
  SPEAKER_00: Share that love when you're backstage, and feel that love when you're creating this community.
• 1:17:15
  SPEAKER_05: Thanks for tuning in to our episode all about backstage at competition.
• 1:17:19
  SPEAKER_05: Be sure to follow our guests on social media.
• 1:17:22
  SPEAKER_05: You can find Ashley at Ashley Peter and White Seed and Jordan at JordanP.
• 1:17:28
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• 1:17:41
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• 1:17:49
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• 1:17:56
  SPEAKER_05: Be sure to check out IVA affiliated competition Access Dance Competition, where Linda Diamond's years of experience brings you the vitality of a new beginning.
• 1:18:06
  SPEAKER_05: Teachers, studio owners, dancers, and parents have shared what they want in a dance competition.
• 1:18:11
  SPEAKER_05: And Access is here to deliver.
• 1:18:14
  SPEAKER_05: This innovative yet traditional event promises to be a combination of fun, professionalism, and passion.
• 1:18:20
  SPEAKER_05: Their goal is that each dancer leaves with a smile on their face and the incentive to be the best they can be.
• 1:18:26
  SPEAKER_05: Their 2024 season is going to be their best season yet.
• 1:18:30
  SPEAKER_05: Full panels of IDA judges are used at every Axis event to offer constructive, quality feedback and scoring.
• 1:18:37
  SPEAKER_05: To learn more about Axis Dance Competition and to register for an upcoming event, head to their website now at AccessDance Competition.com.
• 1:18:46
  SPEAKER_01: Coming up the next few weeks, look forward to episodes including homeschooling and dance, perfecting the pirouette, and minis who peek too early.
• 1:18:56
  SPEAKER_05: Thanks for tuning in.