Latest / Making The Impact - A Dance Competition Podcast / Q&A With Courtney LIVE! - October Edition

Transcript

Q&A With Courtney LIVE! - October Edition · Making The Impact - A Dance Competition Podcast

• 0:07
  SPEAKER_04: Welcome to QA with Courtney, episode live on Facebook.
• 0:13
  SPEAKER_04: Thanks for all of our friends for hopefully tuning in.
• 0:16
  SPEAKER_04: I hope that there's some friends that are here with us, some IDA followers and podcast listeners.
• 0:23
  SPEAKER_04: Because if you didn't know, this is actually a live podcast recording that we're doing today, which is really exciting.
• 0:31
  SPEAKER_04: So we're excited to bring this like interactive experience to you all.
• 0:36
  SPEAKER_04: Oh, hey, mom.
• 0:38
  SPEAKER_04: My mom says hi.
• 0:39
  SPEAKER_04: She's always the first one that just pops in and says hi.
• 0:41
  SPEAKER_04: Gotta love it, mom.
• 0:43
  SPEAKER_04: Hi.
• 0:44
  SPEAKER_04: And if you, if for any of our viewers that are tuning in and joining us for this live episode, if you want to say hi, feel free to write in the comments and let us know.
• 0:53
  SPEAKER_04: And I'd love to say hi to you.
• 0:54
  SPEAKER_04: And uh, we're really excited to be adding this element into the podcast this season.
• 1:02
  SPEAKER_04: It's something new that we are incorporating, and we kind of brought it to life last year in season one.
• 1:09
  SPEAKER_04: At the end of our season, we had a Q ⁇ A with Courtney live with Courtney and Leslie.
• 1:14
  SPEAKER_04: So that was really fun.
• 1:15
  SPEAKER_04: And um, this time we have a special guest joining us who I'll introduce and welcome to the podcast very shortly.
• 1:23
  SPEAKER_04: Finally, I just want to give a quick little update about one of our newest sponsors, who is an organization that is very near and dear to my heart, and it is called the National Young Arts Foundation.
• 1:38
  SPEAKER_04: So if you've never heard of it, I'll give you a little bit of history about what it is and why it means so much to me.
• 1:44
  SPEAKER_04: But when I was a high school senior, I knew I wanted to dance post-high school graduation, but I also knew I needed scholarships to help with college.
• 1:52
  SPEAKER_04: And my mom actually was hunting for scholarships and discovered this program online.
• 1:56
  SPEAKER_04: And we applied, we had to make an audition video, and we sent in my application.
• 2:01
  SPEAKER_04: And at that time, I really didn't know much or anything about young arts.
• 2:06
  SPEAKER_04: So then I found out that I actually was a young arts winner in dance, which was really exciting.
• 2:11
  SPEAKER_04: I couldn't believe it, but I also didn't really know what that meant.
• 2:14
  SPEAKER_04: And come to find out, I was offered an all-expense paid trip to Miami to participate and compete in Young Arts Week, which was the highlight of my senior year in high school.
• 2:24
  SPEAKER_04: So that experience was just so eye-opening for me.
• 2:27
  SPEAKER_04: It was something I could have never dreamed of.
• 2:29
  SPEAKER_04: I really was able to meet so many other artists just like myself in so many other disciplines outside of just dance, because this program features playwrights, directors, musical theater performers, visual artists, songwriters, you know, you name it, whatever artist you are, you could win scholarships and enjoy this experience at Young Arts Week as a winner just by applying.
• 2:55
  SPEAKER_04: So it was truly eye-opening to me because we sometimes as dancers, we kind of get stuck and trapped in our dance bubble.
• 3:01
  SPEAKER_04: You know, you go to the studio all the time, you go to competitions, you don't realize how much other art is out there.
• 3:06
  SPEAKER_04: So it was really, really a wonderful experience.
• 3:08
  SPEAKER_04: And I couldn't, I couldn't be more grateful for that opportunity.
• 3:11
  SPEAKER_04: And Young Arts actually really opened a lot of doors for me, breaking into the in industry.
• 3:17
  SPEAKER_04: A crazy one that I always I will never forget this, but Young Arts actually got me into a professional Broadway audition.
• 3:25
  SPEAKER_04: And my very first one, I'm 18 years old and I'm in high school, and I'm going to an audition in New York City, and it was for moving out.
• 3:32
  SPEAKER_04: Oh my gosh.
• 3:33
  SPEAKER_04: And Twila was in the room.
• 3:36
  SPEAKER_04: Oh my gosh.
• 3:37
  SPEAKER_04: And I obviously got cut right away.
• 3:40
  SPEAKER_04: So that's okay.
• 3:42
  SPEAKER_04: I didn't expect to get far, but I mean, I wouldn't have had that opportunity if it wasn't for them.
• 3:46
  SPEAKER_04: And I'll I'll never forget that.
• 3:48
  SPEAKER_04: So I would love, as an alumni, I would love to share this opportunity and inform you about this wonderful organization that is out there.
• 3:56
  SPEAKER_04: So if you are a high school, if you're in high school and you're between the ages of 15 and 18 or in grades 10 to 12, you can now submit to be considered for as a young arts winner.
• 4:10
  SPEAKER_04: Their national arts competition for 2021 is now accepting applications, and you only have about two weeks left to apply and enter into their into their competition event.
• 4:22
  SPEAKER_04: And what you can win with this is mentorship opportunities with professionals.
• 4:26
  SPEAKER_04: You'll have the opportunity to win scholarship money to use however you would like to use it, whether you're going to school or pursuing your professional career, and you even have potential to be nominated as a presidential scholar in the arts.
• 4:38
  SPEAKER_04: So that's some really exciting stuff.
• 4:39
  SPEAKER_04: I would love for any of the dancers listening or any of the parents watching to definitely go check it out.
• 4:44
  SPEAKER_04: Head over to youngarts.org and check out their amazing organization.
• 4:50
  SPEAKER_04: Deadline to apply is October 16th.
• 4:52
  SPEAKER_04: And I know that they would love to see even more dance emissions.
• 4:56
  SPEAKER_04: And of course, if there's other, if you have other specialties in the arts forum, any art style is accepted.
• 5:01
  SPEAKER_04: So definitely go check that out.
• 5:02
  SPEAKER_04: Learn more now at youngarts.org and apply before October 16th.
• 5:07
  SPEAKER_04: Thanks so much to Young Arts for sponsoring this episode.
• 5:10
  SPEAKER_04: Yay! All right, so now that we got this whole intro over, it is finally time to meet our very special guest who is joining us today.
• 5:21
  SPEAKER_04: I'm so excited to have her.
• 5:23
  SPEAKER_04: She is an IDA judge and a very close friend of mine.
• 5:25
  SPEAKER_04: She's been on the roster since the very start of IDA and always been a supporter.
• 5:30
  SPEAKER_04: And uh we actually met doing a show together that went international and we got to perform in Madrid, Spain together.
• 5:37
  SPEAKER_04: How exciting! But since then, that was a long time ago.
• 5:40
  SPEAKER_04: Since then, she's currently a professional dancer and choreographer residing in New York City.
• 5:46
  SPEAKER_04: And she's performed in the national tours of Joseph and the Amazing Technicolor Dreamcoat and Finding Neverland.
• 5:52
  SPEAKER_04: And you may remember her from last season on episode 11 in season one, taking critical feedback from your judges.
• 5:58
  SPEAKER_04: So if you know how I'm talking about, I'd love to welcome the always amazing and fabulous Christina Balinski to the pod.
• 6:09
  SPEAKER_04: Woo! So happy to have you on board, Christina.
• 6:12
  SPEAKER_04: Thank you.
• 6:13
  SPEAKER_01: Oh my god.
• 6:14
  SPEAKER_01: This is the best.
• 6:15
  SPEAKER_01: I'm so excited to be here.
• 6:16
  SPEAKER_04: And the other thing that you do that, you know, I kind of gave a little rundown of your amazing career, but another thing is that you're a newfound woman-owned business owner.
• 6:26
  SPEAKER_04: Entrepreneur and the game girl.
• 6:29
  SPEAKER_04: Tell the viewers and the listeners a little bit about Artists in Motion and how that came about, and you know, more all about the this beautiful project you've created.
• 6:37
  SPEAKER_01: Yes.
• 6:38
  SPEAKER_01: Yes.
• 6:38
  SPEAKER_01: So Artists in Motion is an upcycled hand-screen printed clothing brand.
• 6:45
  SPEAKER_01: It is all featuring dance graphic art, dance graphics drawn and designed by me.
• 6:51
  SPEAKER_01: Yes, there's another one Courtney has.
• 6:53
  SPEAKER_01: I call that one the Courtney because that one was designed for Courtney.
• 6:59
  SPEAKER_01: It's the best.
• 7:00
  SPEAKER_01: So yeah, everything is upcycled.
• 7:03
  SPEAKER_01: Um, the big thing with Artists in Motion is to promote sustainability, creativity, and community all throughout uh this clothing brand.
• 7:12
  SPEAKER_01: Every piece is one of a kind.
• 7:14
  SPEAKER_01: They're all hand selected, all hand screen printed.
• 7:17
  SPEAKER_01: Every part of the process is done by hand by me.
• 7:20
  SPEAKER_01: It is studio to streetwear.
• 7:21
  SPEAKER_01: So it is meant to take you from the dance studio into the real world.
• 7:25
  SPEAKER_01: And it's an opportunity for us as dancers to get to show what kind of artists we are.
• 7:30
  SPEAKER_01: I feel like we don't have enough that we can go out in the world and be like, I'm a dancer.
• 7:34
  SPEAKER_01: And especially now with everything with the pandemic.
• 7:37
  SPEAKER_01: It's just like I have so much more pride about the fact that I'm a dancer and that I've dedicated my life to this.
• 7:42
  SPEAKER_01: And I think that this brand is a great opportunity for dancers to be able to do that.
• 7:47
  SPEAKER_01: Also, um, a big part of it too is that I really want to make sure that our clothing is recycled.
• 7:53
  SPEAKER_01: I feel like us as a society, we've really gotten into that mass production and um over-consuming.
• 7:59
  SPEAKER_01: And I want dancers and artists, you know, we're always leaders in the world and industry.
• 8:05
  SPEAKER_01: And I really want us to think about what we're consuming.
• 8:09
  SPEAKER_01: And so that's why everything is upcycled.
• 8:12
  SPEAKER_01: Every single piece is secondhand, new to you, and I get to bring life to pieces of clothing that might otherwise go to waste.
• 8:20
  SPEAKER_01: Only 16% of all textiles are recycled.
• 8:24
  SPEAKER_01: So I'm just trying to do my little piece in order for us to make that a change and to let people start kind of becoming a little bit more conscious of how they're consuming.
• 8:34
  SPEAKER_01: And then also the great thing about artists in motion is that we're inspiring community and creativity.
• 8:40
  SPEAKER_01: I'm so big on being your showing your own voice and creating your own voice within the dance world and really taking ownership of your artistry.
• 8:49
  SPEAKER_01: And so through the Artist in Motion Apparel Instagram, on that page, it's truly incredible to see the art that dancers are creating while wearing their artist in motion apparel.
• 9:02
  SPEAKER_01: I like to think of it as like our own little Superman Kate that just inspires someone to re-exactly to inspire someone to just take a chance and you know play, be creative and find out and discover who you are as an artist and as a choreographer and as a creative.
• 9:19
  SPEAKER_01: So yeah, that's kind of the the nutshell of artists emotion apparel.
• 9:24
  SPEAKER_01: And it's really a dream come true.
• 9:26
  SPEAKER_01: I've on tour and traveling, I've just always loved hitting the thrift shops, it was like my first thing that I would do, or finding where all the cool vintage stores were.
• 9:35
  SPEAKER_01: On tour was my favorite thing, and I was like, gosh, I wish I could connect dance and this passion of mine and bring them together.
• 9:41
  SPEAKER_01: And finally I've gotten to do that.
• 9:44
  SPEAKER_01: So it's something that's really near and dear to me, and it's all made with love.
• 9:47
  SPEAKER_01: It's all handmade and um very personal.
• 9:50
  SPEAKER_02: Yay!
• 9:51
  SPEAKER_01: Yeah.
• 9:51
  SPEAKER_04: Oh my gosh, that I'm I'm so glad that you shared with the world a little bit more about artists and motion because and even at the end, how you how you said that like while you're on tour and you would go thrifting, and you know, that's how I remember you when I first met you, and we were like on the tour bus with the aluminum show, and you're crafting away.
• 10:10
  SPEAKER_04: You had a whole craft kit, I did on the tour bus with you.
• 10:15
  SPEAKER_04: And I was like, Oh, I love how crafty this girl is, and like super trendy all the time, and then to just kind of see this like beautiful project come together and like your two loves of you know, upcycle with meets like being a designer and then making this handmade and customized, it's just it's really awesome and it's really exciting because it's everything's so unique.
• 10:36
  SPEAKER_04: So every time you post something on Instagram, I'm like, oh, what's next?
• 10:39
  SPEAKER_04: What you know, what style of shirt or you know design is this going to be?
• 10:42
  SPEAKER_04: Because it's always different.
• 10:43
  SPEAKER_04: So it's really fun.
• 10:46
  SPEAKER_04: Um, so all of the listeners and the viewers, if you are interested in seeing what how fabulous uh Artist in Motion Apparel is, then head over to follow them now on Instagram at Artist in Motion Apparel.
• 10:58
  SPEAKER_04: And yeah, then you can even purchase some of their awesome goods there.
• 11:02
  SPEAKER_04: So check it out.
• 11:03
  SPEAKER_04: Let's jump into the episode.
• 11:05
  SPEAKER_04: QA time.
• 11:06
  SPEAKER_04: It's time to answer some questions.
• 11:08
  SPEAKER_04: I would love to kick things off for our QA.
• 11:11
  SPEAKER_04: So if you are watching, you have a question prepped, send it in whenever you feel comfortable, and we would love to answer it for you.
• 11:20
  SPEAKER_04: So get those questions brewing.
• 11:21
  SPEAKER_04: It can honestly be about anything that you would like to have answered by us as professional dancers and performers, to being competition judges, to being dance educators and teachers.
• 11:32
  SPEAKER_04: We can help answer any question.
• 11:34
  SPEAKER_04: If you want to know, you know, what kind of costume you should wear for this, or if you want to know why your performance score is lower than your technique score.
• 11:42
  SPEAKER_04: If you want to know what it's like to transition from being a high school senior and what avenue to go and direction to go, whether it's college or professional dance, we can help guide you.
• 11:52
  SPEAKER_04: We're here to do that right now for the for this next 40 minutes or so.
• 11:56
  SPEAKER_04: So send in your questions now.
• 11:59
  SPEAKER_04: And I think that our first question that I'd like to kick off is actually going back to uh some previous submissions that we've had.
• 12:08
  SPEAKER_04: So if you aren't familiar, you can actually send in your questions year-round to us at for the podcast.
• 12:14
  SPEAKER_04: So there's a form you can fill out on our website, we'll include it in the show notes.
• 12:18
  SPEAKER_04: And if you want to have your question answered on an upcoming or future QA with Courtney episode, send it in now.
• 12:25
  SPEAKER_04: You can choose to remain anonymous, like I mentioned earlier, and we'll answer it.
• 12:29
  SPEAKER_04: So I'm going to pull a question from one of our previous submissions and this one just to kind of kick things off, and then hopefully we'll get some friends on Facebook to give us some more questions.
• 12:40
  SPEAKER_04: But this first question is coming from a danced parent in Virginia.
• 12:45
  SPEAKER_04: And they would like, like they said, solos.
• 12:48
  SPEAKER_04: If the time limit is two minutes and 45 seconds, are they expected to take the entire time by judges?
• 12:54
  SPEAKER_04: My daughter's teacher told her to cut her music to around a minute and 30 seconds, and that would be okay.
• 13:01
  SPEAKER_04: Just wondering if they're penalized for having a shorter solo or not, or using the entire time if they are allowed.
• 13:07
  SPEAKER_01: Ah, I love this question.
• 13:09
  SPEAKER_01: Okay, so the biggest thing about your music is the story.
• 13:16
  SPEAKER_01: Can you tell the story of your piece within X amount of time?
• 13:21
  SPEAKER_01: Now, if you can tell the story of your dance with a beginning, middle, uh peak, and an end within a minute and 30 seconds, then by all means, amazing.
• 13:33
  SPEAKER_01: But if it feels like that storyline has been cut short because of the cut in the music, then I would suggest adding a little bit more time.
• 13:41
  SPEAKER_01: Now, also, on the other hand, if you try to push it to the two minute and 45 seconds, sometimes at that point we end up losing your energy, the stamina, things might get a little less clear, you might lack the clarity.
• 13:55
  SPEAKER_01: So I really think it depends on where in the editing of the music can you find something that feels doable as far as the how long you can perform your solo with every bit of integrity as possible.
• 14:10
  SPEAKER_01: And also, can you finish that storyline?
• 14:13
  SPEAKER_01: Can you tell me a complete story, embody a character, and really give us that nice beginning, middle, and end, just like a short film or a movie or anything along those lines.
• 14:24
  SPEAKER_01: We need to make sure that we're really tapping into sharing something where we feel like we have learned something about this song or this character from the beginning to when the song ends.
• 14:36
  SPEAKER_01: And so that to me is really your guideline as far as how long that takes, it really doesn't matter.
• 14:42
  SPEAKER_01: It really depends on where in the song and in the choreography and in your energy that you can make all of those things happen.
• 14:49
  SPEAKER_01: As a choreographer myself, I've choreographed pieces that are under two minutes long, but it's just because the way that the song is set up that it feels right.
• 14:58
  SPEAKER_01: It feels like an appropriate moment.
• 15:00
  SPEAKER_01: But it is also hard sometimes when you're watching and you're judging a piece and you're in the middle of talking about it, and then you're like, oh, oh, that's that's the end.
• 15:09
  SPEAKER_01: So you just have to make sure that you always give a piece a proper ending if you're gonna go on the shorter end of the song.
• 15:16
  SPEAKER_04: Yeah, yeah, I agree.
• 15:17
  SPEAKER_04: And I actually, it's kind of exciting that this is one of our first questions because we actually just had a music at competition discussion on our one of our previous episodes.
• 15:28
  SPEAKER_04: Um, I don't want to quote the wrong episode number off the top of my head because I don't have it pulled up.
• 15:34
  SPEAKER_04: But it was about like two weeks ago.
• 15:35
  SPEAKER_04: So go check that out and listen to that one.
• 15:38
  SPEAKER_04: And we definitely talk about uh those types of things in in the music at competition discussion as far as length of I don't think we went too in depth with it, so I'm kind of glad we're talking about it now.
• 15:49
  SPEAKER_04: But I agree, Christina.
• 15:50
  SPEAKER_04: I mean, I think I did mention on that episode that there's so many times where a studio owner or a teacher, whoever choreographed the routine, just does like a fade out of the music at the very end.
• 16:00
  SPEAKER_04: Yes, he knows.
• 16:01
  SPEAKER_04: And I'm what's going on?
• 16:03
  SPEAKER_04: Like, even if it was a very short dance, I mean there have been short dances where I where I didn't want them to end yet, where I'm like, oh no, that was so great.
• 16:11
  SPEAKER_04: Like, what?
• 16:11
  SPEAKER_04: That was way too short.
• 16:12
  SPEAKER_04: Where did you go?
• 16:13
  SPEAKER_04: I've felt that before.
• 16:15
  SPEAKER_04: And then I felt like the the like abrupt fade out out of nowhere where it's just like, oh, they didn't feel like cutting the music and they just like fade out and walk off stage.
• 16:24
  SPEAKER_04: But you know, it it's kind of interesting because as much as we have these time limits on the the dances at competition, and especially for solos, less is always more.
• 16:35
  SPEAKER_04: And I don't know the age of this of this person that sent in the dance parent that sent this in, I don't know the age of your dancer.
• 16:43
  SPEAKER_04: So I think that would definitely make this a different scenario.
• 16:46
  SPEAKER_04: Because if the dancer was 15, you know, one a minute and a half is kind of short, but you know, I would say like two minutes would be better.
• 16:56
  SPEAKER_04: But if you're a six and under, or if you're seven or eight and you're giving me a minute and 30 second solo, I am more than happy because again, less is more.
• 17:05
  SPEAKER_04: You got to remember that they're only six years old.
• 17:07
  SPEAKER_04: They're only seven years old.
• 17:08
  SPEAKER_04: We have the time limits there, so we can kind of get an idea of how much time we need to allot as a competition when they're creating the schedule to know how much, you know, time to block off.
• 17:20
  SPEAKER_04: That does not mean you have to use the full time and you're not going to be penalized if you don't.
• 17:25
  SPEAKER_04: However, we just wanna, as judges, we just want to make sure that like you're getting everything across in the in your solo.
• 17:33
  SPEAKER_04: Yeah.
• 17:33
  SPEAKER_04: That feels like a cohesive dance, you know.
• 17:36
  SPEAKER_04: And it and again, sometimes if they're too long, like you said, you're gonna lose steam, you're gonna lose energy, your your technique's going to fall because you think that you need to match this time restraint that was given to you, and that's not true.
• 17:48
  SPEAKER_04: You can make it as shorter as long as you want, and as long as you're showing us like the best solo of your life, then that's all that matters.
• 17:56
  SPEAKER_01: Exactly.
• 17:56
  SPEAKER_01: Exactly.
• 17:57
  SPEAKER_01: Always, I think it's always better to err on the side of leaving them wanting more rather than tiring the audience, if that makes sense.
• 18:05
  SPEAKER_01: I don't know how to put it in a more polite way, but um, yeah, just making sure that it's like a burst of your presence on stage really taking our attention.
• 18:15
  SPEAKER_01: And I love that you mentioned that about the age.
• 18:17
  SPEAKER_01: I agree, especially when the dancers are younger, really taking down the time, I think, is smarter just because it lets them, as young performers, have the opportunity to feel really confident in the choreography that they're given.
• 18:30
  SPEAKER_01: So that when they're on stage, especially young men, they're just starting to get used to the spotlight and the energy and the nerves and all of that, that they can feel so confident and proud in that moment and that we're setting them up for success.
• 18:42
  SPEAKER_01: So, yes, age definitely plays into that, I would say.
• 18:45
  SPEAKER_04: Yeah.
• 18:46
  SPEAKER_04: I think in the end, you know, you don't have to have a long dance if you don't feel like that it's needed.
• 18:53
  SPEAKER_04: And you know what?
• 18:54
  SPEAKER_04: Now that we're talking about like length of dance, I'm gonna just throw this out there as well because I also feel like that people are not following those time restrictions these days.
• 19:06
  SPEAKER_04: And I'm not speaking about solos this time around, I'm actually more speaking about groups.
• 19:11
  SPEAKER_04: I feel like that there used to be a thing, competitions, certain ones, where they had like extended time.
• 19:16
  SPEAKER_04: Where it was to like pay a little bit more if you really wanted to dance to be extended for whatever, you know, maybe it was a little story that you had to get across, or maybe you you couldn't cut the music or whatever the reason was.
• 19:28
  SPEAKER_04: Right.
• 19:28
  SPEAKER_04: But group routine, if it was like supposed to be three minutes, three and a half minutes, and yours was four, then you would have you would typically not be penalized, but have to just kind of like, uh, here's a little, you know, you have to let us know that you're going over the time limit, and people don't do that anymore.
• 19:43
  SPEAKER_04: I think that people just submit whatever song length they feel like.
• 19:47
  SPEAKER_02: Yeah.
• 19:48
  SPEAKER_04: And I'm sitting there like looking at my watch, like, I've been watching this dance for five minutes long.
• 19:54
  SPEAKER_01: Exactly.
• 19:55
  SPEAKER_01: Yeah, I just think it all goes back to like really being smart about your music editing.
• 20:01
  SPEAKER_01: I feel like some people don't give enough thought or credit, maybe perhaps to their music editing process and how much that is an art form in and of itself or a competition.
• 20:12
  SPEAKER_01: And so just really like listening to the song and thinking of I do this personally, I kind of map when I first listen to a song when I'm choreographing, I'll somewhat map out in my mind, like, oh, I picture um some crossings in this part, or I picture everything breaks down into a duet and everybody else is stopped in slow motion.
• 20:32
  SPEAKER_01: And then kind of going through your mapping to then pick and choose what are necessary parts to move this story forward.
• 20:39
  SPEAKER_01: And again, it always goes back to the story, the energy, the characters that we're portraying, and just making sure that we're keeping what are the necessary bits that will keep that energy and stamina going for the audience to stay entertained because ultimately dance is a form of entertainment and we want to keep those audiences pulled in and just enjoying what they're watching and being able to sit back rather than you know watching the clock or you know, being like, Oh, wait, I thought we already saw this part of this production.
• 21:11
  SPEAKER_01: You know, you know what I mean.
• 21:12
  SPEAKER_01: Right.
• 21:12
  SPEAKER_01: But yeah, just being artful, really taking the time to put that into full consideration um as you're preparing your group dances or duets and solos, etc.
• 21:22
  SPEAKER_04: I hope that was helpful to our Dance Parent submission that previously reached out to us with that question.
• 21:28
  SPEAKER_04: And I can see on my end that there are some new viewers that have joined us since the start.
• 21:35
  SPEAKER_04: So if you are newly viewing, please shoot us a hi in the comments so we can enter you into the giveaway if you want to be eligible for a custom tote bag from Artist of Motion Apparel.
• 21:45
  SPEAKER_04: So definitely say hi to us, and we'd love to, you know, see who's joining us today.
• 21:50
  SPEAKER_04: And again, if you have any questions that you would like to have answered right now, send them over.
• 21:56
  SPEAKER_04: All right, so let's go into our next question.
• 21:58
  SPEAKER_04: This is actually coming from An anonymous dance teacher.
• 22:02
  SPEAKER_04: Their question is What happens when there is a judge on a panel whose scoring differs significantly from the other judges, or if there is an outright disagreement?
• 22:11
  SPEAKER_04: Trying to utilize feedback with dancers in that case can be difficult for a teacher.
• 22:16
  SPEAKER_01: Great question.
• 22:18
  SPEAKER_01: Great question.
• 22:19
  SPEAKER_01: Okay.
• 22:19
  SPEAKER_01: So my number one thing is that I sometimes feel like we forget that dance competitions are ultimately a showcase of an art form.
• 22:30
  SPEAKER_01: Dance is not the same as judging gymnastics or I imagine cheerleading.
• 22:36
  SPEAKER_01: I don't know too much about cheerleading, where it's a checks and you check things off, and if you do or ice skating, if you didn't, you get this.
• 22:43
  SPEAKER_01: If you didn't, you get that.
• 22:45
  SPEAKER_01: Dance is an art form.
• 22:46
  SPEAKER_01: Dance is a subjective to people's opinions.
• 22:49
  SPEAKER_01: And this is something that my mom used to say to me every time I would compete was the results of a dance competition are a different set of judges on a different day and a different performance of you.
• 22:59
  SPEAKER_01: So every time you step on that stage, you are ultimately a different you, right?
• 23:03
  SPEAKER_01: Because you're performing as the person that you are that given day.
• 23:07
  SPEAKER_01: Sometimes we have a bad day, sometimes we have a great day.
• 23:10
  SPEAKER_01: Same thing can happen with judges.
• 23:11
  SPEAKER_01: And the reason why I'm talking about this is because when we go out into the professional world, it's the exact same thing.
• 23:19
  SPEAKER_01: The people who are behind the table are a different set of judges, a different set of opinions, with different ideas of what they envision being the artist in their production.
• 23:30
  SPEAKER_01: And so ultimately, the judging and competition experience is the exact same thing that you get when you go out into the real world as an artist.
• 23:38
  SPEAKER_01: Now, my background in modern dance, in theater, in ballet, and some commercial work can produce a different idea and opinion than someone who perhaps has been training in LA and is strictly commercial, maybe doesn't have as much exposure to classical modern dance.
• 24:00
  SPEAKER_01: And say there's a piece that's a little bit more abstract.
• 24:03
  SPEAKER_01: Of course, my opinion is going to vary extremely from someone who might be a little bit more on the commercial side who might not be able to understand the full undertones.
• 24:13
  SPEAKER_01: No differently than if I were seeing a piece that is, you know, some very specified form of hip hop that I might not be fully aware of.
• 24:25
  SPEAKER_01: And perhaps they're technically not doing things that are uh exactly how they're supposed to be, but I'm just entertained.
• 24:31
  SPEAKER_01: So I'm like, yes, I love this piece.
• 24:34
  SPEAKER_01: These dancers have energy, but maybe there's something that I might be missing.
• 24:39
  SPEAKER_01: Versus if I see a gram piece, I'm going to be a tough on you because I really want you to learn and understand about gram technique.
• 24:48
  SPEAKER_01: So I think that that's something that we need to be honest about and we need to realize, and we need to stop putting pressure on every level of the competition experience and remembering and realizing that we are creating artists and performers, and we are allowing these dancers to learn and grow from what they are seeing, experiencing, who they are meeting, and their opportunity to perform and get some great feedback.
• 25:13
  SPEAKER_01: Now, I also, if the scores are varying, let's listen to those critiques.
• 25:18
  SPEAKER_01: Let's understand and learn why.
• 25:21
  SPEAKER_01: What is their the judge what is the judge saying to back up what they're to reflect what their score is?
• 25:27
  SPEAKER_01: I think that that's an important thing.
• 25:29
  SPEAKER_01: And to also look into your judge's experiences and remembering that their experiences are a part of the makeup of what makes their opinion their opinion, right?
• 25:40
  SPEAKER_01: So I think that in it, you just have to teach your your students that it is an opinion.
• 25:46
  SPEAKER_01: In the end, when it comes down to it, is opinion.
• 25:49
  SPEAKER_01: And as much as I try to keep, I have my own like rubric of how I score things in my mind, it's always going to be different from person to person.
• 25:58
  SPEAKER_01: There's no buy the book like you get in the Olympics in the dance world.
• 26:04
  SPEAKER_01: And it's the exact and there's no way to escape it because it's the exact same thing in the professional world.
• 26:11
  SPEAKER_01: So I think just taking the opportunity to show these scores and make it a learning experience for these dancers to realize, hey, sometimes you're gonna be a hit, sometimes you're not.
• 26:24
  SPEAKER_01: It's no different than liking a certain flavor of ice cream or like or preferring a certain style of music.
• 26:29
  SPEAKER_01: Nothing's wrong, and neither of them are wrong, but just using it as an opportunity to grow and to kind of get a better an idea and understanding of the performing arts experience.
• 26:41
  SPEAKER_04: Yeah.
• 26:41
  SPEAKER_04: Yeah, I mean, I couldn't agree more.
• 26:43
  SPEAKER_04: And I think that's that's so important to remember.
• 26:46
  SPEAKER_04: I think that sometimes we get so wrapped up in in the competitive experience, and of course, our judges' critiques are so important to a lot of teachers, and I'm so happy that they are because there are some of us that go to competition to win and don't care about the judge's critiques and don't listen to them.
• 27:03
  SPEAKER_04: But you you really are paying for yes, the experience on stage, getting in your costumes, learning what a performance is like, but then there's that other element of there's going to be three people who are scoring and critiquing you and pri providing you feedback as they are professional experienced educators in the industry, hopefully.
• 27:21
  SPEAKER_04: So, you know, you want to you want to make sure that they are another thing because that's why we created IDA to make sure that we have the best of the best judges on their behind the panels and providing that solid feedback.
• 27:33
  SPEAKER_04: But, you know, some people you I think that you also have to just kind of like take certain critiques with a grain of salt.
• 27:39
  SPEAKER_04: I there have been so many times where I've I've heard teachers kind of like tell me after an event, and not I don't think this was relating to an IDA judge, but I'm just saying like in general that like you get to know the judge throughout like your critiques.
• 27:53
  SPEAKER_04: You kind of get to know where their strengths are, where their weaknesses are.
• 27:56
  SPEAKER_04: And again, you can't it's extremely hard as judges, if there are any judges watching or listening, and if there are any, you know, dance educators that are interested in becoming a judge, it is an extremely hard job because we are expected to know every single thing possible.
• 28:11
  SPEAKER_04: As we are always learning and growing as dance educators and teachers and choreographers, you know, there's there might be a style thrown in there that is just not our specialty.
• 28:20
  SPEAKER_04: And we're going to do our best to to view it from a different angle and view it from a different eye than maybe you're used to.
• 28:27
  SPEAKER_04: And I think that the great thing about doing that, our judges are always able to find other ways to critique this dance using their strengths and using their experience and their training background.
• 28:39
  SPEAKER_04: So, you know, it's I feel like tap and hip-hop are usually like those styles that usually don't really get the like a full panel of judges that are cohesive and in agreement because one that specializes in hip-hop and the other two are kind of like, I'm an intermediate hip hopper, like I'm gonna try to give the best critiques I can.
• 28:59
  SPEAKER_04: But maybe they're focusing on different elements, maybe they're focusing on the performance aspect, or maybe they're focusing on the precision of it and their upper body instead of their lower patch.
• 29:08
  SPEAKER_01: Or musicality and style.
• 29:09
  SPEAKER_01: Like there's always so many things for us to focus on.
• 29:13
  SPEAKER_01: But you're right, yeah, we're always looking for something to contribute because there are so many things within the dance arts that we can contribute opinions to.
• 29:23
  SPEAKER_01: But, you know, with that, I might be focusing on your energy, your musicality, how you're phrasing your music movement, whereas somebody else, if they're watching hip-hop, they might really be hard on you about your technicality of it and that in a way that I might not be able to see or understand, you know, fully articulate, I guess.
• 29:42
  SPEAKER_04: Yeah, and I know for a fact that there have been many times where I might have been blown away by a particular dance or dancer, and I maybe have I thought that they were the best thing we've seen all day.
• 29:53
  SPEAKER_04: I thought their technique was fabulous.
• 29:55
  SPEAKER_04: Like they chucked off all the boxes for me and I scored them really high.
• 29:58
  SPEAKER_04: And then maybe I would talk to a judge after the event is over, and that was on the panel with me, and they were like, oh my gosh, I didn't I can't believe you liked that dance.
• 30:07
  SPEAKER_04: Like, I didn't see the same thing.
• 30:08
  SPEAKER_04: I mean, this was wrong and this was wrong and this was wrong in whatever you know way that they look at it.
• 30:12
  SPEAKER_04: And it's it's so interesting because again, it's just an opinion, it's just a perspective.
• 30:17
  SPEAKER_04: You don't know what judging panel you're going to get at when you go to an event.
• 30:21
  SPEAKER_04: So if if there are conflicting critiques once you sit down and listen to it, I think that you just gotta take it with a grain of salt sometimes because, you know, like if if they if they said, Oh, your shanet turns were beautiful, like so clean, so together, and then the other judge is like, oh, watch those channay turns, make sure that we're all consistent and we're rotating at the same time.
• 30:40
  SPEAKER_04: Like, you know, there that's a varying opinion, and maybe what we need to do is go to that section in rehearsal and check it out, and then you as a teacher make the decision as to what needs to be adjusted and who was right in that in that perspective with the judge.
• 30:52
  SPEAKER_04: The judges aren't always gonna be right.
• 30:54
  SPEAKER_04: You also have to remember that like we're watching things like crazy for hours on end and we're trying to get out as much as we can very quickly in a in a three-minute routine.
• 31:03
  SPEAKER_04: So, you know, if there is a conflicting, if there's a conflicting critique like that, it's like, you know, it's it's hit or miss sometimes.
• 31:10
  SPEAKER_04: Go check it out, look at it for yourself as a teacher, and then decide how you wanna, you know, adjust or correct it if that's even needed.
• 31:17
  SPEAKER_01: Yeah, I just always think that there's a way out of every single situation to make a a lesson out of it for the students to also just, you know, be aware at the competitions, pay attention, absorb all that you're seeing and that you're taking in.
• 31:34
  SPEAKER_01: I just think that that's really important.
• 31:35
  SPEAKER_04: Yeah, I agree.
• 31:36
  SPEAKER_04: So yeah, I think that kind of sums up that that question, and hopefully to our anonymous dance teacher that is listening, that helps kind of clarify.
• 31:45
  SPEAKER_04: And I think that that is definitely a confuse a confusing thing to hear when you sit back and listen to your judges' critiques to kind of understand if everyone's on the same page or not, and how to approach this with your students.
• 31:56
  SPEAKER_04: So I I completely understand that that question.
• 31:58
  SPEAKER_04: So thanks for sending that in to our anonymous dance teacher.
• 32:02
  SPEAKER_04: Let's check out this question from our viewer.
• 32:06
  SPEAKER_04: This is from Jeff Shaw.
• 32:08
  SPEAKER_04: And it says, What would you recommend a young performer do to broaden their earning opportunities outside or in between their performance contracts?
• 32:18
  SPEAKER_04: Shout out to New Hampshire native Christina Balinski.
• 32:21
  SPEAKER_04: Hey! I love that New Hampshire Pride.
• 32:26
  SPEAKER_01: I love that question.
• 32:28
  SPEAKER_01: Okay, so a young performer, that is tough, I would say, for young.
• 32:34
  SPEAKER_01: When you're getting older, I think having as many skills as possible and always keeping within the performing arts world.
• 32:45
  SPEAKER_01: So for me, I think things like getting involved.
• 32:49
  SPEAKER_01: I mean, obviously getting involved in competitions, that is the best thing for me because I feel like I'm constantly contributing to the dance art form within that.
• 32:59
  SPEAKER_01: I think also, you know, finding your voice as a creative, there's nothing better than exploring.
• 33:07
  SPEAKER_01: There's never an age too early to explore choreography, to explore photography.
• 33:14
  SPEAKER_01: Being a dance photographer is wonderful, especially as a dancer, because then you can really capture those moments.
• 33:21
  SPEAKER_01: Also will keep you connected within your dance community.
• 33:24
  SPEAKER_01: Film, getting involved with film, voiceovers, recordings, anything that has to do with the performing arts.
• 33:31
  SPEAKER_01: Even if you got involved as an intern at a radio show and learning about broadcasting, I'm sure there's a way in the future that that can help you propel yourself as well as a dancer.
• 33:42
  SPEAKER_01: So always thinking about kind of picking up these um extra little nuggets and skills that can propel you and push you farther that might give you an edge on when you are pursuing a performance career.
• 33:56
  SPEAKER_01: Also, even management, agencies, promotion, commercial, understanding how um broadcasting and commercials work, anything along those lines, really trying to get involved in what is around you locally too.
• 34:10
  SPEAKER_01: I think that's a big point, is starting off when you're young, taking advantage of what you can that's around you.
• 34:16
  SPEAKER_01: And that you would be surprised how much as you get older and you propel yourself farther into your career and really broaden your location and who your community is, you'd be surprised at how much your home community can really help support you.
• 34:30
  SPEAKER_01: I found that myself, as well as being a New Hampshire native, that anytime that I go home, I'm so lucky to have such a great supportive system because I made it known in that area when I was young what I was doing.
• 34:44
  SPEAKER_01: And I think that that's a big thing that we forget to do sometimes as performers is to let people know what we want, let people know what we're pursuing so that when a light bulb moment goes off for them where they're like, I need a choreographer for a flash mom.
• 34:59
  SPEAKER_01: This entertainment company needs someone locally that they need to use a choreographer.
• 35:05
  SPEAKER_01: People will think of you.
• 35:07
  SPEAKER_01: And I think that that's something that maybe young people don't do enough yet.
• 35:12
  SPEAKER_01: They don't know yet to take ownership of their artistry or who they are yet.
• 35:17
  SPEAKER_01: But I think it's important to let people know what you want so that your community can help support you and making that dream come true.
• 35:24
  SPEAKER_01: And you'll be surprised at how much just doing those simple tasks can help you.
• 35:28
  SPEAKER_01: I hope that that was a helpful bit of information, but I really do think of just using your time when you're younger to really start developing your craft and what you want and what you think.
• 35:40
  SPEAKER_01: And starting a dance journal, I'm I talk about a dance journal all the time, but starting a journal, starting a journal, even when you're young, of like what are your goals?
• 35:50
  SPEAKER_01: What do you need to achieve to get to those goals?
• 35:52
  SPEAKER_01: And what steps can you take right now to get to those goals that will make it a little bit easier for you in the future, you know, help your future self out by taking the time to add to these skills that you can use and that you need in the future.
• 36:08
  SPEAKER_04: I don't have anything to add because you covered it all.
• 36:10
  SPEAKER_04: I mean, every all of that is so so so so true.
• 36:14
  SPEAKER_04: And Jeff, I do know your daughter, and I know like I've ha I've taught her at conventions, and I know that she is pursuing the musical theater route in your hometown in New Hampshire.
• 36:25
  SPEAKER_04: And, you know, that's that's really awesome that she's getting that experience already at such a young age.
• 36:30
  SPEAKER_04: That's something that I wish that I knew to do when I was that young was kind of like get involved with community theater or be in the play in my high school because then who knew I was gonna move to New York City and then try to pursue Broadway careers in musicals, and I had no experience growing up doing that.
• 36:46
  SPEAKER_04: I had a lot of dance experience, but I think that you know, the another thing to remember for all of the dance moms listening out there is yes, your dance your dancer may love dance and they might want to pursue a career, but we have to remember to be versatile in so many different avenues of the dance career so we can get more work.
• 37:04
  SPEAKER_04: Because, you know, well, I like contemporary, I'm gonna be a contemporary dancer.
• 37:08
  SPEAKER_04: Okay, that's great, that's true, but is contemporary dance gonna pay your bills?
• 37:12
  SPEAKER_04: Maybe not.
• 37:13
  SPEAKER_04: And and as an adult, once you realize that you might rethink your career path and be like, oh, contemporary dance pays this much a week, and Broadway pays this much a week.
• 37:23
  SPEAKER_04: Okay, I'm gonna go that route, which is kind of like what happened to me because I feel like I moved to New York with a I'm gonna be a modern dancer and join a dance company and say we talked to this.
• 37:34
  SPEAKER_04: Yes, we totally have, and like look at us now.
• 37:37
  SPEAKER_04: We both transitioned into the musical theater world, and it's not even about money, it's mainly about that there's more opportunities for that as well.
• 37:45
  SPEAKER_04: Exactly.
• 37:45
  SPEAKER_04: I love jazz, dance, and musical theater, and as much as I love contemporary dance, so like for me, it was an easy transition, but I didn't even kind of move to New York with that intention, really.
• 37:55
  SPEAKER_04: Yeah, like when I look back at 18-year-old Courtney Ortiz, I didn't move to New York with that intention.
• 38:01
  SPEAKER_01: Or graphic design, like taking, you know, getting involved as a graphic designer.
• 38:06
  SPEAKER_01: Like, there's so many things that come with being a dancer that the more that you can do independently for yourself, building a website, running your social media, being able to film yourself, creating dance films, especially now where everything is so digital.
• 38:19
  SPEAKER_01: I just think that taking up those skills that will help you truly be your own business person as an artist, because ultimately that's what it is.
• 38:28
  SPEAKER_01: You have to work for yourself to get yourself known out there.
• 38:32
  SPEAKER_01: I just think that there's no shortage of skills that can be helpful.
• 38:37
  SPEAKER_04: Yep.
• 38:37
  SPEAKER_04: Totally agree.
• 38:38
  SPEAKER_04: And that's an that's an important thing to that you just mentioned, which I think that we are doing, I don't think we're doing this topic this season, but maybe next season.
• 38:47
  SPEAKER_04: But it's just kind of the power of networking and also kind of brand how to brand yourself.
• 38:52
  SPEAKER_04: And that's a whole skill in itself to learn how to do.
• 38:54
  SPEAKER_04: And kind of like what you said, like make it known that this is what you want to do.
• 38:58
  SPEAKER_04: Make it known to people in your community that you're wanting to be a choreographer or you're a dance teacher like on the rise, or whatever it is that you are trying to pursue, let people know.
• 39:09
  SPEAKER_04: That's the only way we have to market ourselves as individuals.
• 39:13
  SPEAKER_04: We are most of the time as dancers, freelancers.
• 39:16
  SPEAKER_04: And the only way that we're gonna get known is if we go into those auditions or if we create opportunities for ourselves.
• 39:23
  SPEAKER_04: That's really the only way.
• 39:24
  SPEAKER_04: So marketing yourself is a huge thing that you have to kind of navigate very blindly when you break into the the professional dance world.
• 39:33
  SPEAKER_04: So the sooner you can start that as a young dancer is is you know, even better.
• 39:38
  SPEAKER_04: So exactly.
• 39:39
  SPEAKER_04: I love it.
• 39:40
  SPEAKER_04: Yeah, I hope that was helpful.
• 39:41
  SPEAKER_04: Jeff, thanks for the question.
• 39:43
  SPEAKER_04: We love questions on Facebook, and we actually have another question that I'd love to share that's coming from Leslie.
• 39:51
  SPEAKER_04: So Leslie says, It doesn't seem that tap is received or rewarded as well at competitions.
• 39:59
  SPEAKER_04: How would you encourage a tapper to keep going or how to catch the judge's attention?
• 40:04
  SPEAKER_04: Great question.
• 40:05
  SPEAKER_04: I love that question.
• 40:06
  SPEAKER_01: So I, as far as being on the judge's side, I somewhat I have to disagree.
• 40:13
  SPEAKER_01: I'm sorry, but I have seen some incredible tappers win everything.
• 40:18
  SPEAKER_01: But I think what tends to happen to tappers is that we become so focused on our sounds and our technicality of it that we sometimes forget about the entertainment aspect and the presentation.
• 40:33
  SPEAKER_01: Ultimately, it is a presentation.
• 40:36
  SPEAKER_01: And think about whenever you watch Gregory Hines tapping and just like that carriage of the upper body or Fredaster and Ginger.
• 40:44
  SPEAKER_01: Like, think about that entertainment value.
• 40:47
  SPEAKER_01: And so I think what might be misconception is that tappers need to really make sure that we're presenting our tap piece, not just as I'm a musician and here's my incredible musicality and sounds and technicality.
• 41:03
  SPEAKER_01: I need to see you perform as well.
• 41:05
  SPEAKER_01: And then whenever I see tappers personally that are checking off all of those boxes where I am just absolutely blown away by their presence and confidence, uh, I hi, yes, win-win-win.
• 41:19
  SPEAKER_01: 100%.
• 41:21
  SPEAKER_01: So I think maybe a way to encourage your tapper to keep going and to catch the judge's attention is not always with the sounds and with the clarity, but with how they are using their upper body and how they are performing the piece.
• 41:35
  SPEAKER_01: So maybe doing some research, going back using YouTube, which like I wish we had that when I was younger.
• 41:41
  SPEAKER_01: And watching and studying how these incredible Chloe Arnold, oh my god, like let's watch her.
• 41:48
  SPEAKER_01: Let's watch the syncopated ladies and how they're performing their tap pieces.
• 41:52
  SPEAKER_01: Who else?
• 41:53
  SPEAKER_01: Um, Michelle Durance, right?
• 41:55
  SPEAKER_01: She warrant, yeah, or however you say it.
• 41:58
  SPEAKER_04: I don't want to say her name wrong, but yes, I know you're talking about.
• 42:00
  SPEAKER_01: Yes.
• 42:00
  SPEAKER_01: Um, but do do your maybe we can add that in the notes after we can put in these people.
• 42:05
  SPEAKER_01: But just using realizing that tap isn't always all about the clarity and the sounds and um your technique, but it's also about how you're using that upper body and that phrasing, the your musicality phrasing to really capture the audience.
• 42:19
  SPEAKER_01: And if your dancer starts working on that and really focusing that, oh my god, the the world will open up to this tapper.
• 42:28
  SPEAKER_01: So I think it's just a matter of confidence and taking ownership and and starting to really put your energy maybe a little bit more towards that rather than the technicality of it so much.
• 42:38
  SPEAKER_04: Yeah, I agree.
• 42:39
  SPEAKER_04: I'm glad you said the confidence thing at the very end because that's really what I was I was going to say.
• 42:44
  SPEAKER_04: I think that there, like you said at the very beginning of your answer, there are so many tappers that have hit the stage that my jaw drops, I'm mesmerized, I barely say anything on the critiques.
• 42:53
  SPEAKER_04: And most of the time, people are always like, Well, you know, people don't know tap because they didn't say anything on the critiques.
• 42:58
  SPEAKER_04: If you're fantastic and captivating and and I'm just so drawn into you, and also listening to your musicality at the same time, the goal in life is to have the judges not say anything.
• 43:11
  SPEAKER_04: I mean, in a perfect world, the judges, you know, of course, you like in and in that scenario, their score better be a 99 something, you know.
• 43:20
  SPEAKER_01: Like the score should back up what happened on the creature.
• 43:24
  SPEAKER_01: They should, they should always meet together.
• 43:26
  SPEAKER_04: Yes, they absolutely need to.
• 43:28
  SPEAKER_04: So, you know, there have I have watched tappers in those scenarios where I look down and I'm like, oh my gosh, you're 13 years old, and your musicality is on point, and you aren't a musician up there.
• 43:38
  SPEAKER_04: You have commanded the stage, you walked out, you're so confident, so entertaining to watch, love the choreography, your footwork's fantastic.
• 43:45
  SPEAKER_04: I mean, there's the same elements of of uh of my checklist in tap as there is for a jazz or a lyrical routine.
• 43:51
  SPEAKER_04: And I can understand, in a sense, you know, why Leslie, you know, you may feel this or your dancer may feel this as far as as tap.
• 44:00
  SPEAKER_04: Not being rewarded as often, but if you're producing a high quality tap routine, your technique is there, your confidence is there, the performance is there, those check boxes are marked for me, then your score is going to be high, and you most likely will actually outbeat the lyrical and contemporary dances that we the competition.
• 44:18
  SPEAKER_04: I encourage everyone to continue tapping, and I applaud the tappers out there who aren't afraid to do tap solos and who are confident in bringing that to the stage because for us as judges, it's a breath of fresh air to see a tap dance come the stage.
• 44:32
  SPEAKER_04: Like thank you.
• 44:35
  SPEAKER_04: Exactly.
• 44:36
  SPEAKER_04: Thank you.
• 44:37
  SPEAKER_04: Thank you so much.
• 44:39
  SPEAKER_04: We love tap.
• 44:40
  SPEAKER_04: So I hope that was helpful, Leslie, and uh helped answer your question.
• 44:45
  SPEAKER_04: Hopefully, help inspire your dancer to keep tapping because she absolutely should.
• 44:49
  SPEAKER_02: Yes.
• 44:50
  SPEAKER_04: All right, let's have our final question coming from Marlo.
• 44:54
  SPEAKER_04: And before we wrap up the episode, let's do one more.
• 44:59
  SPEAKER_04: And oh, Leslie's from New Hampshire too.
• 45:02
  SPEAKER_04: Oh hi, Leslie!
• 45:04
  SPEAKER_03: Oh my goodness! I'm Themen.
• 45:07
  SPEAKER_03: Oh, this is the best.
• 45:09
  SPEAKER_03: I love it.
• 45:10
  SPEAKER_04: I love it.
• 45:11
  SPEAKER_04: All right.
• 45:12
  SPEAKER_04: So let's do our final question.
• 45:13
  SPEAKER_04: This is coming from Marlowe.
• 45:15
  SPEAKER_04: And it says advice for a dancer just starting high school at 14 but wants to pursue dance professionally yet doesn't live in New York or LA.
• 45:23
  SPEAKER_04: We have to travel for most dance opportunities.
• 45:26
  SPEAKER_04: So kind of similar to Jeff's question on how to how to navigate more opportunities where they're based, I guess.
• 45:34
  SPEAKER_04: Yes.
• 45:35
  SPEAKER_01: Okay, so one thing that is so incredible about social media now is that you don't have to be there.
• 45:44
  SPEAKER_01: You can truly create.
• 45:45
  SPEAKER_01: That's one thing that I mean, there's so many terrible things about this pandemic, but that's one thing that is really exciting right now.
• 45:52
  SPEAKER_01: So this 14-year-old, right now, all of the classes at um Broadway Dance Center and Steps on Broadway in New York City.
• 46:03
  SPEAKER_01: And then I'm sure in LA it must be the same.
• 46:06
  SPEAKER_01: I tend to put myself more in the New York community, but everything is virtual right now.
• 46:12
  SPEAKER_01: So this is a great opportunity right now to take advantage of getting to be familiar with who the choreographers are, where the style of dance is going.
• 46:26
  SPEAKER_01: And then also, it I guess it also depends on if you want to go to school for dance.
• 46:33
  SPEAKER_01: I'm sure, Marlo, there's got to be somewhere around you, perhaps a theme park is a great place for a young dancer to start understanding what it is like as a professional dancer.
• 46:45
  SPEAKER_01: So perhaps looking at the local maybe six flags or something along those lines.
• 46:50
  SPEAKER_01: I know that that was something that dancers around me, there's a place called Canaby Lake Park where some dancers pursuing the art forum at a young age were able to get involved.
• 47:00
  SPEAKER_01: And then also, again, community theater, community theater, community theater.
• 47:04
  SPEAKER_01: Because those people who continue on, besides obviously the amazing opportunities that you're getting as a performer in dance competitions, those people who continue on, which is something that I say at every single dance competition, those of you who continue on dancing outside of the competition world or community theater, that is your network.
• 47:23
  SPEAKER_01: That is your home base.
• 47:25
  SPEAKER_01: So already by competing, you're already checking off one of the lists.
• 47:29
  SPEAKER_01: Just make sure that your dancer understands and appreciates the importance of getting to know and acknowledge the people in her community already.
• 47:38
  SPEAKER_01: Because when they transition outside of wherever you are living, that is your network.
• 47:44
  SPEAKER_01: That is your home base.
• 47:45
  SPEAKER_01: Those are the people that are going to help support you.
• 47:48
  SPEAKER_01: And we have to realize that dance is also something where it's community driven, right?
• 47:53
  SPEAKER_01: We all, when all, when we lift each other up, we all succeed is something that I've learned more than anything from all of my time as a professional artist.
• 48:01
  SPEAKER_01: Is that the more we have each other's backs, the more, the farther we can go in our careers.
• 48:07
  SPEAKER_01: And so just making sure that they're staying connected, they're getting to know those people in their community because they've got to have people in their community, whether it's a theater or a theme park where they can get their toes a little wet into what it feels like in the professional world.
• 48:21
  SPEAKER_01: And then also just staying connected, using your the social media platforms that exist to stay connected and to start looking at opportunities.
• 48:29
  SPEAKER_01: Also, playbell.com.
• 48:31
  SPEAKER_01: If you ever want to look at free audition opportunities, you might be able to find things that are specifically for your area and location.
• 48:38
  SPEAKER_01: And then what is it?
• 48:39
  SPEAKER_01: Uh dance, uh, I can't think of the other one.
• 48:42
  SPEAKER_01: Answers for Dancers was another one that I feel like is another great one for young dancers in particular on how to start navigating, how to move forward.
• 48:51
  SPEAKER_01: And then reaching out to your mentors who are there with you in your location in order to really chit-chat about what they can do and what field of dance they want to go specifically in, whether it's commercial, theater, maybe even Vegas.
• 49:04
  SPEAKER_01: I feel like people often forget Vegas is another great area for performers to live and pursue the art form.
• 49:11
  SPEAKER_01: So just making sure that they're constantly, and then again, like I had said with Jeff, just letting people know that this is what they want to do and finding ways that their community can also support them.
• 49:20
  SPEAKER_04: Yeah, I I totally agree 100%.
• 49:23
  SPEAKER_04: And I think that another great avenue to go, you mentioned this, Christina.
• 49:29
  SPEAKER_04: You you shouted out some of the audition websites to kind of look at.
• 49:34
  SPEAKER_04: And of course, things are definitely different right now in life.
• 49:38
  SPEAKER_04: However, if you are a young dancer and you want more opportunities, and if this is even a possibility, maybe try to look into seeing if an agent can represent you, if that's the route you want to go, if you want to be considered for some commercial opportunities or TV and film and things like that, because that side of the industry is opening back up sooner than live performance is going to open back up.
• 50:04
  SPEAKER_04: And I know people in LA who are currently on set and doing shows again.
• 50:08
  SPEAKER_04: So I would definitely look into maybe finding an agent.
• 50:11
  SPEAKER_04: And with that being said, the the reason for that is even if you don't live in those places, I think there is that possibility of having to at a point in time travel to them to be considered for some opportunity.
• 50:24
  SPEAKER_04: But there are so many rounds of auditions, and especially in commercial style auditions, there's usually like a pre-screen and a this and a that and a few, you know, video submission rounds in this virtual world that we're all living in now.
• 50:39
  SPEAKER_04: You can find an audition notice or see a submission from an agent of some sort, and they might say, Hey, I need you to film this self-cape for me really quick.
• 50:46
  SPEAKER_04: Just show me a little dance really fast, and you know, make sure you're really cute and you're young because we're passing for a gap commercial and it's and it's looking for dancers that are 15 and younger, and you'd be perfect for this, you know, something like that.
• 50:59
  SPEAKER_04: Those opportunities exist.
• 51:00
  SPEAKER_04: You don't necessarily have to live in those prime space states, New York, California, Chicago, Atlanta's another big place that does a lot of TV and so, you know, just being able to have that opportunity, find out about those things.
• 51:14
  SPEAKER_04: An agent can help you do that.
• 51:16
  SPEAKER_04: It's just a matter of getting an agent on board and really convincing them that like you're serious about this, that you're able to afford to travel to these places if you have to.
• 51:25
  SPEAKER_04: That's the one downfall about not being in those cities at this time.
• 51:29
  SPEAKER_04: However, I will also say that, you know, as a 14-year-old dancer who wants to pursue that, I wouldn't get too ahead of yourself in the sense of having to feel like that we need to create these opportunities because training is the most important.
• 51:42
  SPEAKER_04: And being consistent in your studio is so important.
• 51:46
  SPEAKER_04: Being a team player, you know, there are so many of us that didn't branch out ahead of our time to pursue our careers.
• 51:54
  SPEAKER_04: Like I knew that I at 18, once I graduated from my studio and graduated from col um high school, that I wanted to jump straight into the industry.
• 52:02
  SPEAKER_04: That's what I personally knew.
• 52:04
  SPEAKER_04: I didn't know how it was gonna go.
• 52:05
  SPEAKER_04: I didn't know if I was technically ready.
• 52:07
  SPEAKER_04: I didn't know if I was supposed to do college, but that's just the route that I knew in my heart that I wanted to do.
• 52:13
  SPEAKER_04: There's a lot of other dancers that are, you know, that know I need four years of college.
• 52:18
  SPEAKER_04: My technique's not up to point yet.
• 52:19
  SPEAKER_04: I just want to really have that experience.
• 52:21
  SPEAKER_04: I'm gonna make connections in college, and then I'm gonna feel confident and ready.
• 52:24
  SPEAKER_04: You know, that was me.
• 52:26
  SPEAKER_04: Yeah, exactly.
• 52:27
  SPEAKER_04: And you know, I think everybody has their own path to go.
• 52:30
  SPEAKER_04: At 14, I think just keep taking class, creating those connections, keep going to the dance conventions because dance conventions are a great way to network as well, which again, networking is extremely important to start a creative already, gain some mentors.
• 52:43
  SPEAKER_04: I've talked about this before as well in on different podcasts, and I've even posted on my personal Facebook saying if there are any dancers out there that needs a mentor into how to navigate into the professional career, there are so many of us that want to help the next generation.
• 52:58
  SPEAKER_04: I didn't have a mentor, so I want to be that four people now.
• 53:01
  SPEAKER_04: So if you know, if you have a connection with a a dancer who has succeeded in the industry or has gone the route that you want to go, don't be afraid to reach out and ask them questions or just say, Hey, can you help me guide me through this?
• 53:13
  SPEAKER_04: Or hey, can you recommend me for this or which way should I go?
• 53:17
  SPEAKER_04: I mean, I don't know if everyone's like me and Christina, but I know that like I'd be more than happy to absolutely so yeah, I I think that that's that's another big thing is find that mentor that really help guide you in navigating it.
• 53:31
  SPEAKER_04: Thanks so much for that question.
• 53:32
  SPEAKER_04: I'm just peeking around.
• 53:34
  SPEAKER_04: Oh, Max says your path to a degree is actually incredibly important to hear.
• 53:41
  SPEAKER_04: Would you mind sharing?
• 53:42
  SPEAKER_04: Oh my goodness.
• 53:44
  SPEAKER_03: Um, hi Max, I love you.
• 53:46
  SPEAKER_03: Hi.
• 53:47
  SPEAKER_01: Yeah, so I actually went to Dean College in Franklin, Massachusetts for two years.
• 53:54
  SPEAKER_01: And then during my two years, I attended the Ailey School after my freshman year, and I was full on I want to be a modern dancer.
• 54:04
  SPEAKER_01: And so I pursued, I transferred to University of the Arts for a modern dance performance major.
• 54:12
  SPEAKER_01: And my first job out of college was actually performing the work of Doris Humphrey at the yard on Martha's Vineyard, which is a uh dance residency on the island, and it was an opportunity for us to present the work of Doris Humphrey, which if you don't know who Doris Humphrey is, some dance history for you, do some research.
• 54:31
  SPEAKER_01: So, yeah, and then when very similarly where I moved to New York City, I was full on pursuing, well, no, after I graduated college, I spent a year home, and that is when I worked at the Palace Theater in Manchester, New Hampshire, and experienced professional theater firsthand.
• 54:49
  SPEAKER_01: And so then from there, I transferred, I went to New York City, kind of in this mixed place of pursuing modern dance, but then also I had just done a full season of professional theater.
• 55:00
  SPEAKER_01: And um, so that's kind of a little bit of what created the mixture of the career that I've had.
• 55:08
  SPEAKER_01: And I mean, for me, when I was looking at schools, I'm going to give my age away a little bit, but it was soon after 9-11.
• 55:14
  SPEAKER_01: So I was a little terrified of honestly, to be totally honest, of moving to New York and I was 17 when I went to college.
• 55:21
  SPEAKER_01: I'm very young for my grade.
• 55:24
  SPEAKER_01: So my first month of college, I was 17 years old.
• 55:27
  SPEAKER_01: So for me, it was just more, I chose modern dance really because it was something that I felt there was so much information for me to gather and to learn from that I didn't feel like I would have necessarily gotten as like a jazz major.
• 55:43
  SPEAKER_01: I really wanted to understand the history of all these various techniques.
• 55:47
  SPEAKER_01: And now it bleeds through my choreography, it bleeds through the way that I move.
• 55:53
  SPEAKER_01: And I'm so grateful for that training that I had of really understanding Horton, Humphrey, Lamon, release technique, and getting these experiences as a modern dance performer that I then got to translate into theater dance and really combining the two.
• 56:08
  SPEAKER_01: And the thing is when you go back and you watch old movie musicals, they're all of their movement is so modern infused that it's hard not to see it and not hard not to see that connection.
• 56:20
  SPEAKER_01: So yeah, I'm a it's a very roundabout way.
• 56:23
  SPEAKER_01: I and then my first professional job while I was in college was with a ballet company.
• 56:26
  SPEAKER_01: So I it's just like all over the place, but grateful for every single experience that I've had so far to bring me here.
• 56:34
  SPEAKER_04: Yeah, I'm I'm really glad.
• 56:35
  SPEAKER_04: Thank you, Max, for asking Christina to share.
• 56:37
  SPEAKER_04: I think that's so important to hear everyone's path and how we each have navigated it slightly differently post-high school because that's always a question for a lot of parents, and a lot of, you know, dance parents are always kind of saying, Well, what's next for me?
• 56:52
  SPEAKER_04: Do I just go to school for dance?
• 56:54
  SPEAKER_04: Or what are my options once I even graduate college?
• 56:57
  SPEAKER_04: What kind of dancer can I be?
• 56:58
  SPEAKER_04: How can I make a living doing this?
• 57:00
  SPEAKER_04: And everybody's path is different, but it's really exciting and interesting to hear your path because you kind of switched around a little bit, which is totally okay.
• 57:09
  SPEAKER_04: You know, we we as dancers also know when we found a right fit.
• 57:13
  SPEAKER_04: You know, same thing applies for the dance studio you're currently training at.
• 57:17
  SPEAKER_04: If, you know, you know when you found that family, you know when you found that that training program that works for you.
• 57:23
  SPEAKER_04: And the same needs to be applied for college.
• 57:26
  SPEAKER_04: You know, it is very hard to kind of make that huge decision of I'm going to school at here.
• 57:31
  SPEAKER_04: I'm, you know, and I ended up going to Marymount Manhattan, and it wasn't the right fit for me personally.
• 57:37
  SPEAKER_04: I I didn't love the conservatory style, like I just didn't really love it.
• 57:43
  SPEAKER_04: And and it's not for everyone, uh honestly.
• 57:45
  SPEAKER_04: So it just really depends.
• 57:47
  SPEAKER_04: You have to find that perfect fit.
• 57:49
  SPEAKER_04: I wanted more jazz dance in my life, and I picked the wrong school, unfortunately.
• 57:53
  SPEAKER_04: And some people, you know, it it just depends.
• 57:56
  SPEAKER_04: So everybody's path is different.
• 57:58
  SPEAKER_04: It's so great to hear yours and where it's taken you and what doors it's opened up because of the experience that you gained from college and how it's influenced you as a choreographer.
• 58:07
  SPEAKER_04: It's just really, it's really great to hear.
• 58:09
  SPEAKER_04: So hopefully that's inspiration for dancers who are maybe having to make that choice in the next few years or shortly.
• 58:16
  SPEAKER_04: And I think it's really great to hear that.
• 58:19
  SPEAKER_04: So thank you for sharing.
• 58:21
  SPEAKER_04: We just got a question.
• 58:23
  SPEAKER_04: Okay.
• 58:23
  SPEAKER_04: I want to say it really fast if you're okay to do this one really quick, Christina.
• 58:28
  SPEAKER_04: We were gonna do a minute one, but we just got one and we'll answer it fast.
• 58:32
  SPEAKER_04: Okay.
• 58:33
  SPEAKER_04: And we got a private message, so I'm gonna say that this person would maybe prefer to remain anonymous for this one.
• 58:39
  SPEAKER_04: But it says, What are the best tips and exercises for jumps and leaps?
• 58:44
  SPEAKER_04: I have a couple of dancers who just can't get off the ground.
• 58:47
  SPEAKER_03: Ooh, I know.
• 58:49
  SPEAKER_04: I love that.
• 58:51
  SPEAKER_01: Okay, any advice?
• 58:52
  SPEAKER_01: Quick advice?
• 58:53
  SPEAKER_01: Quick advice.
• 58:54
  SPEAKER_01: Okay, so my first one is making sure we're working through our feet.
• 58:58
  SPEAKER_01: I feel like when we're thinking about jumps, we're often just thinking about propelling ourselves up off the floor with our quads and our thighs and making sure that we're able to work through our feet is a huge thing.
• 59:08
  SPEAKER_01: Also, using your pleatic, this is when modern dance helps.
• 59:12
  SPEAKER_01: Thinking of using an undercurve, so scooping down with the center of your weight in order to create an arc up.
• 59:19
  SPEAKER_01: So you're thinking of diving down with the pelvis and then propelling that pelvis up and over as you jump.
• 59:26
  SPEAKER_01: Also, um, a recent thing that I've learned that I really am loving doing in order to really um trying to incorporate it into my warm-up as well, is shifting your weight forward in a lunge and kind of like being at a flat back angle in order for you to just put the weight on that front foot and working through the foot and then controlling the release down.
• 59:46
  SPEAKER_01: So propelling that foot up and then releasing down through the foot with that weight shifted forward really helps.
• 59:52
  SPEAKER_01: And then, of course, just like strengthening those quads and understanding how lifting from your center from your pelvis and propelling that arc up is going to help you exponentially.
• 1:00:04
  SPEAKER_01: I think we just think about the the jump and being like, I need to get high, I need to get high, but like working through all of our legs.
• 1:00:10
  SPEAKER_01: Think of um your legs in the way of how frogs can jump so much and how they're truly using every single part of their leg in order to propel their weight off of the ground.
• 1:00:19
  SPEAKER_01: But yeah, using that under curve and over curve, I feel like has always helped me like scoop to get up.
• 1:00:24
  SPEAKER_01: Yeah.
• 1:00:25
  SPEAKER_04: Was that helpful?
• 1:00:26
  SPEAKER_04: Such great advice.
• 1:00:27
  SPEAKER_04: Yeah, so great, so great, Christina.
• 1:00:29
  SPEAKER_04: I agree with it all.
• 1:00:30
  SPEAKER_04: And hopefully this will this will help our dance teacher who's hopefully listening and tuning in.
• 1:00:34
  SPEAKER_04: But yes, I feel like that the one thing I see so many dancers la or struggle with in dance class, and especially when I go in to teach guest classes at studios, is just their preparations into their jumps.
• 1:00:46
  SPEAKER_04: That's really the the make it or break it moment.
• 1:00:48
  SPEAKER_04: If you we have to remember that for our chasse step leading into any jump that we're doing, we should be on the balls of our feet.
• 1:00:55
  SPEAKER_04: A heel should not be involved until that very final step before you launch.
• 1:01:01
  SPEAKER_04: You can then drop the heel and articulate through the floor and push off of that.
• 1:01:05
  SPEAKER_04: So I really want to encourage to see less galloping heel forward in our chaussets and more lifted, supported chassis on the balls of our feet.
• 1:01:14
  SPEAKER_04: It just puts our weight in a different place.
• 1:01:16
  SPEAKER_04: It makes us softer all in general from the very beginning and less clunky and grounded because yes, we want to be grounded in when we're using our plie so we can really push and spring.
• 1:01:27
  SPEAKER_04: But if you set yourself up with that proper chasse step, it'll just really help you soar through the sky a little bit more.
• 1:01:32
  SPEAKER_04: The other thing I always mention that sometimes we as teachers forget about is core, obviously.
• 1:01:37
  SPEAKER_04: So work on your core, that'll that'll help you.
• 1:01:39
  SPEAKER_04: But even placement of your arms.
• 1:01:41
  SPEAKER_04: Your arms are always, always there to help you.
• 1:01:43
  SPEAKER_04: Just like you mentioned, Christina, about how a frog uses its entire body to jump, so do we.
• 1:01:48
  SPEAKER_04: We need to use our entire body.
• 1:01:50
  SPEAKER_04: We need to make sure our core is supported while we're in the sky.
• 1:01:53
  SPEAKER_04: We need to make sure our arms are placed in a proper position and they're not just dead weight flopping around or just getting thrown to wherever they want to go.
• 1:02:00
  SPEAKER_04: They have to make sure they're supported and engaged from our back and placed somewhere.
• 1:02:04
  SPEAKER_04: We have to use all of those tools together, and that'll help you get more elevation and help you at that point then be able to split your legs further or whatever the goal is that you're, you know, trying to work on in that particular jump.
• 1:02:15
  SPEAKER_04: So we really got to make sure we're using our body to its fullest 100% and engaging all of the correct muscles and not just, like you said, relying on the quads and relying on our legs to provide that strength to get into the sky.
• 1:02:28
  SPEAKER_01: So and just one real quick, your eyes too.
• 1:02:30
  SPEAKER_01: That's one thing that I see all the time is people are leaping with their eyes looking down and just remember you're going to go where you're looking.
• 1:02:37
  SPEAKER_01: If you're looking down on a leap, you're going to go down.
• 1:02:39
  SPEAKER_01: So making sure that you're using your focus to project yourself where you want to go is so important in dance and movement and just taking up space, period.
• 1:02:49
  SPEAKER_01: So connecting those eyes with it as well.
• 1:02:51
  SPEAKER_01: Yay!
• 1:02:51
  SPEAKER_04: Yes, yes, yes.
• 1:02:52
  SPEAKER_04: So hopefully to our dance teacher who sent us that direct message.
• 1:02:56
  SPEAKER_04: I hope it was helpful.
• 1:02:57
  SPEAKER_04: And that was our final question of the show, sadly.
• 1:03:00
  SPEAKER_04: Oh my gosh, this was so exciting and so great.
• 1:03:02
  SPEAKER_04: And I'm looking at all of the fun uh viewers.
• 1:03:05
  SPEAKER_04: Hi, Max from Mexico.
• 1:03:06
  SPEAKER_04: Thanks for tuning in from Mexico.
• 1:03:08
  SPEAKER_04: I'm definitely jealous.
• 1:03:10
  SPEAKER_04: I want to be in Mexico right now.
• 1:03:12
  SPEAKER_04: And Sam and Jeff and Wanda and Brandon.
• 1:03:15
  SPEAKER_04: Thanks all so much for tuning in and saying hi.
• 1:03:18
  SPEAKER_04: And we're at that time of the show where we are now going to announce our winner of the Artis in Motion tote bag that was sponsored by Artis in Motion.
• 1:03:29
  SPEAKER_04: We're so excited.
• 1:03:30
  SPEAKER_04: And that obviously, if you missed the beginning of the episode, that is Christina's brand and uh her awesome woman-owned business that she makes screen printed, fabulous, adorable uh clothing apparel, which I love the back of mine so much.
• 1:03:45
  SPEAKER_04: She's like in a like contracted jazz passe, just everything.
• 1:03:49
  SPEAKER_04: It's everything.
• 1:03:50
  SPEAKER_04: So, yay, I'm really excited to announce our winner, and our winner is going to win a custom tote bag that will be sent directly to you.
• 1:03:57
  SPEAKER_04: So, thank you so much, Christina and Artist in Motion Apparel, for sponsoring this exciting giveaway prize.
• 1:04:02
  SPEAKER_04: It's an honor.
• 1:04:05
  SPEAKER_04: We're so happy to have you on board.
• 1:04:06
  SPEAKER_04: So if you're still tuning in, I hope you're still here.
• 1:04:09
  SPEAKER_04: The winner of our artist in motion apparel giveaway is Marla!
• 1:04:17
  SPEAKER_03: Yay! Barbera! Yay, Marlo! Congrats, Marlo! I'm so excited for you to have it.
• 1:04:23
  SPEAKER_03: Woohoohoo! Oh my gosh, I hope that you are still here and enjoying, and you got to hear that you won.
• 1:04:30
  SPEAKER_04: An adorable tote bag by Artist in Motion.
• 1:04:32
  SPEAKER_04: I'm sure you'll you'll use it like crazy.
• 1:04:33
  SPEAKER_04: You can take it to dance, or your daughter can take it to dance and take it to competition weekends and put your program in it.
• 1:04:39
  SPEAKER_04: You can put whatever you want in it.
• 1:04:40
  SPEAKER_04: It's it's super cute.
• 1:04:41
  SPEAKER_04: So I hope that you enjoy that.
• 1:04:43
  SPEAKER_04: So definitely send us a direct message and let us know your address so we can send that your way.
• 1:04:48
  SPEAKER_04: Congrats, Marlo.
• 1:04:50
  SPEAKER_04: Yay! So excited.
• 1:04:52
  SPEAKER_04: All right.
• 1:04:53
  SPEAKER_04: Well, that pretty much wraps up our show today.
• 1:04:56
  SPEAKER_04: And I would love to thank Christina Balinski for joining us today and sharing all of your fabulous knowledge and expertise in the industry.
• 1:05:05
  SPEAKER_04: And you've provided such great feedback to all of the questions.
• 1:05:08
  SPEAKER_04: So I hope that everyone who asked a question live got their question answered, which I certainly think you did.
• 1:05:14
  SPEAKER_04: And uh, we're just so happy to have you and thanks for all your support and for the giveaway and everything.
• 1:05:18
  SPEAKER_04: It's it's been so much fun chatting with you for the past hour.
• 1:05:21
  SPEAKER_04: Thank you, Courtney.
• 1:05:22
  SPEAKER_04: I could do this all day.
• 1:05:23
  SPEAKER_04: I love this.
• 1:05:24
  SPEAKER_04: Yeah, I know.
• 1:05:26
  SPEAKER_04: We could do this all day.
• 1:05:27
  SPEAKER_04: Maybe we need to do it all the time.
• 1:05:29
  SPEAKER_04: Exactly.
• 1:05:29
  SPEAKER_04: We'll just make it a regular thing.
• 1:05:31
  SPEAKER_04: A weekly thing instead of a of every other month, which by the way, to all of our listeners out there, we will be hosting QA with Courtney Live every other month.
• 1:05:41
  SPEAKER_04: So our next QA with Courtney Live is coming your way December 1st.
• 1:05:46
  SPEAKER_04: So be sure to tune in live on Facebook for that.
• 1:05:49
  SPEAKER_04: Get your questions prepped.
• 1:05:50
  SPEAKER_04: And again, if you want to send in questions ahead of time or anonymously, you can send them through our website at ImpactDance Adjudicators.com slash podcast.
• 1:05:58
  SPEAKER_04: So be sure to check that out.
• 1:06:01
  SPEAKER_04: Another thing I want to blast really quick before we wrap up is the virtual competition.
• 1:06:07
  SPEAKER_04: IDA's virtual comp is coming back to you.
• 1:06:11
  SPEAKER_04: Um, that was something that we created during the pandemic, something that we never expected to create, to be completely honest, as far as a virtual competition, but we went with it.
• 1:06:21
  SPEAKER_04: It was awesome.
• 1:06:22
  SPEAKER_04: We had such success.
• 1:06:23
  SPEAKER_04: We reached so many countries.
• 1:06:25
  SPEAKER_04: We had a total of over 1,500 routines throughout all of our events, and it was just so inspiring to see dancers from all over the world come together during this time, compete virtually.
• 1:06:35
  SPEAKER_04: And Christina was one of our judges for the virtual events.
• 1:06:38
  SPEAKER_04: I'm sure she'll be doing some more then as well.
• 1:06:40
  SPEAKER_04: So we're really excited to be relaunching.
• 1:06:43
  SPEAKER_04: This will be a solo-only event for the month of November.
• 1:06:46
  SPEAKER_04: So registration will open November 1st, and then it will stay active and open until the end of November.
• 1:06:52
  SPEAKER_04: Registration will close December 1st, and then we'll have our high score awards and top 20 challenge later in December.
• 1:06:58
  SPEAKER_04: So we're really excited.
• 1:07:00
  SPEAKER_04: And I hope that if you hadn't had a chance to enter your solo, be sure to head over and check that out to get more information at ImpactDance Adjudicators.com slash virtual competition.
• 1:07:10
  SPEAKER_04: And our final little shout out goes to our IB8 Online Judge Critiques.
• 1:07:16
  SPEAKER_04: They are now live on our website.
• 1:07:18
  SPEAKER_04: And if you've been a previous customer, you know how fabulous this service is.
• 1:07:22
  SPEAKER_04: Christina is also a judge for our online critiques as well.
• 1:07:25
  SPEAKER_04: So she, you know, you never know what judge you might get, but if you send in a video, then you can have a judge critique your dance before you hit the stage, or even if it's a competition routine that you've already competed and you want to get even more feedback, send it our way and one of our judges will critique it for you.
• 1:07:40
  SPEAKER_04: So it's a really great service.
• 1:07:42
  SPEAKER_04: This does not include a score or an adjudication, it is strictly feedback.
• 1:07:45
  SPEAKER_04: And I think that's what makes this so special is we're giving you a genuine opinion about this.
• 1:07:50
  SPEAKER_04: We can customize it to make it personalized to you if you have questions about a choreographic choice here, or if you have a question about the technique element, or should this stay in the dance or not?
• 1:07:59
  SPEAKER_04: Things like that that you could never really ask a judge to, you know, give you feedback on in a regular competition setting.
• 1:08:06
  SPEAKER_04: Now we have allowed that into our online critique service.
• 1:08:09
  SPEAKER_04: So head over to our website now at online critiques.
• 1:08:12
  SPEAKER_04: It's impact danced educators slash online critiques, and you can submit your dance now to you know, give feedback from the judge.
• 1:08:25
  SPEAKER_04: Yes, please.
• 1:08:26
  SPEAKER_04: I can't wait.
• 1:08:27
  SPEAKER_04: I know, I'm excited to get you on board with that.
• 1:08:30
  SPEAKER_04: So, everybody, that's a wrap for our show today.
• 1:08:33
  SPEAKER_04: I hope you enjoyed it.
• 1:08:34
  SPEAKER_04: Don't forget to tune in to our next one launching in December.
• 1:08:36
  SPEAKER_04: And head over to Impact Now and making the impact on your pop favorite podcast app.
• 1:08:42
  SPEAKER_04: Click subscribe and also listen to our latest episode that released today.
• 1:08:46
  SPEAKER_04: Yeah.
• 1:08:47
  SPEAKER_04: Alright, y'all.
• 1:08:47
  SPEAKER_04: Thanks so much.
• 1:08:50
  SPEAKER_04: Bye.