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The 2024 Competition Season - Takeaways From your Judges · Making The Impact - A Dance Competition Podcast

• 0:07
  SPEAKER_04: Have you ever wondered what goes on behind the table at a dance competition?
• 0:10
  SPEAKER_04: Exactly what are the judges looking for anyway?
• 0:13
  SPEAKER_04: This is Making the Impact, a dance competition podcast.
• 0:15
  SPEAKER_04: Each week we'll cover a different topic related to the world of competitive dance from the perspective of the judges behind the table.
• 0:26
  SPEAKER_04: The 2024 competition season is almost over, and we are so sad to see it go.
• 0:30
  SPEAKER_04: Today on Making the Impact, we're taking a look back at this wonderful season with some of our IDA judges to reflect on all the things we loved, hated, and want to see more of in 2025.
• 0:42
  SPEAKER_09: Hey Dance World, welcome to this week's episode of Making the Impact.
• 0:46
  SPEAKER_09: I'm your host, Courtney Ortiz, and I'm here with my co-host, Leslie Mueller.
• 0:50
  SPEAKER_09: Hey Courtney, um, how is it possible that this is our last episode?
• 0:55
  SPEAKER_09: It's our last episode of season five, and I can't believe it's already over.
• 0:59
  SPEAKER_09: It goes by so fast.
• 1:00
  SPEAKER_04: It really does.
• 1:01
  SPEAKER_04: It's like somehow so fast and so slow at the same time.
• 1:04
  SPEAKER_04: But as I look back over all of this season, I mean, we've we've really come a long way since September and had so many amazing guests and so many great judges come on.
• 1:13
  SPEAKER_04: And we're just excited today to look back at the season with some of our IDA judges and tell you some of the things that we loved and hated and want to see more of.
• 1:22
  SPEAKER_09: Yeah, it was a wonderful 2024 season.
• 1:26
  SPEAKER_09: And I know that you went out judging.
• 1:28
  SPEAKER_09: I was out judging pretty much every weekend.
• 1:31
  SPEAKER_09: We had so many IDA judges out at all different competition events, IDA affiliated and non, and they have some things to share that they've seen this season.
• 1:42
  SPEAKER_09: So we're gonna hear all about their takeaways from judging at comp in 2024.
• 1:49
  SPEAKER_09: But before we jump into our final episode of season five, we have some more recent Making the Impact Award winners that we want to share with you.
• 1:57
  SPEAKER_09: So, as you all have heard all season long, we sponsor a fabulous award at all IDA affiliated competition events called the Making the Impact Judges Choice Award.
• 2:07
  SPEAKER_09: And this is given out to one dance through the entire weekend that your IDA judges hand select and want to recognize for making an impact in the competitive dance world, whether it's through their choreography, execution, technique, performance, they want to recognize you.
• 2:22
  SPEAKER_09: They receive a special award on site from the judges and also will get a shout out on making the impact.
• 2:28
  SPEAKER_09: So let's hear our very first winner.
• 2:31
  SPEAKER_04: From World Class Talent Experiences event in Sanford, Maine, congrats to Dance Studio of Maine from Gorham, Maine, and dancer Addison V for their solo Mercy.
• 2:39
  SPEAKER_09: From Streets Dance Conventions event in Orlando, Florida.
• 2:43
  SPEAKER_09: Congrats to Orlando International School of Dance from Orlando, Florida for their small group Ballet Dance, Swal Nilda Friends.
• 2:50
  SPEAKER_04: And from World Class Talent Experiences event in Worcester, Massachusetts.
• 2:54
  SPEAKER_04: Congrats to Shannon O'Brien School of Dance from Attleboro, Massachusetts for their small group, The Village.
• 3:00
  SPEAKER_09: Congrats to all of our recent winners and a few more winners are coming your way in our season 5 wrap-up episode, which is immediately following this one.
• 3:08
  SPEAKER_09: So don't forget to hit next and give a listen to that after you finish this one.
• 3:12
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• 3:16
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• 3:24
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• 4:43
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• 4:47
  SPEAKER_09: Hey parents, I have a few questions for you.
• 4:49
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• 4:54
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• 5:53
  SPEAKER_09: So let's jump into this takeaway episode.
• 5:55
  SPEAKER_09: Thank you to all of the judges who helped contribute to this episode.
• 5:58
  SPEAKER_09: You're gonna hear some familiar voices, and you're gonna hear some new voices who have yet to be on our podcast, but are um some fantastic judges who have been working their booties off all season.
• 6:09
  SPEAKER_09: They've been traveling everywhere, all across the country, uh judging your dancers.
• 6:14
  SPEAKER_09: And we definitely have some some new takeaways, um, maybe some takeaways that you've heard from our last episode in in season four in 2023, because things definitely roll over, but there's always new trends.
• 6:27
  SPEAKER_09: There's always new things that we discover and see that are uh new in the industry each year and somehow become a trend in in the competition world that you might think feels regional but is actually national.
• 6:41
  SPEAKER_09: So these are some of the things that your judges have noticed throughout the season.
• 6:45
  SPEAKER_09: And the very first thing we're gonna start with is talking about music at competition.
• 6:50
  SPEAKER_01: So let's hear from our very first judge.
• 6:52
  SPEAKER_01: Hi, this is IDA Judge Brenda from Northern California, and I think one of my favorite things that popped up this competition season was the use of older music, interesting music.
• 7:06
  SPEAKER_01: Um, I feel like in the last few years you And we still do, we still hear a lot of the same songs, but I feel like it's less.
• 7:13
  SPEAKER_01: And I really applaud the teachers, choreographers who are going out of their way and finding music from the 40s, the 50s, the 60s from every decade.
• 7:23
  SPEAKER_01: Lots of Edda James, Otis Redding, just really fantastic music choices that are exciting and lively.
• 7:31
  SPEAKER_01: And I think it has made this season um so much more interesting and not hearing the all of the same songs over and over.
• 7:39
  SPEAKER_01: So I applaud everybody for their awesome music choices and also educated educating the children on such fantastic music that is out there.
• 7:47
  SPEAKER_08: Hello, this is IDA Judge Ashley Peter from New York City.
• 7:50
  SPEAKER_08: And one thing I have loved this competition season is all of the 60s-inspired dances that I've seen, and it's been really creative.
• 7:58
  SPEAKER_08: It hasn't just been dances with, you know, the dances of the era and the moves from the era.
• 8:05
  SPEAKER_08: It's been like really creative fusion of new choreography and concepts mixed with the classic music and costuming that we've love.
• 8:13
  SPEAKER_08: I've seen it in solos, I've seen it in small groups, I've seen it in, you know, some really big groups, some lines, things like that.
• 8:20
  SPEAKER_08: And it's just one of my favorite decades.
• 8:22
  SPEAKER_08: And it's been so, so fun to see all of these young kids really getting into the 60s.
• 8:27
  SPEAKER_08: So that has definitely been one of my favorite trends from this season.
• 8:31
  SPEAKER_09: It's so great that choreographers are being influenced by some different music choices through the decades, because then it does influence how we choreograph and hopefully doing the research to know what types of movement were popular back in that genre when this music was created and different dance styles and staying true to that decade, but also putting a new little spin on it and putting a new little flavor to it for 2024.
• 9:00
  SPEAKER_09: So I do think it's really great.
• 9:02
  SPEAKER_09: I have been seeing a lot of uh 60s as well, actually.
• 9:06
  SPEAKER_09: And I have been seeing some really great songs that I haven't heard before that are then spun in a different way.
• 9:14
  SPEAKER_09: Like I love when I hear those 40s songs come out, and then it's like a cool, unique contemporary.
• 9:20
  SPEAKER_09: And I'm like, oh, this is cool because it feels like old school meets new school.
• 9:23
  SPEAKER_09: We're putting this new style of movement onto this song that you might not necessarily think could pair together, but a lot of times these dancers can make these songs come to life in a new vision.
• 9:34
  SPEAKER_09: And and also shout out to the choreographers who are who are making that possible and even challenging their dancers and themselves to choreograph to a different variety of songs.
• 9:42
  SPEAKER_09: So I'm all here for it.
• 9:44
  SPEAKER_09: I love the the different types of music choices that we're discovering.
• 9:47
  SPEAKER_04: Cool.
• 9:48
  SPEAKER_04: Let's keep going.
• 9:48
  SPEAKER_04: I'm already having such a great time.
• 9:50
  SPEAKER_09: Well, I know, right?
• 9:52
  SPEAKER_09: And I think where we should go next is we should talk about some of the costuming, I think, that is happening in the complex world.
• 10:02
  SPEAKER_09: Go hand in hand.
• 10:03
  SPEAKER_09: And IDA Judge Ashley, she's back.
• 10:06
  SPEAKER_09: She has a lot to say on this episode, and she has really great points to bring up.
• 10:10
  SPEAKER_09: So let's hear what Ashley has to say, and we'll see if we have any other judges that are chiming in as well.
• 10:16
  SPEAKER_08: Hello, this is IDA Judge, Ashley Peter from New York City.
• 10:19
  SPEAKER_08: And one thing I've loved this season is all of the really cool costuming and tops that I've seen paired with gloves either attached or just the three-quarter long gloves.
• 10:29
  SPEAKER_08: But it's not kind of in just a typical way that we've seen.
• 10:31
  SPEAKER_08: I feel like I've seen a lot of really creative, just different, you know, cuts in the costuming.
• 10:36
  SPEAKER_08: And what I loved also with that was a lot of these choreographers have been really thoughtful with the choreography and the shapes and the visuals that they wanted to make to pair with these really cool tops and gloves.
• 10:50
  SPEAKER_08: And then along with that, because you know, as we're adjudicating, we're saying, oh, you've got these gloves on, it's drawing attention to your wrists and your elbows.
• 10:58
  SPEAKER_08: And I talk about articulation through the hands and the backs of the hands a lot.
• 11:02
  SPEAKER_08: And I felt like I really saw some really clean, precise dances.
• 11:07
  SPEAKER_08: And I so appreciated these cool, crisp, clean lines that were creative with these really creative costumes and gloves.
• 11:14
  SPEAKER_09: Yeah, I I totally agree.
• 11:16
  SPEAKER_09: I don't know, it it might be a trend this year, but I definitely have seen a lot of gloves on stage, whether they're little wrist gloves, long gloves.
• 11:23
  SPEAKER_09: I've even seen like this definitely has to be a trend coming from somewhere, but like hands that were painted this season.
• 11:30
  SPEAKER_09: Yeah.
• 11:30
  SPEAKER_09: Like everyone paints their hands and then it like comes, it looks like a glove, but it's not.
• 11:35
  SPEAKER_09: It's your hand.
• 11:36
  SPEAKER_09: I don't know what that's all about, but we're highlighting the hands and the fingers in our costuming at competition.
• 11:42
  SPEAKER_04: Well, good.
• 11:43
  SPEAKER_04: Well, like she said, you know, it does draw our attention.
• 11:46
  SPEAKER_04: And but when it when it's done well, and when you are articulating your hands and extending the line, it adding a glove just adds to that beautiful visual.
• 11:54
  SPEAKER_04: And I can't say that I've seen that myself, but what what I do appreciate about her comment about costuming, helping with the choreography and creating visuals, I am not like I don't do well with that.
• 12:07
  SPEAKER_04: I don't do that very well, um, in my opinion.
• 12:09
  SPEAKER_04: I could do better.
• 12:10
  SPEAKER_04: And so I I am always very like blown away when people have that full entire vision that the costume really contributes to the movement because I just don't think that way.
• 12:20
  SPEAKER_04: And so when people do think that way, I'm always so impressed.
• 12:22
  SPEAKER_04: So good, good for y'all out there.
• 12:24
  SPEAKER_09: Yeah, I and I um I'm a big fan of gloves when they're done right.
• 12:28
  SPEAKER_09: I do think that they can really enhance the look of the costume, especially if it's, you know, if the style needs it or if the type of movement quality uh needs the look of the glove.
• 12:39
  SPEAKER_09: But I do think it is important to remember and remind dancers that if you are wearing a glove, again, like I mentioned, you are putting a highlight and a feature onto your finger.
• 12:48
  SPEAKER_09: So your handography has to be like extremely perfect and specific.
• 12:54
  SPEAKER_09: You can't get a away with many things when you have a red glove on with an all-black costume because that those red gloves are gonna pop.
• 13:01
  SPEAKER_09: So if you're not giving a strong jazz hand or if your wrist is broken when it's not supposed to be, or little tiny details of even down to the fingertips in a glove line is gonna be make or break.
• 13:11
  SPEAKER_09: So as long as you have clean, specific hands and and fingers in in your execution, then wearing gloves is great.
• 13:18
  SPEAKER_09: And the other thing I want to mention about gloves is that uh when it comes to acro in gloves, because a lot of times people are like, We have gloves for our costume, but how do we slip not slip on stage with our gloves on?
• 13:33
  SPEAKER_09: My my response to that is you either lose the gloves or you lose the acro.
• 13:38
  SPEAKER_09: But if you're wearing a glove and it's a day and it's becoming a safety hazard or it's dangerous to the execution of your skills, then we don't wear the glove.
• 13:48
  SPEAKER_09: Like to me, it's like I like the glove and it and it might make the look the look really great, but you also have to think about safety.
• 13:55
  SPEAKER_09: And like one of the best, um I've heard people doing like little dots on their hands, like little glue dots.
• 14:01
  SPEAKER_09: Yeah, glue dots, which like I don't know if that works because I've never done that.
• 14:05
  SPEAKER_09: Maybe it does.
• 14:06
  SPEAKER_09: But I also think that if you want the look of the glove without having the hand covered, you can get those like it goes the little elastic goes over the middle finger and it and it's have a name.
• 14:16
  SPEAKER_09: Yeah, what are they called?
• 14:18
  SPEAKER_09: They're like forearm gloves, but the hands.
• 14:20
  SPEAKER_09: They were very popular in the 80s, yeah.
• 14:22
  SPEAKER_09: And I think that still gives the look presentationally of what we're trying to go for, but it allows your hands to have the grip it needs for for acro.
• 14:30
  SPEAKER_09: So there's always a way to make it work, but no matter what, if you're wearing gloves, make sure it's super safe.
• 14:35
  SPEAKER_09: You're able to execute everything that you practice with your gloves on as well.
• 14:39
  SPEAKER_09: And I think that could be a really great resource for rehearsal.
• 14:43
  SPEAKER_09: So your teacher can really see what it looks like when you have a bright red glove on if the dancers aren't executing those that fingertip execution nice and strong.
• 14:53
  SPEAKER_04: Yeah.
• 14:54
  SPEAKER_04: And you know, put your rubber band at the end of it or use your body glue.
• 14:57
  SPEAKER_04: Or that's well, you know, a big pet peeve of mine is if you have a cool accessory and it's slipping or falling, or just like the the spats for your shoes, like those are notorious for just not staying on.
• 15:07
  SPEAKER_04: So make sure it's been practiced in before because they can be very effective if they stay on.
• 15:11
  SPEAKER_09: Totally.
• 15:12
  SPEAKER_09: All right, let's hear what our next judge has to say.
• 15:15
  SPEAKER_12: Hi, this is Marissa Anderson from New York.
• 15:18
  SPEAKER_12: How is everybody doing?
• 15:19
  SPEAKER_12: I hope you had a great season.
• 15:20
  SPEAKER_12: I would like to comment on the costuming actually for this season.
• 15:24
  SPEAKER_12: I saw in smaller competitions, like less known competitions, that dancers were wearing a little bit more modest costuming, a little bit less less like flashy and glamorous and sequiny.
• 15:36
  SPEAKER_12: And the big competitions, the more well-known competitions, I saw dancers' costumes almost like pushing the envelope and being a lot more revealing.
• 15:46
  SPEAKER_12: I found that interesting.
• 15:47
  SPEAKER_12: I think that the smaller competitions, studio owners are really listening to their parents.
• 15:52
  SPEAKER_12: They're really listening to the idea that, you know, these are these are children at the end of the day, and uh costuming them appropriately is in their best interest.
• 16:04
  SPEAKER_12: The uh revealing costumes that I have seen this season, specifically at the larger, more well-known competitions where you're gonna get those more advanced dancers, does that go hand in hand?
• 16:18
  SPEAKER_12: Can these more advanced dancers push the envelope a little bit more?
• 16:22
  SPEAKER_12: And then are they pushing the envelope just to get noticed?
• 16:26
  SPEAKER_12: Are they pushing just to make a statement and stand out?
• 16:30
  SPEAKER_12: What gives them license to wear something that is a slightly inappropriate?
• 16:35
  SPEAKER_12: And just because they they are more at an advanced level and competing at a different level than dancers, I just thought it was interesting that that correlation exists between dancers who are more advanced and their costuming being more on the inappropriate side.
• 16:52
  SPEAKER_12: I also just want to follow up on my comment from my first recording that I think the costuming is reflecting more of a simplicity vibe.
• 17:01
  SPEAKER_12: And I appreciate that because I think the simpler the costume, you know, more pulled back, the more we can actually focus on the choreography, the more we can see the artistry of the movement of the dancer.
• 17:15
  SPEAKER_12: And I think that's really important and something that is becoming more of a trend, especially in 2024.
• 17:22
  SPEAKER_12: We're seeing people really think more cerebrally about their choreography, about their storytelling, rather than the pageantry of costuming and rhinestones and glitter.
• 17:34
  SPEAKER_12: Not that that doesn't have a place anymore in our competitions.
• 17:38
  SPEAKER_12: I just think they're they're thinking a little bit more about their storytelling and their message.
• 17:44
  SPEAKER_04: Thank you, Marissa.
• 17:45
  SPEAKER_04: I I am I'm also interested and find it interesting and agree that I, at least from my perspective and also looking at social media perspectives and things like that, like your your big, your big guns out there, your big name competitions do attract a higher level of talent, oftentimes.
• 18:02
  SPEAKER_04: And with that, there sometimes comes a more mature outlook on what dance is and competitive dance is, especially at the higher levels and the higher ages.
• 18:13
  SPEAKER_04: However, sometimes it's a little, it is a little shocking.
• 18:16
  SPEAKER_04: You know, I sometimes on social media, there's a certain social media account of a very big dance competition out there that every single thing I see, I'm like, is she really wearing that?
• 18:26
  SPEAKER_04: Is that really what this person has on?
• 18:28
  SPEAKER_04: And it's, I don't know, it's very interesting to see.
• 18:30
  SPEAKER_04: But I also agree that sometimes your smaller competitions, you know, are dealing with smaller studios, newer studios, more conservative studios, because, like she said, the parents maybe are driving the decision making a little bit more because they're saying what they want and the studio owner is you know, allowing that to happen, which is perhaps going to a smaller competition, going to a more conservative competition.
• 18:53
  SPEAKER_04: So it is an interesting thing to observe.
• 18:56
  SPEAKER_09: Yeah, I I definitely agree on this uh from Marissa, and it and it is, it is a very interesting observation.
• 19:03
  SPEAKER_09: Um, I almost think that the highly competitive advanced studios that are attending some of the higher level competitions feel like they're required to wear certain types of costuming to succeed because they see the others doing it.
• 19:18
  SPEAKER_09: And even some of the the newer dance studios and younger dance studios or smaller dance studios that are in the world as well, are then looking up to those studios on social media or through their achievements or through their photos and seeing what they're wearing and thinking again, is this what wins?
• 19:40
  SPEAKER_09: And I think that the most important thing to remember is to be true to who you are and what you want out of this.
• 19:47
  SPEAKER_09: I don't think that you need to be wearing practically nothing on stage to succeed at competition.
• 19:52
  SPEAKER_09: However, we see it often.
• 19:54
  SPEAKER_09: And granted, that it has you can wear practically nothing, and what I mean by that is like uh just a leotard or a two-piece with no tights, whatever.
• 20:05
  SPEAKER_09: I mean, sometimes I've seen things that like barely covers everybody's bits and pieces on stage, and it's I'm nervous the whole time.
• 20:12
  SPEAKER_09: But Mursa also brought up the fact that aesthetically s some of us are just wearing something basic and clean and and plain so we can focus on the actual dancing that's happening, and there's not that costume that's getting in the way as a distraction.
• 20:30
  SPEAKER_09: Which I do like, you know, something just like a clean leotard with you know, I love it.
• 20:35
  SPEAKER_09: Like it I think it looks great.
• 20:36
  SPEAKER_09: And and I'm to and also like props to dancers who are able and willing to wear a leotard on stage with no tights.
• 20:44
  SPEAKER_09: Like, I mean, I you couldn't pay me enough money, I've said it a million times.
• 20:49
  SPEAKER_09: But like y'all look amazing.
• 20:50
  SPEAKER_09: I mean, it's it's it's truly beautiful up there under the stage lights and everything.
• 20:55
  SPEAKER_09: You look amazing, and it's I I give you all the props, but at the same time, there's costuming that we see that just is going a little bit too far when when we think about that we're watching children.
• 21:07
  SPEAKER_09: And like, do we need the thigh highs?
• 21:10
  SPEAKER_09: Do we?
• 21:11
  SPEAKER_09: I don't think we need the thigh highs.
• 21:12
  SPEAKER_09: I don't think we need the garters, I don't think we need the thigh highs.
• 21:16
  SPEAKER_04: The I don't chains, like I've seen chains, like actual bondage almost.
• 21:21
  SPEAKER_09: I've definitely seen like bondage on stage, like feather but like done not in a tasteful way, you know, like just it you can and then you put pair that with the inappropriate type of movement that might exist.
• 21:37
  SPEAKER_04: It's just a recipe for disaster.
• 21:39
  SPEAKER_09: Yeah.
• 21:39
  SPEAKER_09: So, you know, I I but I it is interesting to see that what she what she noticed from judging different types of competitions.
• 21:47
  SPEAKER_09: And I do think that different competitions attract different types of studios that might push the boundaries more than others.
• 21:54
  SPEAKER_09: Some, like you said, might be more conservative.
• 21:56
  SPEAKER_09: So it is a real thing in our in our industry, and I don't know if that's good.
• 22:00
  SPEAKER_09: Or bad, like you know, it's just a thing to observe.
• 22:02
  SPEAKER_09: Yeah, and you can't like predict w who's gonna show up either.
• 22:06
  SPEAKER_09: So, you as a conservative studio might have done your research and felt like what you've seen at the studio uh at this competition last year was aligned with how you want to attend an event, and then a studio might show up that's completely opposite.
• 22:21
  SPEAKER_09: You just never know.
• 22:22
  SPEAKER_09: Yeah, can't control those things.
• 22:24
  SPEAKER_09: All you can control is yourself.
• 22:25
  SPEAKER_09: Yep.
• 22:26
  SPEAKER_09: All right, we have one more final costuming note.
• 22:28
  SPEAKER_08: Hello, this is IDA Judge, Ashley Peter from New York City.
• 22:31
  SPEAKER_08: And one trend I haven't loved this season is seeing the combination of tights with the Pierouette Turner shoes.
• 22:38
  SPEAKER_08: I'm not a fan of those shoes in general, but they are not new, they've been around, everyone wears them.
• 22:43
  SPEAKER_08: I think that they hold the dancers back and they promote cycling with how they fit on the foot.
• 22:47
  SPEAKER_08: And I appreciate that dancers are wearing tights, but if they're wearing a stirrup and then they have the shoe and then their heel is exposed, more often than not, those are all three different colors, right?
• 22:58
  SPEAKER_08: Their skin tone, the color of the tight, and the color of the shoe.
• 23:01
  SPEAKER_08: They're not usually all the same color.
• 23:02
  SPEAKER_08: And even if they are, it's just bulky.
• 23:04
  SPEAKER_08: It really cuts off the line.
• 23:05
  SPEAKER_08: And if they have a full-footed tight on with the pirouette, then they're slipping all over the floor because their their tight heel, the heel with the tight is exposed to the floor.
• 23:14
  SPEAKER_08: And even with the stirrup, it causes the straps of the pirouette shoes to fall off.
• 23:18
  SPEAKER_08: So I love that dancers are wearing tights.
• 23:20
  SPEAKER_08: I would just love to see them either barefoot in a stirrup or in a shoe.
• 23:24
  SPEAKER_09: Yes, in a shoe, like a full shoe.
• 23:26
  SPEAKER_09: In a shoe, two shoes, two whole shoes.
• 23:28
  SPEAKER_04: Two whole shoes.
• 23:29
  SPEAKER_04: As your resident dance footwear person, turners are not meant to be worn with a footed tight.
• 23:36
  SPEAKER_04: Just that, first of all, like they're meant to be worn so that your heel is exposed and out and able to be put down and not slide anywhere.
• 23:45
  SPEAKER_04: That is the point.
• 23:46
  SPEAKER_04: Um, so please don't wear footed tights or convertible tights that are rolled down with your turners.
• 23:51
  SPEAKER_04: Um, the stirrup, I mean, I listen, I am on the same page as Ashley.
• 23:55
  SPEAKER_04: I don't like the shoes.
• 23:57
  SPEAKER_04: I appreciate the tights.
• 23:58
  SPEAKER_04: I don't like the shoes, I don't like them together.
• 24:00
  SPEAKER_04: However, you know, if that is the choice, yes, your your stirrup should be worn over the elastics of the turners to not only, you know, help keep them on, but to continue to expose your heel.
• 24:12
  SPEAKER_04: And yes, correct.
• 24:13
  SPEAKER_04: All of all of it's very bulky.
• 24:15
  SPEAKER_04: There's a lot of colors happening.
• 24:16
  SPEAKER_04: I'm not a fan either.
• 24:18
  SPEAKER_04: So I feel you, Ashley.
• 24:19
  SPEAKER_04: I do.
• 24:20
  SPEAKER_09: Yeah, I think it's a tough situation because there's studios out there who want to train in turners but want their kids in tights.
• 24:26
  SPEAKER_09: And it's just like, how do we do both successfully?
• 24:28
  SPEAKER_09: Yeah.
• 24:29
  SPEAKER_09: And I don't again, exactly.
• 24:31
  SPEAKER_09: I I don't think there's a really a way to do it because the turners are a part of our dance world now, but they weren't originally.
• 24:38
  SPEAKER_09: They were designed for gymnasts.
• 24:39
  SPEAKER_09: They they come from the rhythmic gymnastics world.
• 24:43
  SPEAKER_09: And do you see gymnasts wearing tights?
• 24:45
  SPEAKER_09: Absolutely, they do not.
• 24:47
  SPEAKER_09: So that's why it works for them.
• 24:49
  SPEAKER_09: Now here we are as dancers trying to allow them into our space, but we still want to wear tights.
• 24:54
  SPEAKER_09: And I think that as part like that could partially be why a lot of people stopped wearing tights because they want to wear these turners that you don't wear tights with.
• 25:02
  SPEAKER_09: But if you are a studio that wants to wear tights, but you want to also, you know, put your dancer in a shoe of some sort and not be barefoot in a stirrup, then I would say a jazz shoe would be perfectly fine to wear with your tights in a lyrical dance.
• 25:15
  SPEAKER_09: Yeah.
• 25:16
  SPEAKER_04: A hundred percent agreed.
• 25:17
  SPEAKER_09: Like a jazz shoe is classic.
• 25:19
  SPEAKER_09: They are not going anywhere.
• 25:20
  SPEAKER_09: Dancers need to know how to dance in them.
• 25:23
  SPEAKER_09: It's I don't understand why we need our heel out anyway.
• 25:26
  SPEAKER_09: Like, just put the darn shoe on and dance.
• 25:29
  SPEAKER_09: It's giving you all the same purpose as what a turner would do, but it looks better, it presentationally looks better, and it's gonna allow your dancers to turn and articulate through their feet.
• 25:39
  SPEAKER_09: Their feet are gonna look better.
• 25:41
  SPEAKER_04: And they last longer.
• 25:42
  SPEAKER_04: I mean, the biggest complaint I hear from everybody who puts their dancers in a turner is that those shoes don't last.
• 25:48
  SPEAKER_04: And I don't care what brand it is, and I'm not here to tell you my brand is better than this brand, because in my opinion, the just the construction of that kind of shoe generally, you're gonna bust through them because they have to be tight.
• 26:00
  SPEAKER_04: They are meant to be tight.
• 26:01
  SPEAKER_04: You cannot buy that shoe a size too big to grow into it because it will fall off.
• 26:05
  SPEAKER_04: So, of course, your toe is popping through it.
• 26:08
  SPEAKER_04: So, if you also, you know, here's another plug for a jazz shoe in Lyrical, put your jazz shoe on because it's gonna last longer.
• 26:14
  SPEAKER_04: You can get away with a jazz shoe not being skin tight because they're meant to give you a little bit of room to move.
• 26:21
  SPEAKER_04: So there's my there's my plug.
• 26:23
  SPEAKER_04: I love it.
• 26:23
  SPEAKER_04: And you can wear tights with them.
• 26:25
  SPEAKER_09: Exactly.
• 26:25
  SPEAKER_09: The best of both worlds.
• 26:27
  SPEAKER_09: And speaking of jazz shoes, let's hear what Miranda has to say about jazz dance.
• 26:33
  SPEAKER_05: Hi, this is IDA Judge Miranda from Buffalo, New York.
• 26:36
  SPEAKER_05: One thing that stuck out to me about this competition season is that strong jazz is back.
• 26:41
  SPEAKER_05: Everything from powerful music choices to strong costuming to clean lines and unique choreography.
• 26:48
  SPEAKER_05: I absolutely have loved being able to see jazz dance come back the way that I always remember it.
• 26:53
  SPEAKER_05: Strong, clean, and full of power.
• 26:55
  SPEAKER_09: Yes, for Jazz Dance, it's alive and well in the dance competition world.
• 27:00
  SPEAKER_09: I love that.
• 27:01
  SPEAKER_04: I'm s I also have to agree, uh, the events that I was judging this year, I did see a lot of good jazz, more so than I feel like I have in the past.
• 27:09
  SPEAKER_04: You know, I think there's there's been some really interesting uh social media dance that's been happening in the industry that like I think people are just gravitating towards because it's a little more jazzy than other things that may have been popular in the past that have gone viral.
• 27:24
  SPEAKER_04: So I think maybe that is kind of having a little bit of an influence on what genres people are gravitating towards.
• 27:30
  SPEAKER_04: And yay, jazz.
• 27:31
  SPEAKER_04: That's awesome.
• 27:32
  SPEAKER_09: Yeah, I mean, y'all know I love me some jazz dance over here, and I'm always excited when I see actual jazz dance happening on the stage.
• 27:40
  SPEAKER_09: So thank you to all of the studios who are bringing real jazz back.
• 27:45
  SPEAKER_09: And uh shout out to all of the amazing choreographers out there who are making it happen.
• 27:49
  SPEAKER_09: One thing I will say though about the real jazz, and this isn't like a knock to anybody, but I do think that there's a lot of studios who are try being heavily influenced by particular jazz choreographers in this new wave of jazz dance that's existing now for competition, where it almost feels like they're ripping them off.
• 28:09
  SPEAKER_09: And while we absolutely can be inspired by one another and influenced by what we see on social media and other studios and other choreographers at conventions and in the industry, that's the point.
• 28:20
  SPEAKER_09: That's why this dance world is so beautiful.
• 28:22
  SPEAKER_09: There is a there there have been times where I'm sitting at the judge's table and I'm just feeling like this feels like a ripoff versus an inspiration.
• 28:30
  SPEAKER_09: So I do think that it's important for people to still remember to know who you are as a choreographer and not feel like that we have to completely replicate um other other studios choreography.
• 28:42
  SPEAKER_09: Um and that can go across the board for all, but I'm specifically for me talking about things that I have seen in the jazz category where I'm like, I love what's happening here, but this feels like a complete rip rip-off of XYZ choreographer, instead of this was so innovative and so cool.
• 28:57
  SPEAKER_09: And I saw this classic foundational jazz here and there and there, and I loved it, and yay, yeah, yay.
• 29:02
  SPEAKER_09: Sometimes it sometimes I've been like, oh, I feel like I've already seen this exact dance on Instagram before.
• 29:08
  SPEAKER_09: And uh it says that it's choreographed by a studio teacher and not the choreographer who I'm thinking of.
• 29:14
  SPEAKER_09: So just keep that in mind with all of our things that we're uh as we go into next season to absolutely be inspired, but don't try to replicate too much.
• 29:24
  SPEAKER_09: You know, it's important to remember that.
• 29:26
  SPEAKER_09: Have your own voice in this world.
• 29:28
  SPEAKER_09: All right, and let's hear from our next IDA judge to see what they have to share.
• 29:33
  SPEAKER_06: Hey, this is IDA Judge Maddie from Tampa, Florida.
• 29:36
  SPEAKER_06: And something that I've noticed is that front aerials have kind of become the new staple in every dance.
• 29:43
  SPEAKER_06: And first of all, I want to remind dancers that you don't need to do a front aerial in order to win, although it is a lovely skill.
• 29:50
  SPEAKER_06: And second, if you're going to do a front aerial or a front walkover, any sort of acrobatic skill that moves forward in space, you have to bring your arms with you.
• 29:58
  SPEAKER_06: So think like you're on a hamster wheel, swing your fingertips back up and forward, allow your shoulders to come back to neutral.
• 30:04
  SPEAKER_06: It's gonna make it a lot easier if you follow through.
• 30:06
  SPEAKER_06: And it's also gonna be a lot more complete for your viewers and your judges as we're watching you.
• 30:13
  SPEAKER_06: And this is a trend that I've noticed that applies to teachers that a lot of dancers are only doing their skills, especially their leg holds, their batmas, their extensions on one side, and it's usually the right side.
• 30:28
  SPEAKER_06: And if you only do one or two throughout the piece, it's not super noticeable.
• 30:32
  SPEAKER_06: But when dancers are putting their same leg up into the same line 14 times in the span of two minutes, and that is not an exaggeration.
• 30:40
  SPEAKER_06: I've counted before, it gets a little bit old and it doesn't show that you're working effectively in the classroom and in your training.
• 30:49
  SPEAKER_06: So let's challenge our dancers to do their skills on both sides.
• 30:53
  SPEAKER_06: Maybe they do a triple pirouette on their right and a double pirouette on their left at some point.
• 30:58
  SPEAKER_06: Let's make sure that we're building equal strength on both sides, even though we will obviously favor one side over the other.
• 31:04
  SPEAKER_04: Cool.
• 31:05
  SPEAKER_04: We love Maddie.
• 31:06
  SPEAKER_04: Maddie, thank you so much for these um insights.
• 31:09
  SPEAKER_04: And yeah, I mean, I feel I feel like the aerial thing does feel new.
• 31:14
  SPEAKER_04: Like people have been doing front aerials for a long time, but only recently have I noticed it start to become I'm I'm less impressed because more people can do them.
• 31:22
  SPEAKER_04: And I know that doesn't have to do right.
• 31:24
  SPEAKER_04: It's like I feel bad because it doesn't have to do with you as the individual.
• 31:27
  SPEAKER_04: You, the individual dancer, if you got your front aerial, that is impressive.
• 31:31
  SPEAKER_04: It is amazing.
• 31:32
  SPEAKER_04: That is a very challenging skill.
• 31:34
  SPEAKER_04: Go you.
• 31:35
  SPEAKER_04: However, if 25 dancers can do it and only four used to be able to do it, now me as a judge, seeing 25 of you do it, it's like, okay, well now I guess everybody does this.
• 31:45
  SPEAKER_04: Like it's not as impressive to the viewer if you're constantly viewing the same thing.
• 31:49
  SPEAKER_04: So I definitely see her point there.
• 31:52
  SPEAKER_04: And you also, again, if you can't do a front aerial, you could still win a dance competition.
• 31:56
  SPEAKER_04: You just have to be better than the girl who can do the front aerial.
• 32:03
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• 32:06
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• 33:07
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• 33:15
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• 33:26
  SPEAKER_09: Yeah, I mean I'm I I like front aerials.
• 33:30
  SPEAKER_09: I don't love front aerials.
• 33:32
  SPEAKER_09: I don't I like them when they're done well.
• 33:35
  SPEAKER_09: I don't need them in every dance.
• 33:37
  SPEAKER_09: I will say they're very most of the time they're very awkward and unnecessary.
• 33:42
  SPEAKER_09: Unless they're in like a perfect crash bang boom in the music.
• 33:46
  SPEAKER_09: I don't it it doesn't doesn't make sense to me.
• 33:49
  SPEAKER_09: Unl or if like a dancer pulls it out of nowhere and it's a surprise or and lands it so soft, the same softness that they have with the soda shaw and they're landing a front aerial that soft, then I'm impressed.
• 34:03
  SPEAKER_09: And most likely their legs are straight and their feet are pointed if they're landing it that clean.
• 34:08
  SPEAKER_04: And their arms followed through like on the hamster wheel.
• 34:10
  SPEAKER_09: Yes.
• 34:10
  SPEAKER_09: I need the follow-through of the arms.
• 34:12
  SPEAKER_09: It is such a huge distraction.
• 34:14
  SPEAKER_09: And it's something actually that I I didn't grow up doing front aerials, but I definitely did a little bit of tumbling and and always making sure the arms followed through and finished up was like also for safety purposes and bringing your back up in alignment.
• 34:27
  SPEAKER_09: Like the amount of times I see dancers do front aerials and their arms are down by their sides and their backs get stuck upside down.
• 34:34
  SPEAKER_09: Somehow they're back there, and all I can think of is like, are you gonna how are you getting out of that?
• 34:39
  SPEAKER_09: Yeah, like you need to use your arms to help you up out of it, the momentum of your arms, and they get stuck back there, and then the weight distribution of the landing becomes dangerous because it's the momentum isn't continuing forward.
• 34:51
  SPEAKER_09: It gets it gets trapped, and then that could be really damaging to the knees.
• 34:55
  SPEAKER_09: Like all about it.
• 34:57
  SPEAKER_09: It's just and it doesn't look safe.
• 34:59
  SPEAKER_09: Like it doesn't look better when you have your arms by your side.
• 35:01
  SPEAKER_09: I just want to let everybody know.
• 35:02
  SPEAKER_09: Because if you are doing the front aerial to like pull focus in a in a good way to highlight it, then bringing arms up will actually make my eye go to you versus you just being stuck upside down in like an awkward position.
• 35:14
  SPEAKER_09: So even just the technical execution of the front aerial, if we're gonna do it, I want to see it done cleaner and safer because it is a very high impact skill that can become very dangerous really quickly.
• 35:26
  SPEAKER_04: A hundred percent.
• 35:27
  SPEAKER_04: And to touch on her other point, the one-sidedness.
• 35:30
  SPEAKER_04: Oh, gosh, we've been seeing one sideste since there was a dance competition.
• 35:34
  SPEAKER_04: I mean, of course, we all prefer one side, but I think it's the choreographer's job to make sure there's versatility being showcased.
• 35:42
  SPEAKER_04: And sure, maybe your left side does not do what your right side does, but what does your left side do?
• 35:46
  SPEAKER_04: Right.
• 35:46
  SPEAKER_04: Can you give me something?
• 35:48
  SPEAKER_04: Something.
• 35:48
  SPEAKER_04: Give me something.
• 35:49
  SPEAKER_04: Because if all I'm seeing is your right leg, I like she said, it's a little tiresome and it's a little boring.
• 35:54
  SPEAKER_09: So it's predictable, it's boring, it's the same thing as the one shoe.
• 35:58
  SPEAKER_09: We know you're only gonna turn on that side.
• 36:00
  SPEAKER_09: Like, I'm s I wanna know that you can do more than just one thing.
• 36:03
  SPEAKER_09: I wanna know that you can you are training both sides equally.
• 36:07
  SPEAKER_09: And like you said, it's that's a knock to the choreographer.
• 36:10
  SPEAKER_09: The dancer's just doing what they're taught.
• 36:12
  SPEAKER_09: And the dancer is probably gonna try to defend themselves in in choreography rehearsal and say, but that's my bad side.
• 36:19
  SPEAKER_09: Why are you making me do my bad side and my solo?
• 36:22
  SPEAKER_09: Because the judges care.
• 36:24
  SPEAKER_09: Okay?
• 36:24
  SPEAKER_09: The judges care.
• 36:26
  SPEAKER_09: I don't want to see you lift your leg 15 times, like Maddie said.
• 36:29
  SPEAKER_09: I don't care if it's an attitude, I don't care if it's a ponche, I don't care if it's side extension.
• 36:33
  SPEAKER_09: If it's the same leg every time, it becomes predictable and boring.
• 36:36
  SPEAKER_09: I want to see the versatility.
• 36:38
  SPEAKER_09: When I see a dancer get their leg to their ear in an extension on the right and then show me their left, even if it's not equally as high, I'm still excited because you're showing me that you are training both sides and you're working on your left as well.
• 36:52
  SPEAKER_09: And it's not just a forgotten about thing.
• 36:54
  SPEAKER_09: It is something I comment on so frequently as the teacher judge on the microphone when I am the teacher judge.
• 37:00
  SPEAKER_09: I will say it every time and I will then be distracted at having to count how many times you've losed your leg to just prove a point to the teacher that we shouldn't be doing just one side.
• 37:11
  SPEAKER_04: Right.
• 37:11
  SPEAKER_04: And also, I mean, sure, if if you have a dancer whose legs are their strong suit, everybody knows that dancer who's like, here's my leg, here's my leg, my leg.
• 37:20
  SPEAKER_04: Okay, well, so you've done it twice and now I get it.
• 37:22
  SPEAKER_04: So can she turn?
• 37:24
  SPEAKER_04: Right.
• 37:24
  SPEAKER_04: Can they can they leap?
• 37:25
  SPEAKER_04: Can they do a really sassy pose?
• 37:27
  SPEAKER_04: Like what else can they do?
• 37:29
  SPEAKER_04: Because now I know they can do that.
• 37:30
  SPEAKER_03: Right.
• 37:31
  SPEAKER_04: And uh like it's kind of beating a dead horse if you keep showing me that, but you neglect to show me everything else, even if that other thing isn't as good.
• 37:38
  SPEAKER_04: I still need to know can she do a double pirouette?
• 37:40
  SPEAKER_04: Maybe she can't do a double, can they do a single pirouette?
• 37:43
  SPEAKER_04: Give me something, not just legs.
• 37:45
  SPEAKER_04: Like, I just, you know, I again disservice to the dancer by the choreographer if you're not trying to showcase at least a little peppering of everything, you know?
• 37:54
  SPEAKER_09: Totally.
• 37:55
  SPEAKER_09: And let's hear one more thought from our next IDA judge.
• 38:00
  SPEAKER_00: This is IDA judge Jessica Olnick from Philadelphia, Pennsylvania.
• 38:04
  SPEAKER_00: Dancers and choreographers, let's push the boundaries of creativity in our movement and turns.
• 38:09
  SPEAKER_00: While impressive turns are captivating, let's explore new ways to showcase our strengths.
• 38:13
  SPEAKER_00: It's important to recognize that relying solely on one set of impressive turns in every routine can also become very unimpressive over time to judges.
• 38:23
  SPEAKER_00: Dancers need to be consistently challenged and pushed to evolve in their careers.
• 38:27
  SPEAKER_00: That's our job, you guys.
• 38:29
  SPEAKER_00: Let's break away from the conventional and dare to be different, showcasing a diverse range of turns and steps that truly highlight our artistic depth and versatility.
• 38:39
  SPEAKER_00: This not only keeps the art form dynamic, but also ensures that the dancers are consistently and constantly growing and expanding their artistic horizons.
• 38:49
  SPEAKER_09: Ooh, that goes hand in hand with what you were just talking about.
• 38:52
  SPEAKER_04: Yeah.
• 38:53
  SPEAKER_04: Jess Olinick has been out this season.
• 38:56
  SPEAKER_04: Like every every weekend I see her social media and it's like, here I am going there.
• 39:00
  SPEAKER_04: Here I am going.
• 39:01
  SPEAKER_04: I think she probably judged every weekend.
• 39:03
  SPEAKER_04: So she's seen a lot this season.
• 39:04
  SPEAKER_04: And Jess is also a f a phenomenal educator who does push the boundaries and tries to, you know, get get things to be very versatile.
• 39:11
  SPEAKER_04: So yeah, I mean, I agree specifically with the turn sequences because, you know, I think we all rely on the things we do well because we do them well, and you want to do the thing you do well more often than not.
• 39:25
  SPEAKER_04: But I think the issue becomes if that's all you can do, are you ever are you are you even gonna try something else?
• 39:32
  SPEAKER_04: You know, I'd almost rather see if you have three solos and you do the same turn sequence in all three and they're all perfect, well, I don't know.
• 39:39
  SPEAKER_04: I'd rather see one of them you try a differ a whole different scenario.
• 39:43
  SPEAKER_04: Do it on the other side, you know, do it in a different position.
• 39:46
  SPEAKER_04: Start it from a different position, something.
• 39:48
  SPEAKER_04: Mm-hmm.
• 39:49
  SPEAKER_09: Yeah, and I think that goes hand in hand with even group choreography and the dancers who are being featured or showcased throughout different group choreography in different genres.
• 40:00
  SPEAKER_09: I've seen straight up formula dances where dancers that I already know I can predict exactly what's gonna happen.
• 40:07
  SPEAKER_09: That dancer is gonna do probably a scorpion, that dancer is gonna do the front aerial because that's her signature, this dancer is gonna do the turn sequence and do a skater turn into eight pirouettes, and it's the same exact thing every time.
• 40:20
  SPEAKER_09: It's always those dancers, it's always that feature, and it's always that skill.
• 40:24
  SPEAKER_04: And it becomes And all the other dancers are in the pose in the back.
• 40:27
  SPEAKER_09: Right.
• 40:27
  SPEAKER_09: And they're just, you know, back in the back, doing whatever, doing their step touch.
• 40:32
  SPEAKER_09: And it's becoming like a gimmick of this is our this is what we think we need to succeed and win.
• 40:38
  SPEAKER_09: And the first time you watch it, you're like, wow, that was an amazing turn.
• 40:41
  SPEAKER_09: Wow, beautiful scorpion.
• 40:43
  SPEAKER_09: Then the second time you see, okay, just saw you do that like 20 dances before in your jazz routine.
• 40:48
  SPEAKER_09: Like, don't other people think that when they're watching it?
• 40:51
  SPEAKER_09: Like, do don't don't the dancers know?
• 40:53
  SPEAKER_09: The dancers have to know.
• 40:54
  SPEAKER_09: The parents have to know.
• 40:56
  SPEAKER_09: That like, so what is this?
• 40:57
  SPEAKER_04: And don't think we don't notice.
• 40:59
  SPEAKER_04: We notice.
• 40:59
  SPEAKER_04: You know, it's like, I think, I think people, and and maybe this is true sometimes and for some people, for some judges, but you know, if I remember, especially something like that, even if it's been 20 numbers, I I now know who your kids are.
• 41:13
  SPEAKER_04: I now I have a a thought in my head of who this group is.
• 41:16
  SPEAKER_04: And I will remember, because it was only 20 numbers ago, that you did that Scorpion in that same spot.
• 41:21
  SPEAKER_04: You started that tumbling pass from that same spot at around the same time as the last dance.
• 41:26
  SPEAKER_04: You know, so like sure, am I gonna remember that six months from now?
• 41:30
  SPEAKER_04: No, but it may have an effect on your immediate, my immediate thought of your group, that group at the event that you're at, you know.
• 41:38
  SPEAKER_04: So I I and I can also, you know, I can understand the desire to make things kind of as easy as possible if you're somebody who's having to choreograph 17 dances for the same group of kids.
• 41:49
  SPEAKER_04: Okay, well, it is easy to say, Sarah, you're gonna come over here this time, just like you do in lyrical.
• 41:54
  SPEAKER_04: You're gonna come over here and you're gonna do your Scorpion.
• 41:56
  SPEAKER_04: Well, okay, sure, I can have some sympathy for, you know, your plight.
• 42:00
  SPEAKER_04: However, give the kids some more credit, you know, give yourself some more credit, even if you switch it to the other side of the stage.
• 42:07
  SPEAKER_04: Do do something a little bit different.
• 42:09
  SPEAKER_04: Because, you know, at this point, even if even if we're talking recreational dance, even if we're talking lower level, intermediate, smaller, newer competitions, whatever, the the bar has been raised just in general, in dance period.
• 42:23
  SPEAKER_04: You know, we talk about that all the time.
• 42:25
  SPEAKER_04: It's it's no longer in competitive dance, you know, and even a recreational studio coming to a competition.
• 42:31
  SPEAKER_04: That bar is still raised from what it was 10 years ago, from what it was 20 years ago.
• 42:37
  SPEAKER_04: And it's maybe a minute raise, but it's still something that like there's expectations, you know, and and you might get scored according to those new expectations.
• 42:45
  SPEAKER_09: Totally.
• 42:46
  SPEAKER_09: All right, final choreography uh highlight from Amanda De Tullio.
• 42:51
  SPEAKER_10: Hey podcast world, Amanda Nicole De Tullio from Virginia here.
• 42:54
  SPEAKER_10: And something that I saw this season that I absolutely loved was more instances of concert style contemporary and modern dance as well as theater jazz style routines.
• 43:04
  SPEAKER_10: While every style of dance certainly has its place in thinking about preparing dancers for the real world, it was exciting to see more teachers taking the initiative to put together routines that were truly concert-style, ensemble-focused routines with dynamics and textures and innovative storytelling over three instances of Alisicon turns or dancers being on their heads more than on their feet outside of the acro category.
• 43:29
  SPEAKER_10: On the flip side, I saw so many incredible theater jazz style routines, some of them appropriately in heels, where dancers were really truly giving us story-driven, dynamic routines.
• 43:39
  SPEAKER_10: And I just want to encourage those teachers and dancers to keep doing what you're doing.
• 43:43
  SPEAKER_10: It did not go unnoticed.
• 43:45
  SPEAKER_09: Aw, I love that.
• 43:46
  SPEAKER_09: Uh, love this from Amanda because I definitely love when I see those concert style contemporaries at the stage.
• 43:55
  SPEAKER_09: And I'm always a fan when I see uh stylized heels jazz.
• 44:00
  SPEAKER_09: Dance hit the stage.
• 44:01
  SPEAKER_04: Same.
• 44:02
  SPEAKER_04: Um, that's great.
• 44:03
  SPEAKER_04: I I didn't see that from my perspective, but I didn't judge nearly as much as Amanda does and did this season.
• 44:10
  SPEAKER_04: So I'm so stoked to hear that that is happening around the country.
• 44:14
  SPEAKER_04: And, you know, it's just like you said, it's always interesting.
• 44:17
  SPEAKER_04: I'm always interested.
• 44:18
  SPEAKER_04: I'm always excited when that kind of style comes out because we don't see it very often.
• 44:22
  SPEAKER_04: So maybe we'll see more of it.
• 44:23
  SPEAKER_09: Yeah, and I think that it's great that studios are challenging their dancers to train in those different styles of movement because, like she mentioned, that is uh some those are both styles, like concert contemporary works and uh stylized classic theater jazz in heels.
• 44:39
  SPEAKER_09: You will be doing that as a professional uh if you choose to move into that.
• 44:43
  SPEAKER_09: So to already start bridging that gap of training dancer to pre-professional dancer will just be an easier transition for dancers who do go to a college dance program or who do move to New York City and want to train at the professional studios, that they'll already have experience uh learning that and the foundational elements of those styles in the competition setting.
• 45:01
  SPEAKER_09: So I'm so here for it and love that she has seen that at comp.
• 45:05
  SPEAKER_09: It's so great.
• 45:06
  SPEAKER_09: All right, we're heading into some technique talk.
• 45:08
  SPEAKER_09: And Ashley Peters is back.
• 45:10
  SPEAKER_09: They want to share some more technique things they've seen on stage this season.
• 45:15
  SPEAKER_09: So let's hear what they have to say.
• 45:17
  SPEAKER_08: Hello, this is IDA Judge Ashley Peter from New York City.
• 45:20
  SPEAKER_08: And one thing I have not loved this competition season is seeing um a lot of these dancers and a lot of their pieces not preparing for a season in fifth position.
• 45:31
  SPEAKER_08: And it's something that we've always seen, but I saw it so much more this season where it's almost becoming standard practice that we're not prepping in any sort of traditional position.
• 45:42
  SPEAKER_08: So, and it typically is, you know, the big season with the back leg in attitude, front leg straight, whether they're coming from the back over the right shoulder to do an awesome blade quase to the downstage left corner or they're just facing the front, but it's not quite a fifth position, it's not quite a true parallel.
• 45:57
  SPEAKER_08: So I would just really love to see these teachers and choreographers, whether it's contemporary, jazz, ballet, if they are doing an awesome blade, and a lot of times I wouldn't even call it an awesome blade because they're not going into fifth position.
• 46:08
  SPEAKER_08: And one trend that I have not loved this season is dancers working with a constant open rib cage.
• 46:15
  SPEAKER_08: It's very current and trendy right now from a lot of choreographers to have an open rib cage, but we want to make sure that we are teaching our dancers to come back to a neutral, so we have proper alignment.
• 46:25
  SPEAKER_08: Because what I'm seeing is in a lot of this choreography, specifically jazz, the rib cage is constantly open, but we need to have a neutral spine so that when we do a rib isolation or a hip isolation, we can see what it does aesthetically for the dancer in the piece because it's coming from a neutral spine.
• 46:41
  SPEAKER_08: And even if it was a piece where the ribs are constantly open, think like the Brian Frubnant Boom Cackwalk, that style of piece.
• 46:47
  SPEAKER_08: But we have to make sure we're coming back to neutral rib cages closed so that our center of alignment is over our center of gravity for our pirouettes and our jumps and our turns.
• 46:56
  SPEAKER_08: But we don't want that style aesthetic to bleed into all of our other dances and be a constant throughout.
• 47:03
  SPEAKER_06: Hi, this is IDA Judge Maddie from Tampa, Florida.
• 47:06
  SPEAKER_06: And something that I've noticed over the past few seasons and has gotten even more abundant this season is that dancers are only focused on their leg that is going up and they are not focusing on their supporting leg.
• 47:21
  SPEAKER_06: Notice I didn't say working leg because, in my opinion, the standing leg is the working leg because that is what sets you up for success.
• 47:27
  SPEAKER_06: So whether you're doing a Devlope a la seconde, a leg hold, or you're stepping forward into an Arabes Ponche, if the gesture leg or the leg that's going up is turned out, the standing leg also needs to be turned out, unless this is a choreographic choice, which we should probably only see if we're doing a distorted line at a very high skill level, maybe in the contemporary genre.
• 47:48
  SPEAKER_06: So please turn out your standing leg and set yourselves up for success.
• 47:52
  SPEAKER_09: Oh, I love all of this so much.
• 47:55
  SPEAKER_04: Technique.
• 47:56
  SPEAKER_04: It's my fave.
• 47:58
  SPEAKER_04: It's so And I absolutely love listeners when when just a little inside podcast.
• 48:03
  SPEAKER_04: When we do our these podcasts, we have like a little script that Courtney writes out and just gives a little blurb about which which uh judge we're hearing from and the topic at hand.
• 48:13
  SPEAKER_04: And on this last one from Maddie in all caps yelling, turn out your standing leg.
• 48:19
  SPEAKER_04: I just read it and thought it was hilarious because it we should yell about it more.
• 48:24
  SPEAKER_04: Turn out your standing leg.
• 48:25
  SPEAKER_09: Oh my gosh, I yell about it so much in my jazz class and in my jazz class throughout my entire season at streets in the junior room.
• 48:33
  SPEAKER_09: I only did across the floor.
• 48:35
  SPEAKER_09: And one of the very things we did across the floor was a ball change side bat ma.
• 48:40
  SPEAKER_09: And the ball change is in stepping forward in uh almost like a fourth position with your back heel off the floor in a in a pop force arch.
• 48:47
  SPEAKER_09: We brushed a Alice Akhan to our Bat Ma.
• 48:50
  SPEAKER_09: I always will instruct the dancers, make sure we're leading with our heel.
• 48:53
  SPEAKER_09: That front leg is turned out in our preparation and it maintains its turnout when you the leg goes up to bat ma.
• 49:00
  SPEAKER_09: You are not allowed to then shift the standing leg to parallel when you push to releve.
• 49:05
  SPEAKER_09: That is, we are setting up our preparation to support us in our supporting leg.
• 49:10
  SPEAKER_09: And I the amount of times that everyone would just think about the emphasis of the leg that's flying to their ear versus that bottom leg, it just shows me everything about their technique.
• 49:21
  SPEAKER_09: And it's something that I see repetitively on the competition stage where I'm like, why is this not being enforced?
• 49:28
  SPEAKER_09: It truly blows my mind.
• 49:29
  SPEAKER_09: We shouldn't even have a six o'clock panche if your standing leg isn't turned out.
• 49:34
  SPEAKER_09: Right.
• 49:34
  SPEAKER_09: Like what's going on?
• 49:35
  SPEAKER_04: Like she said, and like they kind of all said, uh, Ashley and Maddie, this is not new.
• 49:39
  SPEAKER_04: These are not new things.
• 49:40
  SPEAKER_04: It's just that we continue to see them, so we must continue to call them out.
• 49:44
  SPEAKER_04: Right.
• 49:44
  SPEAKER_04: Um, because yeah, I mean, of course, when you're when you're teeny tiny and we're just trying to get your leg up, okay.
• 49:50
  SPEAKER_04: Like I'm gonna allow a fair amount of let's figure out what you feel like you need to do to get your leg up there.
• 49:57
  SPEAKER_04: You know, if you're a bendy kid already, all you gotta do is whack it up there and it's there.
• 50:01
  SPEAKER_04: Okay, so now we know you can do that.
• 50:03
  SPEAKER_04: Then you have to, you then you gotta pull back and you have to say, well, the way to do this correctly is this, this, this, that.
• 50:10
  SPEAKER_04: You know, you have to go from the beginning and know that eventually, yeah, your leg's gonna come up to your ear and everything else is gonna be right.
• 50:18
  SPEAKER_04: But, you know, just because you can get it up there and everything else is a mess, like that's not the way to go, my friends, my little friends listening.
• 50:25
  SPEAKER_09: And that's the same with the season's that uh Ashley is talking about.
• 50:28
  SPEAKER_09: The cleanliness of your positions in and again, going back to our preparations.
• 50:34
  SPEAKER_09: The Cisson, assemble sees into the C Son, the assemble is the to assemble.
• 50:40
  SPEAKER_04: You must assemble your legs in the air in fifth position turned out, and then you land in fifth position turned out.
• 50:45
  SPEAKER_04: Yes.
• 50:46
  SPEAKER_04: And I would even I would I would even be very generous, very generous, and give you an assemble in parallel.
• 50:53
  SPEAKER_04: Right.
• 50:53
  SPEAKER_04: I don't want it, but at least give me that.
• 50:56
  SPEAKER_04: If you're not gonna give me turned out fifth position assemble into a turned out ceison, at least give me parallel.
• 51:02
  SPEAKER_04: I don't want that either, because then then I'm assuming you're gonna do some sort of parallel ceison.
• 51:07
  SPEAKER_04: Right.
• 51:07
  SPEAKER_04: Which again, in in the correct time and place, sure.
• 51:11
  SPEAKER_04: But most of the time that's not what you're you're you're trying to achieve a turned out grand ceison.
• 51:15
  SPEAKER_04: Right.
• 51:16
  SPEAKER_04: Which means you gotta start from a turned out position, which again, I mean, I don't know.
• 51:20
  SPEAKER_04: I don't know what I've been seeing for the past 10 years with with an assemble that is not assembled, so you can't even call it an assemble.
• 51:26
  SPEAKER_04: I don't know what to call it.
• 51:28
  SPEAKER_04: What is the French word for you just landed somewhere?
• 51:31
  SPEAKER_04: Mystery position.
• 51:33
  SPEAKER_09: That's what I'm it's always a mystery position.
• 51:35
  SPEAKER_09: And this is the same exact fight that I constantly am fighting with our preparations for pirouettes.
• 51:41
  SPEAKER_09: Your prep needs to match the turn.
• 51:43
  SPEAKER_09: I should know what type of pirouett you're about to do based on that prep that you showed me.
• 51:47
  SPEAKER_09: And if it's in a mystery position, I I have no idea what's to come.
• 51:51
  SPEAKER_09: The same thing about the the execution of your awesome blade before your season.
• 51:56
  SPEAKER_09: The the preparation leading into every single skill and the finish is equally just as important as how high your jump is, how pointed your feet are, how stretched your legs are in the sky and whatever jump you're choosing to do.
• 52:10
  SPEAKER_09: But again, like the emphasis I think is getting lost on the cleanliness of the details, on the ins and outs of things.
• 52:17
  SPEAKER_04: And that's where these mystery assembly positions are existing for seasones because I and if anybody speaks French out there better than I do, please please translate jumped and landed in a mystery position, because that's what I want.
• 52:31
  SPEAKER_04: I want a word for that.
• 52:32
  SPEAKER_09: And I do want to briefly talk about the ribcage uh mention from Ashley, and it is something like crazy.
• 52:38
  SPEAKER_04: There's so many things to talk about.
• 52:40
  SPEAKER_04: There's so many things.
• 52:41
  SPEAKER_09: There it it does seem like it's a trend, a stylistic trend with this ribcage thing.
• 52:47
  SPEAKER_09: And it's my back.
• 52:49
  SPEAKER_09: It hurts my back for it there, it just it just improper posture and alignment and lack of use of their core and abdominal strength.
• 52:58
  SPEAKER_09: And then there's no support in their back, which is going to lead to back problems down the road.
• 53:02
  SPEAKER_09: And honestly, it doesn't look good.
• 53:04
  SPEAKER_09: I'm sorry, like it really doesn't.
• 53:06
  SPEAKER_04: It doesn't look flattering.
• 53:08
  SPEAKER_04: I'm trying every time I see people in the in those positions, and listen, one time, do your sassy walk with the rib cage.
• 53:16
  SPEAKER_04: The end, the end, that's it.
• 53:18
  SPEAKER_04: But I don't want to hold three minutes of that, and that's what we get on very tiny, small people whose little bones and little backs can just do that because they're not completely formed yet, and you're not even thinking about the front of the core and the supporting muscles in the back and everything.
• 53:33
  SPEAKER_04: And like Courtney said, it doesn't, it doesn't look very good.
• 53:37
  SPEAKER_09: I don't love it.
• 53:37
  SPEAKER_04: It is it is only for me, the reason to do that is when you are already an advanced dancer, you are adhering to a style, because that is a style.
• 53:47
  SPEAKER_04: You don't see people walking around with turned-in legs in all styles of dance.
• 53:51
  SPEAKER_04: That is the fossy style.
• 53:53
  SPEAKER_04: It is applied to a fossy piece or a piece in that vein.
• 53:57
  SPEAKER_04: So maybe this open rib cage is going to be a style that we see in 40 years.
• 54:02
  SPEAKER_04: But I don't but what I'm seeing now is it's applied to everything.
• 54:06
  SPEAKER_09: Right.
• 54:06
  SPEAKER_04: And it's not, I don't think it should be that.
• 54:08
  SPEAKER_04: I think it should be somebody who knows how to get back to that neutral when it's appropriate, which is more often than not.
• 54:15
  SPEAKER_04: It is more often appropriate to stay in a neutral spine, neutral rib cage, than it is to be open and splayed.
• 54:22
  SPEAKER_09: Yeah, and that's a perfect example of the Fosse description with, you know, if if people are aware of the Fosse style, it has a lot of breaking of the rules, the a lot of breaking of the technique that you've learned.
• 54:34
  SPEAKER_09: But you've learned that foundational technique first to then break those rules, to turn in the legs, to knock the knees, to bend the elbows, to flip the wrist, all those things, but you you are coming into it neutral.
• 54:46
  SPEAKER_09: And then you make it, you you you create those shapes because you already know how to be neutral.
• 54:51
  SPEAKER_09: If you're learning how to be wrong with a sway back and your ribs out and zero core activation, and that's what you're learning from the beginning, then we have a problem because then that's all you're gonna know.
• 55:03
  SPEAKER_09: And you're not gonna know how to get back to that neutral because it was never taught to you because someone thinks that this is what it's supposed to be these days, because this is trendy and cool.
• 55:12
  SPEAKER_09: And again, it's different.
• 55:13
  SPEAKER_09: There's a stylistic quality and there is how to properly do a walk with your ribs closed and your core activated and your pelvis in proper alignment.
• 55:22
  SPEAKER_09: Like alignment is very crucial to dance and protecting our bodies isn't is important too.
• 55:28
  SPEAKER_09: So if the style calls for it and you can show me that you know how to do both, then that's fine.
• 55:33
  SPEAKER_09: But I don't think it should be the end all be all.
• 55:36
  SPEAKER_09: This is how we do jazz walks these days because it's not it it's not my favorite look, and I feel like it could be damaging to dancers' bodies down the road when we're sitting in that sway back position too frequently and letting the ribs just fly open 24-7.
• 55:51
  SPEAKER_09: Agreed.
• 55:52
  SPEAKER_09: Yeah.
• 55:53
  SPEAKER_09: Technique, we gotta love it.
• 55:54
  SPEAKER_09: And there's so many more things we can talk about with technique, but let's move on to some performance chat because that's a big part of competition as well.
• 56:02
  SPEAKER_00: This is IDA judge Jessica Olnick from Philadelphia, Pennsylvania.
• 56:06
  SPEAKER_00: At dance competitions, it's vital to remember that dancers are judged on the entirety of their performance.
• 56:12
  SPEAKER_00: While technical skills are very important, the true artistry and impact of a dance lie in the hands of the dancers on stage.
• 56:19
  SPEAKER_00: This season I observed several performances that fell flat, possibly due to the lack of connection to the music, audience, or emotional depth.
• 56:28
  SPEAKER_00: Dancers should strive to embody the character and emotion of their peace bully, ensuring that every movement is deliberate and every expression is genuine.
• 56:36
  SPEAKER_00: Guys, we really are looking for that authenticity in your movement and dancing.
• 56:41
  SPEAKER_00: It's this commitment to the entire performance that can truly captivate judges and audiences alike.
• 56:46
  SPEAKER_00: Keep digging for your artistry.
• 56:48
  SPEAKER_00: You've got this.
• 56:49
  SPEAKER_00: We believe in you.
• 56:50
  SPEAKER_08: Hello, this is IDA Judge Ashley Peter, and one trend I have not loved this season is the choreographed facial expressions.
• 56:57
  SPEAKER_08: It's always something that we've seen, but I've seen it a lot more this season, specifically in studios that have a dance team style and aesthetic, which I love.
• 57:05
  SPEAKER_08: I come from a dance team background, and I know that is something that is always part of that culture, but I have seen it to an extreme this season, to the point where I find it it's distracting from oftentimes a very beautiful dancer.
• 57:17
  SPEAKER_08: And a lot of times it's a lot of choreographed breaths, but it's not, which I love sometimes, but it's like every few counts or like really wide O shapes with the mouth, where it just feels so extreme and it pulls away from the dancer's performance and authentic emotion.
• 57:33
  SPEAKER_08: And it's as choreographed as their actual choreography.
• 57:38
  SPEAKER_08: Um, so I would just love to see that kind of toned down a little bit and just the focus being on the dancer's authentic connection to their movement for their performance.
• 57:47
  SPEAKER_04: And it's so interesting to hear from both Jess and Ashley with kind of a very different, like different but the same.
• 57:54
  SPEAKER_04: Like we're we're actually looking for what's right in the middle.
• 57:57
  SPEAKER_04: I don't want you to have a flat performance, but I don't want you to have choreographed facial expressions.
• 58:01
  SPEAKER_04: I want that happy medium of genuine excitement to be on stage, genuine, you know, expressions, depending on the topic that you're dancing on.
• 58:10
  SPEAKER_04: And I do think um I have seen both, you know, this season and for years.
• 58:14
  SPEAKER_04: And it is hard to find that happy medium.
• 58:17
  SPEAKER_04: And I think it's gotten even harder these days with so many dancers and young people just interacting more via social media rather than in person.
• 58:27
  SPEAKER_04: I feel like that's that could possibly be hindering some ability to genuinely be able to physically express yourself with your face, you know, because we're buried in our phones and you're not actually interacting face to face with somebody.
• 58:41
  SPEAKER_04: So so maybe there's even dancers out there who they don't actually know.
• 58:45
  SPEAKER_04: They just really don't know what to do with their face because they haven't seen enough, you know, in person facial expressions of fear or sadness or loneliness or excitement or whatever it is we're trying to portray, you know, if you haven't seen enough of it in person, how do you know what to do?
• 59:00
  SPEAKER_09: And I think that's a really interesting point.
• 59:02
  SPEAKER_09: And it's something that's actually I've been seeing a lot in the Broadway professional uh theater world discussions happening is the fact that uh right now a lot of Broadway shows are casting via self-tape.
• 59:16
  SPEAKER_09: But when you think about it as a performer on live stage, you're not in front of a camera, you're not you're you're performing for an actual audience.
• 59:24
  SPEAKER_09: It's live theater, it's a live performance.
• 59:27
  SPEAKER_09: It is very different than putting yourself in front of a camera and performing for a camera.
• 59:33
  SPEAKER_09: There's very different ways to uh find that performance quality.
• 59:37
  SPEAKER_09: And both uh filming uh yourself versus a stage performance require two different types of performance quality from the actor or the dancer on the other end.
• 59:47
  SPEAKER_09: So I think that it could be it, that could be an interesting correlation there with uh our the world we live in now that is so heavily focused on being on your screen or performing on your screen and not understanding how to translate that type of performance and how it may vary and be different to a live stage performance and incorporating that into uh a a competition performance.
• 1:00:10
  SPEAKER_09: Uh, because I've seen the dancers who will turn it on for TikTok and give all the facial expressions and feel comfortable and confident and be completely different performers when they go out on stage on a live theater performance.
• 1:00:23
  SPEAKER_09: Yeah.
• 1:00:24
  SPEAKER_09: And to me, I'm like, well, I saw you in that video killing it, so why can't you do it on stage?
• 1:00:29
  SPEAKER_09: And it's it is very different, but also like if you can do it there, you can do it here.
• 1:00:33
  SPEAKER_09: You just have to find that, you know, maturity and and connection.
• 1:00:37
  SPEAKER_09: And it's a little bit more raw and authentic when you get on stage versus Oh, totally I can take a thousand takes until I feel like my face looks perfect in this video.
• 1:00:47
  SPEAKER_09: It's very different.
• 1:00:48
  SPEAKER_04: Well, and when you're thinking of, you know, performing for a camera versus or a phone versus a huge audience, you have to be bigger.
• 1:00:56
  SPEAKER_04: Your facial expressions have to be bigger to be conveyed.
• 1:00:58
  SPEAKER_04: And even now, it's like um podcast listeners, Courtney and I are recording this on Zoom.
• 1:01:03
  SPEAKER_04: So I can I can see Courtney's face, but as we all probably remember, and as we all know just from, you know, anytime you're doing FaceTime, I'm looking at myself.
• 1:01:13
  SPEAKER_04: I try to bring my eyes up to look at Courtney because I'm like, I know what I'm doing, and I'm like, I need to focus on her.
• 1:01:18
  SPEAKER_04: She's talking, but your eyes automatically gravitate towards yourself, and I'm critiquing every single thing I'm doing with my face, you know?
• 1:01:25
  SPEAKER_04: And so I think there there could be, there's definitely something there in the dance world of, you know, now, now we're so glued to electronics and everything that like maybe I'm afraid to make faces because I've looked at my own face so much that I don't like what I see.
• 1:01:40
  SPEAKER_04: I don't like, oh, I didn't realize I look like that when I make this face.
• 1:01:43
  SPEAKER_04: And then you're just, you know, people are maybe trying to keep their face neutral on purpose.
• 1:01:48
  SPEAKER_04: I don't know.
• 1:01:48
  SPEAKER_09: Yeah.
• 1:01:49
  SPEAKER_04: Interesting study to do.
• 1:01:56
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• 1:01:59
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• 1:02:45
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• 1:02:58
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• 1:03:23
  SPEAKER_09: Yeah, it is.
• 1:03:24
  SPEAKER_09: And I I think what you said is really valid about finding that happy medium because I am not a huge fan of the choreographed facials, and I don't love when it it feels too over the top either.
• 1:03:34
  SPEAKER_09: Um when it doesn't feel genuine and it doesn't feel authentic.
• 1:03:39
  SPEAKER_09: If it just looks like another choreographed, you know, you can choreograph you can rehearse your routine till perfection.
• 1:03:47
  SPEAKER_09: But if the if if the facial expressions are also rehearsed to perfection, it feels unauthentic.
• 1:03:53
  SPEAKER_09: So just it's a hard thing to teach dancers.
• 1:03:56
  SPEAKER_09: And I'm I'm not quite sure.
• 1:03:58
  SPEAKER_09: I think that the most important thing is just getting the dancers all on the same page to understand the intention and the purpose behind the piece that they're dancing about and to try to dig to find uh and even just sitting down and talking about descriptive words and feelings that we should feel and what does that mean to you and what is that how does that uh affect the way you move and you know, incorporating it that way versus saying, now you're gonna make a kissy face here and you're gonna make the oh face here and you're gonna raise your eyebrows at on this beat.
• 1:04:25
  SPEAKER_09: It's like, oh my gosh, this feels way too choreographed right now.
• 1:04:29
  SPEAKER_09: And we can tell.
• 1:04:30
  SPEAKER_09: Totally.
• 1:04:30
  SPEAKER_09: We can tell.
• 1:04:31
  SPEAKER_04: We can.
• 1:04:31
  SPEAKER_04: And I'm not I'm not opposed to like a cute little kissy face here and there from the babies.
• 1:04:36
  SPEAKER_04: Right.
• 1:04:36
  SPEAKER_04: You know, whatever.
• 1:04:37
  SPEAKER_04: Or or a cute ooh, like something, but you know, let's let's not let that take over from just, you know, I'd much rather see a great big old smile just the whole time.
• 1:04:46
  SPEAKER_04: Yes.
• 1:04:46
  SPEAKER_04: A genuine happy smile to be on stage.
• 1:04:49
  SPEAKER_09: All right, our final few things coming from our judges.
• 1:04:51
  SPEAKER_09: And I think that these next few ones are really important to discuss because it comes, it's all about etiquette at the events, and that's a hot topic.
• 1:05:00
  SPEAKER_09: So let's hear an etiquette rule.
• 1:05:02
  SPEAKER_09: Oh, yeah.
• 1:05:03
  SPEAKER_09: Let's hear what our judges have to say.
• 1:05:05
  SPEAKER_10: Hi everyone.
• 1:05:06
  SPEAKER_10: This is IDA judge Amanda Nicole De Tullio from Virginia.
• 1:05:09
  SPEAKER_10: And one unfortunate thing that I noticed this season was particularly bad theater etiquette.
• 1:05:15
  SPEAKER_10: While this is something we're always discussing in the dance competition community, I noticed a lot more instances of people entering and exiting the theater during routines, coming directly behind the judges' chairs while we're scoring, or even allowing children to come and play behind us while we're watching dances.
• 1:05:30
  SPEAKER_10: Coaches and teachers peeking out of the wings so far they were practically on stage during other routines.
• 1:05:34
  SPEAKER_10: And in one unfortunate instance, a fight almost breaking out in the back because parents were screaming too loudly.
• 1:05:40
  SPEAKER_10: We know that these days are chaotic and stressful and things move quickly.
• 1:05:45
  SPEAKER_10: But let's remember we've all put a lot of hard work in to get to this point.
• 1:05:48
  SPEAKER_10: And the only competition that should be happening is the one that's on the stage.
• 1:05:52
  SPEAKER_10: And outside of that, let's all take a collective breath and remember to create an environment of respect and support so that we can all enjoy these very long.
• 1:06:00
  SPEAKER_10: Days and be able to celebrate the amazing work of these dancers.
• 1:06:03
  SPEAKER_00: Hi, this is IDA judge Jessica Olnick from Philadelphia, Pennsylvania.
• 1:06:07
  SPEAKER_00: At dance competitions and conventions, it is crucial for dancers and their families to show respect and consideration to event staffs.
• 1:06:15
  SPEAKER_00: One common issue is the misuse of the teachers' row, which is often reserved for teachers and studio staff as they are running around the entire weekend trying to get their company and performers ready.
• 1:06:26
  SPEAKER_00: It's important for parents and supporters to understand that this area is not for them, as it can disrupt the competition and be disrespectful to the staff.
• 1:06:34
  SPEAKER_00: By adhering to the rules and guidelines set by the competition organizers, we can ensure a smoother and more respectful experience for everyone involved and keep our teachers and dance staff happy.
• 1:06:45
  SPEAKER_09: Y'all.
• 1:06:46
  SPEAKER_09: Oh man.
• 1:06:48
  SPEAKER_09: So I have so many thoughts, and I'm so glad that we brought up etiquette because the things that I'm like.
• 1:07:15
  SPEAKER_04: And hopefully, you know, I don't know all y'all.
• 1:07:17
  SPEAKER_04: We there's no way I could know all of y'all.
• 1:07:19
  SPEAKER_04: But hopefully, you are the choir.
• 1:07:21
  SPEAKER_04: But the teacher row is the teacher row.
• 1:07:24
  SPEAKER_04: That's it.
• 1:07:24
  SPEAKER_04: Tell your parents, tell your friends, tell your grandmother, tell Aunt Sue, who's coming to watch, you know, everybody dance.
• 1:07:31
  SPEAKER_04: Tell them.
• 1:07:31
  SPEAKER_04: Because don't sit there.
• 1:07:33
  SPEAKER_04: It's not for you.
• 1:07:34
  SPEAKER_09: Even like the dancers, like I'll just see studios flood in and it'll like the dancers want to watch next to their teachers, but that they'll sit in the teacher row just because it's empty.
• 1:07:44
  SPEAKER_09: Just because it's empty doesn't mean another teacher doesn't want to come and sit there.
• 1:07:48
  SPEAKER_09: Now you're taking up their spot.
• 1:07:49
  SPEAKER_09: You are a dancer.
• 1:07:50
  SPEAKER_09: I don't care if you're a student, teacher, whatever.
• 1:07:52
  SPEAKER_09: Sit on the ground, get in the row behind them, leave that space open.
• 1:07:56
  SPEAKER_09: If you don't have a land you're don't and you can show me that you are a teacher, do not sit there.
• 1:08:00
  SPEAKER_09: It is disrespectful and also like blatant filming, like crazy happening.
• 1:08:07
  SPEAKER_04: Literally, no one cares.
• 1:08:08
  SPEAKER_04: No one cares.
• 1:08:09
  SPEAKER_04: No one cares.
• 1:08:09
  SPEAKER_04: It's so they don't care about rules.
• 1:08:11
  SPEAKER_04: They don't care about being reprimanded.
• 1:08:13
  SPEAKER_04: They don't care about the threat of being kicked out.
• 1:08:16
  SPEAKER_04: And it's it's shocking.
• 1:08:17
  SPEAKER_04: And I don't, I don't understand it.
• 1:08:19
  SPEAKER_04: I guess the only thing I can sort of compare it to is like people are used to going to their kids' T ball game.
• 1:08:26
  SPEAKER_04: You can do literally whatever you want at the T-ball field.
• 1:08:29
  SPEAKER_04: You can walk around, you can be on the phone, you can have, you know, you can feed your kids, you can have a phone call, whatever.
• 1:08:35
  SPEAKER_04: You can't do that in a dance competition.
• 1:08:37
  SPEAKER_04: You know, go do it in the lobby, go do it in the parking lot, but you can't just walk around willy-nilly because it's not the same venue.
• 1:08:45
  SPEAKER_04: But I think people are more used to that kind of venue where it is kind of a free-for-all and you can do whatever you want in the space.
• 1:08:52
  SPEAKER_04: But, you know, the space is usually a lot bigger.
• 1:08:55
  SPEAKER_04: Um, it's a lot louder, you know, believe it or not, like at a dance competition.
• 1:08:58
  SPEAKER_04: Yes, it's loud because the music is loud, but generally it's quiet because somebody's dancing and you're trying to be respectful of that.
• 1:09:05
  SPEAKER_04: So, you know, when people are being asked to not talk on the phone or to not enter and exit during the routine, it's because this venue is meant to be quieter for the respect of the art that's going on.
• 1:09:15
  SPEAKER_04: The baseball field is not that.
• 1:09:17
  SPEAKER_04: Right.
• 1:09:17
  SPEAKER_04: It's a different scenario.
• 1:09:18
  SPEAKER_04: So my my only my only sort of thought is maybe that's what people are used to more if you're new to this and they just don't correlate that this isn't actually the same.
• 1:09:26
  SPEAKER_09: Yeah, and I think that um it it makes it really hard for competitions to police all of this 24-7.
• 1:09:33
  SPEAKER_09: And if everyone just understands the etiquette from the beginning, and this needs to be conversations that are being had and reminded to the parents and talked about at the studios before even getting to an event, whether it's a convention or a competition, understanding the etiquette of of the theater.
• 1:09:47
  SPEAKER_09: Because it is a theater, it's not a t-ball game, it is not a football game.
• 1:09:50
  SPEAKER_09: And I know that some people are like, well, you know, it we should be able to cheer and we should be able to have sirens and uh all the things.
• 1:09:56
  SPEAKER_09: And it's like, I mean, I like sometimes it depends on the style of dance, and if it's like the production and everybody has, you know, they want to cheer and whatever, but it it can't be distracting, it can't be so loud where the judges can't focus and do their job.
• 1:10:11
  SPEAKER_09: It's there's still some etiquette that needs to be happening, and we have to be respectful to everyone who's participating at the event.
• 1:10:17
  SPEAKER_09: Even if you're sitting in the audience, clap for everyone.
• 1:10:19
  SPEAKER_09: Don't just sit on your phones.
• 1:10:21
  SPEAKER_09: You know, there's dancers up there that are doing their best and and deserve to have an audience member clap for them too.
• 1:10:26
  SPEAKER_09: And the same thing applies, I say it all the time, even for the spectators in my classes at convention.
• 1:10:31
  SPEAKER_09: If you're gonna if you're gonna sit around and pay to sit there, the least you can do is stay engaged and clap and support the dancers when it's groups and not talk on your phones and not gossip with your friends on the sides.
• 1:10:44
  SPEAKER_09: Like be respectful to everyone because that's my time to do my art up on stage is teaching your dancers how to dance, and you are just chit-chatting and distracting my class.
• 1:10:55
  SPEAKER_09: It is so disrespectful.
• 1:10:56
  SPEAKER_09: A lot of a lot of things, and the filming really gets me.
• 1:11:00
  SPEAKER_09: I can't believe it.
• 1:11:01
  SPEAKER_09: Yeah.
• 1:11:02
  SPEAKER_04: No, and that's you know, again, I I just I can only chalk it up to either people just truly not caring anymore about repercussions, yeah, or they really truly do not know that this is different than a t-ball game.
• 1:11:16
  SPEAKER_09: Right.
• 1:11:16
  SPEAKER_04: It is different.
• 1:11:17
  SPEAKER_04: You, you know, like you you're talking about copyright issues, you're talking about safety, you're talking about other people's children in potentially, you know, uh revealing costumes.
• 1:11:27
  SPEAKER_04: Like it is a different beast entirely.
• 1:11:29
  SPEAKER_04: And that is why we don't allow filming at the majority of these kinds of events in the competition setting.
• 1:11:34
  SPEAKER_04: Convention, I'm sure they have different rules, you know, there's different different rules in place for that.
• 1:11:39
  SPEAKER_04: But, you know, I would say the majority of the competitive events that happen in this country, there's a rule that says you can't film.
• 1:11:46
  SPEAKER_09: Right.
• 1:11:46
  SPEAKER_04: And it's there for a reason.
• 1:11:48
  SPEAKER_04: And, you know, how often anybody actually follows through with a repercussion on that, I don't know.
• 1:11:53
  SPEAKER_04: But I I sure will tell you that it tires out your competition staff to have to constantly tell people to put your phone away.
• 1:12:00
  SPEAKER_04: It tires out the event, it takes up time from the event.
• 1:12:03
  SPEAKER_04: So, you know, you're just working against yourself if you're if you're a culprit of that.
• 1:12:08
  SPEAKER_04: You know, you're you're helping the the day last longer.
• 1:12:10
  SPEAKER_04: Right.
• 1:12:11
  SPEAKER_04: If I'm having to take time to come tell you not to do this.
• 1:12:14
  SPEAKER_04: So there you go.
• 1:12:15
  SPEAKER_09: Yeah, so many etiquette things that can continue to be discussed, and maybe we do need to add that into season six and make an impact, I think.
• 1:12:23
  SPEAKER_09: Yeah.
• 1:12:23
  SPEAKER_09: For sure.
• 1:12:24
  SPEAKER_09: All right.
• 1:12:25
  SPEAKER_09: Our final two uh judges want to chime in and share some highlights that they've witnessed at the comp season this year in 2024.
• 1:12:33
  SPEAKER_11: Hi, this is IDA Judge Karen from Lake Zarek, Illinois.
• 1:12:36
  SPEAKER_11: And a trend that I've really seen this year more than ever in the 2024 season is those older dancers really taking those younger dancers under their wings.
• 1:12:47
  SPEAKER_11: It's been so neat, especially during awards ceremonies, to see the older dancers really helping those younger dancers and creating this really cool team family atmosphere.
• 1:12:58
  SPEAKER_11: And we obviously it happens in the studio.
• 1:13:01
  SPEAKER_11: So to see it on the stage or backstage or in the audience has been so wonderful to see.
• 1:13:08
  SPEAKER_11: Thank you, teachers and studio directors and owners, for really educating all these dancers how important it is to support one another and to be that family.
• 1:13:18
  SPEAKER_11: So excited to see what happens next year, and thank you for a wonderful season this year.
• 1:13:24
  SPEAKER_07: Hi everyone, this is your IDA judge Debbie from Auburn, California.
• 1:13:28
  SPEAKER_07: This season has been super amazing, and as judges, we get the privilege of seeing dance in all regions, all the way across the United States.
• 1:13:37
  SPEAKER_07: My takeaway from this season is that whether you come from a big studio or a small studio, whether you're the best dancer out there and you're winning all the awards, or you're still growing as a dancer, you have a place on that stage and you have a place in the dance world.
• 1:13:53
  SPEAKER_07: So keep dancing, keep training, and let your light shine.
• 1:13:59
  SPEAKER_09: Oh, I love that.
• 1:14:01
  SPEAKER_04: Let your light shine.
• 1:14:02
  SPEAKER_04: Well, yeah.
• 1:14:03
  SPEAKER_04: I love that too.
• 1:14:04
  SPEAKER_04: I think that's great.
• 1:14:05
  SPEAKER_04: And you know, for all the listen, I think the dance competition industry is so saturated.
• 1:14:10
  SPEAKER_04: I think there's so many options for all kinds of dancers.
• 1:14:14
  SPEAKER_04: If you want a small competition, we've got them.
• 1:14:16
  SPEAKER_04: If you want a big one, we've got them.
• 1:14:17
  SPEAKER_04: You want levels, we've got them.
• 1:14:19
  SPEAKER_04: There's places for everyone here.
• 1:14:21
  SPEAKER_04: And it may take some time to find that right place for you in your studio, but they exist.
• 1:14:26
  SPEAKER_04: And, you know, I think one thing to take away from Debbie's comment is to don't discount a smaller, newer competition.
• 1:14:33
  SPEAKER_04: You know, there's great ideas to be had everywhere.
• 1:14:36
  SPEAKER_04: There's people who are doing this to make a difference and not make the money.
• 1:14:40
  SPEAKER_04: You know, I think there's there's some companies out there that are, and you can sort of tell, are just trying to take your money.
• 1:14:46
  SPEAKER_04: And I think everybody out there knows, you know, has had that experience on it in one point or another.
• 1:14:51
  SPEAKER_04: But there really are some smaller companies out there that are trying to do things right, to trying to further the education and the love of dance.
• 1:14:58
  SPEAKER_04: Don't discount those smaller events or events that you might have never heard of, or an event that is new to your region.
• 1:15:04
  SPEAKER_04: Try them out because I think there's there's options out there for everyone.
• 1:15:08
  SPEAKER_09: Yeah, I totally agree.
• 1:15:09
  SPEAKER_09: And I really love what Karen had to say of witnessing some of the older dancers at the studios taking the younger ones under their wing.
• 1:15:18
  SPEAKER_09: And I think that it's a really cool observation, even as a judge, to see that if that's happening at award ceremonies and things like that, or um, even for support at competition in the audience or at convention.
• 1:15:31
  SPEAKER_09: So that, you know, it it does say a lot that dancers should always remember that there's always eyes on you at all times.
• 1:15:38
  SPEAKER_09: Even once you finished your dance, we uh do notice those acts of kindness or even or maybe the opposite, backstage professionalism or lack thereof, or things like that on at on all sides of the dance world dressing room, backstage, onstage, offstage.
• 1:15:57
  SPEAKER_09: We see you out there.
• 1:15:58
  SPEAKER_09: And I think it's really great that Karen wanted to recognize those dancers for supporting their team, supporting their young ones, having the young ones look up to the older dancers.
• 1:16:08
  SPEAKER_09: I know that that's probably real and alive in a lot of studio spaces, and it's just really nice to see that the teamwork come together and uh creating a nice little dance family at these studios is really so great.
• 1:16:20
  SPEAKER_04: And as a judge, you know, at some of the events, we are the ones handing out your awards.
• 1:16:24
  SPEAKER_04: And I can't tell you the difference it makes when the little bitty dancers have an older buddy from their studio that is helping them say, Oh, this that was your number, go get the award because they're little bitty.
• 1:16:37
  SPEAKER_04: It's hard, it's scary, it's bright, it's loud, there's a lot to remember.
• 1:16:42
  SPEAKER_04: So if you don't already sort of have some kind of buddy system in place with your big kids and your little kids, or even truly your eight-year-olds and your five-year-olds, even that kind of a spread, you know, is gonna be helpful for helping that tiny new dancer get up to the front of the stage to collect their award, reminding them, hey, this is where we dance.
• 1:17:01
  SPEAKER_04: When they ask you this, this is where we dance, you know, let let them take some uh responsibility for helping the little ones because it does make our job as judges and the staff, you know, it makes it that much easier for us to to again get the show on the road.
• 1:17:13
  SPEAKER_04: You know, it takes a team and everybody on that stage is part of the team.
• 1:17:17
  SPEAKER_09: Yes, they are.
• 1:17:18
  SPEAKER_09: And that also goes to all of the team members on the competition as well.
• 1:17:24
  SPEAKER_09: So I want to give a quick shout out to everyone who makes these competitions possible.
• 1:17:28
  SPEAKER_09: From the judges to the staff to the competition owners to the studios out there, everyone, to the choreographers, the dancers, the parents, everyone.
• 1:17:38
  SPEAKER_09: There are so many moving parts to make a dance competition weekend possible.
• 1:17:42
  SPEAKER_09: And we couldn't do it without each and every one of you.
• 1:17:44
  SPEAKER_09: You all serve a very important role in this beautiful dance competition world.
• 1:17:49
  SPEAKER_09: And we're so sad that the regional season is already complete, but nationals is coming right up for many of us.
• 1:17:56
  SPEAKER_09: And if not, then um the regional season will be here in about six months from now.
• 1:18:02
  SPEAKER_09: Before we even know it, it'll be here with brand new dances and brand new competitions to attend in 2025.
• 1:18:09
  SPEAKER_09: How crazy is that.
• 1:18:49
  SPEAKER_04: Subscribers receive free Making the Impact stickers, shout-outs live on the air, ad-free listening, and exclusive access to our QA episodes for members only.
• 1:18:58
  SPEAKER_04: Join now at Impact Dance Adjudicators.com/slash Platinum Premium.
• 1:19:02
  SPEAKER_04: We're headed directly into our wrap-up episode right after this, so don't go anywhere.
• 1:19:07
  SPEAKER_09: That's a wrap on season five of Making the Impact.
• 1:19:10
  SPEAKER_09: Thank you to all of the fans for continuing to listen year after year.
• 1:19:14
  SPEAKER_09: We already can't wait for season six.
• 1:19:16
  SPEAKER_09: Stay tuned, it's coming your way, launching on Thursday, September 4th, 2024.
• 1:19:21
  SPEAKER_09: Wishing you a wonderful dance filled summer.