Latest / Making The Impact - A Dance Competition Podcast / A Day In the Life at a Dance Competition

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A Day In the Life at a Dance Competition · 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.
• 0:25
  SPEAKER_04: Dance competitions are non-stop events for everyone involved, from the dancers themselves to the folks behind the scenes.
• 0:31
  SPEAKER_04: In this episode of Making the Impact, we're giving you an inside look at what happens before, during, and after a day in the life of a dance competition parent, teacher, studio owner, judge, and director.
• 0:44
  SPEAKER_02: Hey y'all, it's Courtney Ortiz, the host of Making the Impact.
• 0:49
  SPEAKER_02: Welcome! I'm here with my co-host, Leslie Mueller.
• 0:52
  SPEAKER_02: Hey Courtney, we are in January, like solidly.
• 0:56
  SPEAKER_02: Yes, we are.
• 0:57
  SPEAKER_02: It is 2024 and the competition season is creeping up.
• 1:00
  SPEAKER_02: If not, maybe it's already started for you out there, listeners.
• 1:04
  SPEAKER_04: Yeah, we're we're ready.
• 1:06
  SPEAKER_04: I'm ready.
• 1:07
  SPEAKER_04: I'm super stoked to get back in the game a few weekends this season.
• 1:11
  SPEAKER_04: And we have such a great episode coming up today that highlights all of the facets sort of of a day in the life at a dance competition.
• 1:18
  SPEAKER_02: Yeah, there's so much that goes into a dance competition event, and there's so many people working behind the scenes when it comes to the staff, the directors, the judges.
• 1:30
  SPEAKER_02: But also, what about your team?
• 1:32
  SPEAKER_02: What about your faculty that is working super, super hard on those very long and exhausting dance competition weekends?
• 1:40
  SPEAKER_02: And then, of course, the fantastic dancers that are hitting the stage and doing routine after routine and putting on the makeup and making sure they're stretching and making sure they're well rehearsed.
• 1:50
  SPEAKER_02: All of those things are happening on a long competition weekend, and we're talking all about that today with some fantastic IDA judges.
• 1:58
  SPEAKER_04: Yeah, I'm excited.
• 2:00
  SPEAKER_04: I think it's gonna be a great episode.
• 2:02
  SPEAKER_04: And are we ready to jump into it before?
• 2:05
  SPEAKER_04: But but wait.
• 2:06
  SPEAKER_04: I think we have some sponsors to talk about, right?
• 2:08
  SPEAKER_02: We always have some sponsors over here, and we're so grateful for each and every sponsor that supports our podcast.
• 2:13
  SPEAKER_02: So let's hear from our season five sponsors.
• 2:16
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• 2:20
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• 2:22
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• 2:26
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• 2:28
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• 2:33
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• 2:34
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• 2:38
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• 2:40
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• 2:46
  SPEAKER_04: That's A P O L A Performance.com.
• 2:50
  SPEAKER_02: Under the co-artistic direction of Francisco Gulla and Usha Marie Zorzano, Zeitgeist Dance Theater is a summer season professional dance company based in Santa Fe, New Mexico.
• 3:00
  SPEAKER_02: From the German word Zeit meaning time and Geist meaning spirit, known as the Spirit of the Times, Zeitgeist Dance Theater reflects the now, the essence, and spirit of the age in which we presently live.
• 3:12
  SPEAKER_02: Zeitgeist Dance Theater discusses topics that are difficult, as if topics are not discussed, change will not come.
• 3:17
  SPEAKER_02: A core company value is understanding what is going on in the daily atmosphere and having a response for the future.
• 3:23
  SPEAKER_02: The company also offers a trainee experience, providing emerging professional artists from ages 17 to 24 with a taste of professional company life.
• 3:32
  SPEAKER_02: The company's trainees are selected annually through an audition process to participate in a three-week integrated company experience during the summer, culminating in a performance at the New Century Dance Project Festival.
• 3:43
  SPEAKER_02: Application submissions for the training experience open on December 1st, 2024.
• 3:47
  SPEAKER_02: Learn more about Zeitgeist Dance Theater and their trainee experience by visiting their website at zeitgeist dance theater.org.
• 3:55
  SPEAKER_02: Alright, listeners, we're jumping into this week's episode, and guess what?
• 4:00
  SPEAKER_02: The competition season has arrived.
• 4:03
  SPEAKER_02: We've been waiting for it all fall and all winter, and now it is here.
• 4:08
  SPEAKER_02: We're in 2024 and the season is about to begin.
• 4:12
  SPEAKER_02: Maybe you've already attended an early competition.
• 4:14
  SPEAKER_02: Maybe your comp season doesn't officially start till February, or maybe some people don't even start until March, y'all.
• 4:20
  SPEAKER_02: But either way, we knew we wanted to talk today about what that expectation looks like when you go to a competition on all sides of the experience.
• 4:31
  SPEAKER_02: You could be a dance competition judge.
• 4:34
  SPEAKER_02: What does that day look like for you?
• 4:36
  SPEAKER_02: What about the parents out there?
• 4:37
  SPEAKER_02: Maybe you're a brand new dance parent and have never stepped foot in a dance competition.
• 4:42
  SPEAKER_02: What are you about to walk into?
• 4:44
  SPEAKER_02: And same for the studio owners because they are doing so many things running around like crazy on those long competition days.
• 4:51
  SPEAKER_02: And today on Making the Impact, we're going to talk about all of those things.
• 4:55
  SPEAKER_02: And I can't wait to jump in with two special IDA judges as guests today.
• 4:59
  SPEAKER_02: The first guest I'm excited to welcome back to our podcast is a fantastic dance educator, fantastic IDA judge who's been on our roster for so many years.
• 5:09
  SPEAKER_02: And she's been on many previous podcast episodes.
• 5:12
  SPEAKER_02: You may remember her from season three, episode 99, QA with Courtney Live, season two, episode 29, music at competition, always a hot one.
• 5:23
  SPEAKER_02: And season one, episode seven, age range expectations.
• 5:29
  SPEAKER_02: I'm excited to welcome back IDA Judge Jessica Olnick.
• 5:32
  SPEAKER_02: Welcome, Jess.
• 5:34
  SPEAKER_05: Hey, thank you guys.
• 5:35
  SPEAKER_05: Thank you so much for having me.
• 5:37
  SPEAKER_05: I'm so excited to talk to you guys and everyone about this particular episode.
• 5:44
  SPEAKER_05: You know, it's it's been really incredible living my dreams for the, you know, the past 40 years.
• 5:50
  SPEAKER_05: I've trained with so many dance legends, um, and I've danced professionally in a variety of ways.
• 5:56
  SPEAKER_05: I was a pre-professional dance company director for 17 years.
• 6:00
  SPEAKER_05: I choreograph and teach all over design dance costumes.
• 6:04
  SPEAKER_05: And I'm on faculty currently for the Rock School for Dance Education.
• 6:08
  SPEAKER_05: And I have judged for over 12 years, nationally and internationally.
• 6:13
  SPEAKER_05: And my most exciting job is being a mom of two, one of which is my daughter who dances, and I'm very excited to bring my experiences with you guys today on that.
• 6:23
  SPEAKER_02: Yeah, I'm really excited to have you back.
• 6:25
  SPEAKER_02: And I I I mean, obviously, as everyone just heard, you have been in this biz in this beautiful dance world for so many years on all sides of it.
• 6:34
  SPEAKER_02: And I knew that you could bring a lot of perspective to this, being on all those sides, but especially I wanted to get that dance mom perspective from you too, because you you wear many hats as a dance judge, a dance teacher, a previous competitive team director, and then a dance mom, which so many of our listeners are dance moms out there.
• 6:55
  SPEAKER_02: So excited to hear about what that's been like for you.
• 6:58
  SPEAKER_02: Yes, I'm very excited to share.
• 7:01
  SPEAKER_02: Awesome.
• 7:01
  SPEAKER_02: Thank you so much, Jess, for being here.
• 7:03
  SPEAKER_02: Thank you.
• 7:04
  SPEAKER_02: All right, our next special guest is a brand new judge to our IDA roster.
• 7:08
  SPEAKER_02: I am meeting her officially for the first time right now, after obviously approving her onto the roster through her entire pre-screening process and listening to her spectacular judges' critiques.
• 7:20
  SPEAKER_02: I knew we had to have her as a new IDA judge this season.
• 7:24
  SPEAKER_02: She is an experienced educator in the industry.
• 7:27
  SPEAKER_02: She is also going to be bringing as a former studio owner, she's going to be bringing that perspective to this chat.
• 7:33
  SPEAKER_02: And she's also even directed for dance competitions.
• 7:36
  SPEAKER_02: So she has so much experience.
• 7:38
  SPEAKER_02: Can't wait to get to know her even more.
• 7:40
  SPEAKER_02: Welcome IDA judge Amy Thule to the podcast.
• 7:43
  SPEAKER_02: Welcome, Amy.
• 7:44
  SPEAKER_01: Thank you guys so much.
• 7:46
  SPEAKER_01: I am so excited to be invited and honored to be a part of the IDA staff, but also for this amazing opportunity to help share a little BTS, a little behind the scenes of what happens and experience for that.
• 7:58
  SPEAKER_01: Um I've danced the majority of my life.
• 8:01
  SPEAKER_01: Um, I actually got ballet lessons from Santa Claus one year when I was seven, and I started dancing competitively when I was nine.
• 8:07
  SPEAKER_01: So I've been dancing for 35 years.
• 8:09
  SPEAKER_01: I have taught, I have choreographed, I have owned my own studio.
• 8:13
  SPEAKER_01: I have been judging for almost 10 years now and worn a lot of different hats at the competition arena as well.
• 8:20
  SPEAKER_01: And I am so excited to share a little bit about that with you guys.
• 8:23
  SPEAKER_01: Thank you so much for having me.
• 8:25
  SPEAKER_02: Yeah.
• 8:26
  SPEAKER_02: Thrilled to have you and so excited to be.
• 8:29
  SPEAKER_02: I love the podcast because I get to meet a lot of our new IDA judges who, you know, we've screened you and we've listened to your critiques and we've vetted you and brought you onto the roster.
• 8:38
  SPEAKER_02: But sometimes I don't actually ever get to know and meet y'all until these moments right here on the podcast.
• 8:44
  SPEAKER_02: So it's gonna be a great next hour of getting to know you even more and hearing about your journey through this dance world.
• 8:50
  SPEAKER_02: So thanks for being here and joining us.
• 8:53
  SPEAKER_02: Absolutely.
• 8:54
  SPEAKER_02: All right, let's talk all about what a day in the life of a dance competition actually looks like on all sides of the industry.
• 9:02
  SPEAKER_04: There are so many people that go into making this event happen from like the staff at the venue, from the teachers that bring their kids, from the parents to the judges, literally everyone.
• 9:14
  SPEAKER_04: So we have a very good spread of experiences here with all of us.
• 9:18
  SPEAKER_04: But the thing that we all four share that I think we should start with is we are all judges.
• 9:25
  SPEAKER_04: So what does day one of a judging a dance competition look like?
• 9:30
  SPEAKER_04: Like from the very beginning, but maybe even before you leave your house.
• 9:35
  SPEAKER_05: I mean, I call it rise and shine time.
• 9:37
  SPEAKER_05: I mean 3 a.m.
• 9:38
  SPEAKER_05: wake up call on a Friday morning.
• 9:40
  SPEAKER_05: That's where we're at.
• 9:41
  SPEAKER_02: If you're flying in on that early, like sometimes they will put you in a 6 a.m., 7 a.m.
• 9:47
  SPEAKER_02: flight to travel to the event to start judging at you, maybe your call times 2:30, 3 o'clock for a 3:30 start.
• 9:56
  SPEAKER_02: I mean, you have to be on that 6 a.m.
• 9:58
  SPEAKER_02: flight out from wherever you're traveling in from.
• 10:00
  SPEAKER_02: And that is an a very early call time.
• 10:02
  SPEAKER_02: And you're you haven't even started working yet.
• 10:06
  SPEAKER_05: Nope.
• 10:07
  SPEAKER_05: That's I mean, and and we might be on two flights and we also wait for other judges to arrive.
• 10:13
  SPEAKER_05: Um, we might be picking up a car rental and driving another hour um to our hotel to check in.
• 10:19
  SPEAKER_05: Hopefully we can check in.
• 10:21
  SPEAKER_05: Right.
• 10:22
  SPEAKER_05: Another one.
• 10:23
  SPEAKER_04: Yep.
• 10:24
  SPEAKER_04: As as your back-end person who books flights and does hotel bookings, I do try to get my staff in early and try to get that reserved because I know that stinks for to get to your hotel at like noon, because that was the flight you had to be on.
• 10:37
  SPEAKER_04: But then you don't start till three and you're like, am I supposed to just sit in the lobby?
• 10:41
  SPEAKER_04: Like, what am I supposed to do right now?
• 10:43
  SPEAKER_01: And when you can make that magic happen, Leslie, we love you all the more for it.
• 10:47
  SPEAKER_01: Yes.
• 10:47
  SPEAKER_04: Speaking from experience.
• 10:49
  SPEAKER_04: It's because I've been there, you know.
• 10:50
  SPEAKER_04: I think that's what that's what makes all of our jobs kind of neat.
• 10:54
  SPEAKER_04: Because, you know, even if you're no longer doing something you used to do, if you go into the the industry with those experiences, you can say, well, when I was doing this, I preferred that.
• 11:03
  SPEAKER_04: So let me try to help you out, you know?
• 11:05
  SPEAKER_04: Yes.
• 11:06
  SPEAKER_04: Absolutely.
• 11:07
  SPEAKER_02: I think that is like, you know, it's just that right there.
• 11:11
  SPEAKER_02: I there I'm sure so many people listening probably don't realize that some of the judges are actually traveling in the morning of before the event starts on Friday and you don't know where they're traveling.
• 11:22
  SPEAKER_02: Maybe it is a local event for them and they just had to hop in their car and drive an hour or two down the street.
• 11:27
  SPEAKER_02: Or maybe it's a whole day of travel before you even sit down to start working.
• 11:32
  SPEAKER_02: And oftentimes, often, we're not often compensated for that time.
• 11:38
  SPEAKER_02: FYI.
• 11:39
  SPEAKER_02: So, you know, we are traveling super early.
• 11:42
  SPEAKER_02: No wonder we're exhausted, and that's just day one if it starts on a Friday, if we've been up since four in the morning to catch our flight.
• 11:49
  SPEAKER_05: Exactly.
• 11:50
  SPEAKER_05: I mean, you just need a really good cup of coffee when you sit down with that chair.
• 11:54
  SPEAKER_05: Yep.
• 11:55
  SPEAKER_04: Yes, except not too much because then you're gonna have to pee and we can't take a break because we have to stay on schedule.
• 12:02
  SPEAKER_04: Exactly.
• 12:02
  SPEAKER_04: So you'll limit your illiquid intake.
• 12:05
  SPEAKER_04: All right, so so we get to the venue, we get to the hotel, we check in, we what are we doing?
• 12:10
  SPEAKER_04: Are we are we just walking and sitting down and doing our job, or what's what happens next?
• 12:14
  SPEAKER_05: Well, I always be if I get to the hotel, right, and I have time, I will work out.
• 12:20
  SPEAKER_05: I will put in a 45-minute to an hour walk on the treadmill.
• 12:25
  SPEAKER_05: Only because I know I'm gonna be sitting for the entire weekend.
• 12:28
  SPEAKER_05: So I just want to stimulate like myself and give movement to myself.
• 12:32
  SPEAKER_05: Once we get to the venue, I want to kind of go to my seat and I start highlighting um all the different levels advanced, intermediate, and novice.
• 12:42
  SPEAKER_05: Just so in different highlighter colors, just so I know if there's a change in level very quickly, I know what level it is and it really helps me.
• 12:51
  SPEAKER_05: That's some of the things that I do.
• 12:53
  SPEAKER_05: That's smart.
• 12:54
  SPEAKER_02: That's so smart.
• 12:55
  SPEAKER_02: Great tip for judges out there.
• 12:56
  SPEAKER_01: Yeah.
• 12:57
  SPEAKER_01: Amy, what about you?
• 12:58
  SPEAKER_01: All the highlighter colors.
• 12:59
  SPEAKER_01: So when I'm judging an event, the first it's funny, the first thing I do when I get to a hotel is unpack.
• 13:04
  SPEAKER_01: Um, it just gives me that sense of grounding so I can get like a take off my, you know, I'm a mom too, and so I can take my hat off from being a mom and my travel hat and put on my judge hat and make sure I'm fully focused on the weekend.
• 13:15
  SPEAKER_01: Um, and then when same thing, when I get to the venue, I want a perfectly sized coffee.
• 13:21
  SPEAKER_01: I'll check in with my backstage manager or my director, make sure that they see my face, that I know I'm there on time.
• 13:27
  SPEAKER_01: And then I make sure I'm familiar with that competition's tabulation system, where I'm sitting, where the bathroom is, where the green room is, and orient myself into that venue so I know where I'm going.
• 13:39
  SPEAKER_02: Yeah, I think it is um important for listeners to know and understand too, as a judge, is that we're independent contractors.
• 13:46
  SPEAKER_02: And oftentimes we're not just only working for that one competition company.
• 13:51
  SPEAKER_02: So one of the very most important things for judges when they get onto the job before the event even starts is just kind of going through and refreshing and getting comfortable with the computer software and getting familiar with the rules and the regulations and the expectations of this competition that you're sitting down and and judging for.
• 14:09
  SPEAKER_02: Because the job of a judge is similar everywhere.
• 14:12
  SPEAKER_02: You're gonna score, you're gonna give critiques, you're gonna, you know, nominate dances for specials and all those things.
• 14:18
  SPEAKER_02: But then each competition company has different requirements and rules and expectations within the job.
• 14:24
  SPEAKER_02: So sometimes when you're in the heat of the season and you've been at this comp one day and then you're going to another comp next weekend and you're going to a different one, you just have to sit down and remember and refresh your memory, which also we do on our way to the event too, when we're, you know, on the sitting on the flight or in our taxi or whatever.
• 14:41
  SPEAKER_02: But there's usually always a judge's meeting before, and that's also a a time and place where you can meet your other judges, get on the same page with everybody, and also ask any questions to the director.
• 14:51
  SPEAKER_02: So it isn't just like a regular job where you just show up and sit down at your call.
• 14:56
  SPEAKER_02: Like there is an actual call time that we have to be there, and there's other things that are happening in that 30 minutes before the event starts.
• 15:03
  unknown: Yes.
• 15:04
  SPEAKER_05: We've had to um meet with the teachers at the beginning of some of the events as well and kind of talk to them what our expectation is of the dancers on stage and introduce ourselves as well.
• 15:14
  SPEAKER_05: So I do think that's nice so that they get they can meet us and kind of have an understanding of where we're at for the weekends.
• 15:21
  SPEAKER_04: Yeah, I think that's that's a great idea, especially with you know, there are some competitions that don't necessarily print the judges' bios in the in the program, or maybe they have an online program that maybe nobody has access to or like doesn't bother to look at it.
• 15:34
  SPEAKER_04: Yeah.
• 15:34
  SPEAKER_04: Yeah.
• 15:35
  SPEAKER_04: So it's like, you know, that that too.
• 15:37
  SPEAKER_04: But I I think that's a nice little little touch that some competitions add so that like you said, Jess, like we're humanized and you you get to see, oh, this isn't just some random person they picked off the side of the road, like this person is a person who has experience and cares.
• 15:53
  SPEAKER_05: Yeah, and it's also really nice to connect to the instructors and the studio owners too, just so that we're on the same wavelength.
• 16:00
  SPEAKER_05: I I really enjoy that.
• 16:01
  SPEAKER_02: Yeah, I wish that more competitions would like put our bios out there in the world and like be proud of who is sitting on their judging panel.
• 16:09
  SPEAKER_02: I mean, I there are so many times where people don't even know my name.
• 16:13
  SPEAKER_02: Like at all.
• 16:14
  SPEAKER_02: They don't even know my name.
• 16:16
  SPEAKER_02: And and I'm not saying it's like they need to know my name as Courtney Ortiz.
• 16:19
  SPEAKER_02: Like, I just want someone to know that there are three qualified people.
• 16:23
  SPEAKER_00: Right.
• 16:24
  SPEAKER_02: And honestly, if a competition isn't sharing who your judges are, questionable.
• 16:29
  SPEAKER_02: That that red flags a little bit because you know who who are these people?
• 16:35
  SPEAKER_02: Like, don't you want to know who's judging your kids?
• 16:37
  SPEAKER_02: Absolutely.
• 16:38
  SPEAKER_02: So I do.
• 16:39
  SPEAKER_02: There should be there should be someplace somewhere, whether it's a QR code, whether it's a link on the app, whether it's a display in the lobby, whether it's printed in the programs, I don't care how you do it, but make sure that there is a way for all of the attendees to read up on who these people actually are.
• 16:57
  SPEAKER_02: Um, and make sure, you know, if if you're going to IDA comp, you obviously know.
• 17:01
  SPEAKER_02: Uh we we screen our judges and everybody's vetted and fantastic, but you never know out there.
• 17:07
  SPEAKER_04: So Amy, so what happens?
• 17:09
  SPEAKER_04: So we're we've started the event, everything is going swimmingly, hopefully.
• 17:14
  SPEAKER_04: What no hiccups ever.
• 17:16
  SPEAKER_04: Yeah, no, no, no, nothing like that.
• 17:18
  SPEAKER_04: Are you getting a break?
• 17:19
  SPEAKER_04: Are you getting dinner?
• 17:20
  SPEAKER_04: What's your what's your night look like on Friday night?
• 17:22
  SPEAKER_01: We do.
• 17:23
  SPEAKER_01: We get breaks, we get dinner breaks, we get we call them bio breaks um in the industry.
• 17:27
  SPEAKER_01: Like you need to take a bathroom break.
• 17:29
  SPEAKER_01: We do get them, but we normally, from my experience, you'll judge for about two, two and a half hours straight.
• 17:35
  SPEAKER_01: And as you know, if you've ever attended a competition, there's not a lot of time in between numbers.
• 17:40
  SPEAKER_01: So you're giving your feedback, you're scoring the number, you're giving some helpful constructive criticism for the dancer and the choreography, and then you're immediately moving.
• 17:47
  SPEAKER_01: So your brain is going and working hard and your mouth is working hard for two to two and a half hours before that break comes in.
• 17:54
  SPEAKER_01: So we do get breaks depending on the competition, is what they look like.
• 17:58
  SPEAKER_01: Um, but it's so important because you're literally your brain is working so hard as a judge.
• 18:03
  SPEAKER_01: You've got to take, you know, that 15, 20 to 30 minutes as a break to shut down and recoup.
• 18:08
  SPEAKER_02: Oh, a 20-minute break sounds lovely.
• 18:10
  SPEAKER_02: I would love that.
• 18:12
  SPEAKER_01: I was trying to be generous.
• 18:14
  SPEAKER_04: Yeah, what competition are you working for?
• 18:17
  SPEAKER_01: Like, shh, what is the video?
• 18:19
  SPEAKER_02: And I'm I'm really glad you said that because I feel like that there are so many times where I've heard as a judge and I can hear behind me when the announcer goes, All right, we're taking a 15-minute judge's break, and everyone goes, and they're so frustrated and they're so upset that there's a judge's break scheduled, or the judges had to go to the bathroom and your kid was up next and they were ready and it's gonna throw off their groove.
• 18:45
  SPEAKER_02: Like, I'm sorry.
• 18:47
  SPEAKER_02: I I have sat here for three hours and I went through my coffee already.
• 18:51
  SPEAKER_02: I am dying to go to the bathroom.
• 18:53
  SPEAKER_02: And my knee, my back is killing me.
• 18:54
  SPEAKER_02: Like, let me stand up and stretch my back, stretch my legs, like de decompress for 10 minutes, please.
• 19:01
  SPEAKER_05: But it's really valuable to their critiques.
• 19:03
  SPEAKER_05: I mean, at the end of the day, you want a really well-caffeinated judge that is like their bladder is empty and we are concentrating and focused on the performance on the stage.
• 19:14
  SPEAKER_01: Right, right.
• 19:15
  SPEAKER_01: I think it's important to like as an if you are new to competitions or if you're a new parent to competitions, understanding these judges are humans and just like we don't have, you know, your dancer might have a dance and then you might have 45 minutes until your dancer has to be ready again for another number.
• 19:31
  SPEAKER_01: We don't have that.
• 19:32
  SPEAKER_01: Right.
• 19:32
  SPEAKER_01: So that I know it's a pain, but normally most competitions will schedule their breaks.
• 19:36
  SPEAKER_01: And so if the competition's running on time, then you can kind of anticipate.
• 19:40
  SPEAKER_01: But just remember, judges are human.
• 19:42
  SPEAKER_01: The people that work backstage are humans.
• 19:44
  SPEAKER_01: We all have feelings and physiological needs.
• 19:48
  SPEAKER_02: Yeah, and I think that's a great another recommendation to especially if any competition owners are listening, to include judges' breaks in your schedule, like pencil them in and put them in the program so everyone knows where it's supposed to happen.
• 20:02
  SPEAKER_02: And, you know, obviously pending if you had to jump up a few numbers ahead, if people weren't ready, or if there was costume things, or what or their scratches or whatever, it might vary where we have, or maybe we're really ahead.
• 20:14
  SPEAKER_02: Then we can take a longer break or we can condense the break.
• 20:18
  SPEAKER_02: Like it's honestly there as a buffer, but no matter what, we can all follow along.
• 20:22
  SPEAKER_02: I know as a judge, if those breaks are in my program, it is so helpful because I'm like, okay, I only have to wait five more numbers before I have to go to the bathroom.
• 20:32
  SPEAKER_02: I can get to go to the bathroom, like I can do this, versus just like sitting there and all you can think about is I I don't, I can't even do my job right now because I have to go to the bathroom.
• 20:44
  SPEAKER_02: So yeah, it's it's uh it's hugely important.
• 20:47
  SPEAKER_02: I know that I've a lot of judges have expressed concern to me uh if they ever attend an event that I send them to where there weren't breaks penciled in because it is it is kind of makes the day a little bit tough because you're really looking for not not that we're looking forward to those breaks.
• 21:02
  SPEAKER_02: We love our job, but we need them.
• 21:04
  SPEAKER_05: Right.
• 21:04
  SPEAKER_05: And even the only other breaks we could possibly be getting is during award ceremonies.
• 21:10
  SPEAKER_05: So yeah, like during award ceremonies, we might be getting a break, but we also might be putting together our judges' awards to go back and present on stage.
• 21:19
  SPEAKER_05: We also might be talking about who was receiving choreography performance showcase awards at the end of the competition.
• 21:26
  SPEAKER_05: So it's we really don't get that much personal time to ourselves.
• 21:30
  SPEAKER_05: We are working the entire time we are there.
• 21:33
  SPEAKER_05: That is true.
• 21:34
  SPEAKER_05: Great point.
• 21:35
  SPEAKER_04: And you know, y'all are y'all are both parents and have children.
• 21:40
  SPEAKER_04: And I mean, all of us have other things outside of the job that we do on the weekend, but like I just I I think people just really need to understand that, like, okay, you've been working from 8 a.m.
• 21:49
  SPEAKER_04: to 11 p.m.
• 21:51
  SPEAKER_04: with possibly two to three 30 minute breaks, like and those are meal breaks.
• 21:56
  SPEAKER_04: That's it.
• 21:56
  SPEAKER_04: Right.
• 21:57
  SPEAKER_04: That's it.
• 21:57
  SPEAKER_04: Right.
• 21:58
  SPEAKER_04: If your children can't call you, your husband can't.
• 22:00
  SPEAKER_04: Call you, your wife can't call you.
• 22:01
  SPEAKER_04: No, this done.
• 22:02
  SPEAKER_04: I'm working.
• 22:03
  SPEAKER_04: The end.
• 22:04
  SPEAKER_02: And the phone.
• 22:11
  SPEAKER_05: So I yes, I agree with you.
• 22:13
  SPEAKER_01: Yeah, I'm with you.
• 22:14
  SPEAKER_01: My husband holds the fort down when I'm traveling every weekend between January and July.
• 22:20
  SPEAKER_01: Yes.
• 22:21
  SPEAKER_02: Yeah, and what and like what what you mentioned, Leslie, I think that's a great point about the whole like you can't even call your family or communicate with them.
• 22:28
  SPEAKER_02: So, you know, and as a studio owner, as a parent, as a teacher, you've probably complained once or twice before.
• 22:36
  SPEAKER_02: Oh, the judge is on their phone.
• 22:38
  SPEAKER_02: They're not even watching my kid.
• 22:40
  SPEAKER_02: They're literally looking at their phone right now.
• 22:42
  SPEAKER_02: And we've heard it, we've seen it, and then the competition then they go complain to the competition director.
• 22:47
  SPEAKER_02: Then the competition director comes over to the judges and says, Hey, people are complaining.
• 22:50
  SPEAKER_02: They see that you're on your phone, you gotta get off your phone.
• 22:52
  SPEAKER_02: It has turned into a point where we're not even allowed to have phones out on the table at all.
• 22:57
  SPEAKER_02: And what happens if someone needs to get a hold of us?
• 23:01
  SPEAKER_02: Honestly, like what if there is an emergency with your family, with your pet, with your whoever?
• 23:06
  SPEAKER_02: It doesn't matter.
• 23:07
  SPEAKER_02: Can can all the listeners out there can you go 14 hours without looking at your phone?
• 23:13
  SPEAKER_02: I bet you you can't.
• 23:14
  SPEAKER_04: So what how many other jobs require that of you, also?
• 23:17
  SPEAKER_02: Like not many.
• 23:19
  SPEAKER_02: And to like, we're not like texting people about your dancers.
• 23:23
  SPEAKER_02: Like that would never be happening, everyone.
• 23:26
  SPEAKER_02: So like just give a little bit of grace.
• 23:28
  SPEAKER_02: If you ever see like someone have I mean, obviously if it's like blatant where they're not paying attention at all, that is different.
• 23:34
  SPEAKER_02: But I'm most competitions have rules where they don't want you on your phone and we respect that.
• 23:39
  SPEAKER_02: And if it's only if we have to tap a quick emergency or something and get the text out and call it a day, but it's not gonna like completely uh interrupt me watching your child perform on stage.
• 23:51
  SPEAKER_02: I'm gonna do my job.
• 23:53
  SPEAKER_02: I totally agree with that.
• 23:54
  SPEAKER_02: You know, the expectations for us, I mean, they they're just crazy.
• 23:59
  SPEAKER_02: So as we kind of talked about on the judge's end, I want to jump into some of the other uh sides of this, but we kind of hinted at our extremely long days, as everybody is is experiencing.
• 24:12
  SPEAKER_02: But ours are are very, very much, and I know um we all said we're just so focused, our brain is moving a mile a minute, we are multitasking like crazy.
• 24:23
  SPEAKER_02: We are using our voices completely are shot by the end of the weekend if we're actually doing our job and critiquing for a full three-minute routine each time.
• 24:31
  SPEAKER_02: And then on top of it, we're not doing math when it comes to scoring.
• 24:36
  SPEAKER_02: Oh thank God.
• 24:36
  SPEAKER_02: I know.
• 24:37
  SPEAKER_02: Thank you for the tab computer tabulation softwares these days that do the math for us.
• 24:42
  SPEAKER_02: But it's still hard to manage all of those things and then do that for an extended period of time multiple for multiple days in a row, one lack of sleep with early call times and late end times.
• 24:54
  SPEAKER_02: So that is essentially and then I'd say by the end of the event, depending on what day it ends, in a perfect world, I think every single judge wants to go home as quickly as possible when that event is over.
• 25:06
  SPEAKER_02: If it if the event ends at six o'clock, we hope and pray that there is a flight that will get us out that night.
• 25:14
  SPEAKER_02: But sometimes there's not.
• 25:15
  SPEAKER_02: And then your judges have to stay another night and f and then spend the whole Monday morning traveling home.
• 25:22
  SPEAKER_05: And then go straight to work.
• 25:24
  SPEAKER_02: And then go straight to work, and then go straight into your studio teaching job, and then go straight into your nine to five if you have one, or maybe you had to sacrifice a half day for your nine to five because they couldn't get you out on a flight home that night.
• 25:36
  SPEAKER_02: Like so many things that people probably don't even think about that go into the job of a judge and what it looks like on those competition weekends.
• 25:44
  SPEAKER_02: So just another another little tidbit thrown in there.
• 25:48
  SPEAKER_05: Any final uh judging things to add before we move on to the next no, I think I think you really everybody really talked about all the things that encompasses a weekend for us as judges.
• 26:00
  SPEAKER_05: And you know, we're the most important thing is we're we're trying to keep an eye out for everything.
• 26:06
  SPEAKER_05: We're you know, the overall scores, the performance scores, the uh choreography score um awards, the special awards.
• 26:15
  SPEAKER_05: And we want to make sure that everybody leaves feeling great.
• 26:18
  SPEAKER_05: So um, you know, just remember that when you're when we're all sitting there, and like Amy said, you know, we're all human and we're trying our best.
• 26:26
  SPEAKER_05: Um we we don't want to leave anybody out.
• 26:34
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• 26:37
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• 27:30
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• 27:44
  SPEAKER_04: All right, I think I want to jump to uh studio owner day because Amy has experience doing that.
• 27:52
  SPEAKER_04: Tell us a little bit about where you had your studio, how long you had it, and any any of your day, day in the life of Amy back in the day.
• 27:59
  SPEAKER_04: Yeah.
• 27:59
  SPEAKER_01: Uh well, similar to Jess, I was an artistic director as well, competitive artistic director for several years before I made a decision with one of my dance partners to open our own space.
• 28:08
  SPEAKER_01: And that was in Chesapeake, Virginia, before I moved down here to Georgia.
• 28:12
  SPEAKER_01: And we knew right off the bat we were gonna have a competitive team.
• 28:15
  SPEAKER_01: He and I had were both competitive dancers growing up.
• 28:17
  SPEAKER_01: So we knew right away that this was gonna be part of the formula.
• 28:21
  SPEAKER_01: And so a day as a studio owner, honestly, I personally don't sleep very well because I am, I am, I don't know, I guess I'm worried about my kids all the time.
• 28:30
  SPEAKER_01: And I want them to have fun and I want them to be inspired, but I want them to make sure they remember their headpieces.
• 28:36
  SPEAKER_01: And so I'm trying to be, even though we had incredible dance parents, like our dance grown-ups were amazing.
• 28:42
  SPEAKER_01: But you're constantly like, okay, do I have an extra headpiece packed for this?
• 28:45
  SPEAKER_01: Do I, is Suzy Q gonna remember her tights?
• 28:48
  SPEAKER_01: You know, and you're you've got all those worries, those things that are out of your control, but you still need to consider.
• 28:53
  SPEAKER_01: And then, of course, I for me, it was really important to show up day of, morning of, and be the first person there, which when you have really organized dance grown-ups is difficult.
• 29:03
  SPEAKER_01: You're like, I'm gonna beat you there, I promise.
• 29:05
  SPEAKER_01: I know, but I I just felt it was so important to make sure that the kids come into a new space that maybe they're not familiar with, they see a face that they aren't familiar with, but I'm smiling, I'm happy, I'm setting a positive tone for the day.
• 29:17
  SPEAKER_01: That our hard work, we've done the hard work, we're not gonna stress now.
• 29:21
  SPEAKER_01: Now is time to have a fun performance opportunity and to have fun with our friends and see a lot of other great dancers.
• 29:27
  SPEAKER_01: So there was a lot of mental work for me as a studio owner first thing in the morning.
• 29:31
  SPEAKER_01: Um, but I I wanted to make sure that that's how I ran our team.
• 29:35
  SPEAKER_01: Um, and then so you're there two hours early.
• 29:37
  SPEAKER_01: And then when other parents are, you know, running out to lunch or you know, sitting and watching the dances, we're backstage, we're running through choreography, we're making sure everybody's hair pieces on the same side of the head.
• 29:49
  SPEAKER_01: Those hair pieces.
• 29:50
  SPEAKER_01: You know, all those little details.
• 29:52
  SPEAKER_01: Um, yeah, but just your overall scene, you don't ever stop, I don't think.
• 29:56
  SPEAKER_01: Like we always joke around at competitions like who's got the highest step count out of our studio owners that who's winning that rate.
• 30:03
  SPEAKER_01: Yeah.
• 30:03
  SPEAKER_01: Um, but it's different.
• 30:05
  SPEAKER_01: It's definitely a different perspective.
• 30:06
  SPEAKER_04: Well, and I'm sure you're also putting out a lot of fires.
• 30:09
  SPEAKER_04: Like you've got high emotions with the kids and the parents and you know, all kinds of stuff too.
• 30:15
  SPEAKER_04: So that's that's another mental load that I'm sure you have to carry.
• 30:19
  SPEAKER_04: Yeah, absolutely.
• 30:20
  SPEAKER_05: Amy, I was gonna say, I'm sure that you guys, you've dealt with a lot over the past three years with, you know, the pandemic and who's dancing and who's not and who's out and who's injured, and how how do we have to like reblock this piece?
• 30:34
  SPEAKER_05: Right.
• 30:34
  SPEAKER_05: You know, so that is a whole nother thing happening backstage.
• 30:37
  SPEAKER_01: Yeah.
• 30:38
  SPEAKER_01: Absolutely.
• 30:39
  SPEAKER_01: And I think, you know, if we do find a silver lining in everything that we've been through in the last three years, it's especially for the kids, it's this is what professional dance looks like.
• 30:48
  SPEAKER_01: Right.
• 30:48
  SPEAKER_01: There are constant reblocks.
• 30:50
  SPEAKER_01: There are swings, there are last-minute changes, there are venue changes.
• 30:54
  SPEAKER_01: We I've been at competitions where two days before the venue dropped the competition.
• 30:57
  SPEAKER_04: Oh man.
• 30:58
  SPEAKER_01: Um, and so you're in that scramble to like get somewhere else.
• 31:02
  SPEAKER_01: Um, and that's that's entertainment, that's showbiz, kids, right?
• 31:05
  SPEAKER_02: As they say.
• 31:06
  SPEAKER_02: It's funny.
• 31:07
  SPEAKER_02: Um, you know, you we I I mean, I don't know if everyone knows how involved the studio owner and the teachers are on the backstage end of the competition weekend, but there's a lot of studio owners that I know that are like, I don't even go backstage.
• 31:23
  SPEAKER_02: I don't even go to the dressing room.
• 31:24
  SPEAKER_02: I sit in the audience and I sit there the whole weekend and I say, good luck and hope that they figure it out.
• 31:30
  SPEAKER_02: And, you know, if they're like the kids should have their stuff together, the parents, you know, and there's some studios that are like, I don't even let parents in the dressing room, um, depending on the age, obviously.
• 31:41
  SPEAKER_02: But I think it's interesting that you or maybe some of the studio owners are like, I'm gonna sit here and I'm gonna make my staff handle all the madness going on backstage.
• 31:51
  SPEAKER_02: Um, because that is a whole job in itself, running around, making sure you have the headcount of the kids, like you said, making sure that the costume, you know, you can talk about the costume a million times.
• 32:00
  SPEAKER_02: Parents probably have charts with lists of all the accessories and all the things, and the kid forgot the one thing, and then she's the one missing the earrings, or she's she forgot to put on her fishiness, or whatever it is.
• 32:11
  SPEAKER_02: I mean, like those are the types of fires that I think the teachers and studio owners are putting out that don't, you know, the parents don't even realize that that's what's happening.
• 32:20
  SPEAKER_01: Or even, I mean, let's take some of the focus off the kids.
• 32:23
  SPEAKER_01: You go above and beyond to communicate location and venue and needs to parents via email and like different avenues, and they're like asking you questions that like at midnight the night before.
• 32:32
  SPEAKER_01: And you're like, Are you serious?
• 32:34
  SPEAKER_01: Right.
• 32:34
  SPEAKER_01: You're like, this is why I don't sleep.
• 32:36
  SPEAKER_02: Correct.
• 32:37
  SPEAKER_02: It was in an email.
• 32:38
  SPEAKER_02: Read the email.
• 32:41
  SPEAKER_05: I do like the competitions that offer I call it the Oasis tent, the teacher's tent, the teacher's room.
• 32:48
  SPEAKER_05: Because we really don't have an opportunity to leave to eat.
• 32:51
  SPEAKER_05: Like when parents are leaving, that's the only way.
• 32:53
  SPEAKER_05: Hey, can you grab me this for food?
• 32:56
  SPEAKER_05: But um, it's just I think we need more of that.
• 32:58
  SPEAKER_05: Me too.
• 32:59
  SPEAKER_05: It's it's just so important.
• 33:01
  SPEAKER_02: It's just that little extra step that you're you were thought about and like think a thank you.
• 33:06
  SPEAKER_02: A thank you.
• 33:07
  SPEAKER_02: Yeah.
• 33:07
  SPEAKER_02: Yeah.
• 33:08
  SPEAKER_04: Well, and you're the ones making the event happen.
• 33:11
  SPEAKER_04: Like everybody makes the event happen because you need all these pieces.
• 33:14
  SPEAKER_04: But if you as a studio owner chose not to bring your kids, that's one less studio that's making this event happen.
• 33:20
  SPEAKER_04: So yeah, a little bit of a thank you, I think, would go a long way in terms of you know, just a quiet spot, like a quiet zone and some snacks.
• 33:28
  SPEAKER_02: Yeah.
• 33:29
  SPEAKER_02: Sure.
• 33:29
  SPEAKER_01: Yeah, absolutely.
• 33:31
  SPEAKER_02: What about like the fires to be put out when like the music goes like wrong and you're backstage and the kids are just like, ah, what do I do?
• 33:40
  SPEAKER_02: And then you always hear the studio, like sometimes I'll hear someone like that's the wrong music in the audience.
• 33:46
  SPEAKER_02: And then they like run up to the sound booth and it's playing off their phone without it.
• 33:50
  SPEAKER_02: Yeah.
• 33:51
  SPEAKER_02: You know, having like a million different versions of the music that you are prepared and ready to pop over to the sound guy if there's an issue, you know, if if a dancer has any type of like mishap on stage where they get injured, or if there's a costume malfunction or a prop went down or whatever, like having to be ready to handle that and discussing with the backstage people, especially like if there is a you know, all the prop dads and and the prop parents that have to carry things on, like managing them, getting them to understand where to put things on stage.
• 34:25
  SPEAKER_02: Like there's so many.
• 34:26
  SPEAKER_02: Yes, so many aspects.
• 34:28
  SPEAKER_01: So many tasks.
• 34:29
  SPEAKER_01: Oh my gosh, yes.
• 34:30
  SPEAKER_01: Yeah.
• 34:31
  SPEAKER_01: It's I think I think Leslie said you're constantly multitasking, and that's exactly what you're doing, is that's why we don't sleep, and that's why we're exhausted at the end of the weekend.
• 34:40
  SPEAKER_02: Something I want to mention that I've been seeing actually a lot recently on a lot of the um Facebook groups, especially for teachers, actually I've seen it on a handful of different ones.
• 34:50
  SPEAKER_02: And I don't know if this is everywhere, but it sounds like that there's a handful, and there's studios out there that want their teachers to attend the events, but don't want to pay them to attend the events.
• 35:06
  SPEAKER_02: And make and I mean if it's a requirement at for a studio, if a studio owner says, Hey to my staff, if you choreographed dances, if you're part of this competition team, I want you to be at competition weekend for the whole weekend, you know, and the but we can't afford to pay you.
• 35:24
  SPEAKER_02: I mean, some people might say sure, be out of the kindness of their heart, and other people might say, actually, I'm not doing that unless I'm getting paid because that's a full work weekend.
• 35:32
  SPEAKER_02: I'm gonna be doing people's hair, I'm gonna be buttoning costumes, I'm gonna be running dances backstage, that's a job.
• 35:38
  SPEAKER_02: But then there's other studios that are like, it's optional.
• 35:41
  SPEAKER_02: We don't expect you to be here because we can't afford to pay you.
• 35:44
  SPEAKER_02: It's a long weekend.
• 35:45
  SPEAKER_02: We we understand you have a life, you have other things to be doing this weekend.
• 35:48
  SPEAKER_02: But I just want to throw that out there because that is something that supposedly is happening.
• 35:52
  SPEAKER_02: And I'm not sure if even parents are aware of that because depending on how they structured the, you know, a lot of a lot of studios will tackle on an administrative or like a competition fee to cover those aspects of the event financially for their staff, for their studio owners and the team and everything.
• 36:09
  SPEAKER_02: But there might be a lot of a lot of teachers that are coming out of the kindness of their heart because they want to come and support your kids.
• 36:16
  SPEAKER_02: So to be expecting them to bend over backwards, like you know, on a competition weekend, they might not even be getting paid properly for that weekend to be there all day.
• 36:26
  SPEAKER_05: Yeah, that's a really good valid point, Courtney.
• 36:29
  SPEAKER_05: I mean, I do think that there should be some type of day rate for uh your teaching staff to be there.
• 36:36
  SPEAKER_05: I mean, they are taking their day off, they're taking their weekend off away from their families, same thing as judges, and they're trying to give your their dancers the best experience and the best performance on stage.
• 36:47
  SPEAKER_05: And it's work.
• 36:48
  SPEAKER_05: It's work.
• 36:49
  SPEAKER_05: And they're working really, really hard.
• 36:52
  SPEAKER_05: So I I definitely think it's something that should be a part of the contract and um should be discussed.
• 36:58
  SPEAKER_01: I a hundred percent agree.
• 36:59
  SPEAKER_01: And I've I've unfortunately seen both sides of this.
• 37:02
  SPEAKER_01: As a studio owner myself, I made sure that if I was asking teachers to come, not only are we giving them a day rate, but we're also covering travel reimbursement, food, and if they're if it's a weekend long event, I'm covering their hotel room.
• 37:13
  SPEAKER_01: That comes out of competition fees that we structured and let our parents know about the beginning of the season.
• 37:18
  SPEAKER_01: I have unfortunately worked for studio owners where guilt was used as a tactic for us to volunteer our time on the weekends.
• 37:25
  SPEAKER_01: And I think that's more common than we want to believe it is.
• 37:28
  SPEAKER_01: In this dance world, yes.
• 37:29
  SPEAKER_01: You know, as right, because those are your like, listen, those are your babies, those are your those are your kiddos, and you've got a personal relationship with them, and you don't want to feel like you're letting them down.
• 37:38
  SPEAKER_01: But also, two, we have to advocate for ourselves and our industry that our time is valuable and it is worth to be paid for.
• 37:45
  SPEAKER_02: So, Amy.
• 37:48
  SPEAKER_02: You said it.
• 37:49
  SPEAKER_02: I'm here for it and I love it.
• 37:51
  SPEAKER_02: And I and it's so helpful for you to say that as a former studio owner.
• 37:55
  SPEAKER_02: You knew what it took, like you knew what needed to happen to tr to treat your staff properly and to compensate them properly for their time.
• 38:04
  SPEAKER_02: So even if they are getting paid a f a day rate, do they still have to pay for their travel to the event?
• 38:10
  SPEAKER_02: How far away is it?
• 38:10
  SPEAKER_02: Is it a three-hour drive?
• 38:12
  SPEAKER_02: It is it 15 minutes down the street?
• 38:14
  SPEAKER_02: Can they stay at their home that night or do they need a hotel?
• 38:17
  SPEAKER_02: All those things add up where to the point where even if you are getting compensated a flat day rate, that might be going directly to the expenses to still be there and you're walking away with nothing.
• 38:28
  SPEAKER_02: So right, you know.
• 38:30
  SPEAKER_05: And what is the value of them not being there and the value of them being there for you?
• 38:34
  SPEAKER_05: And that's what you need to really look at.
• 38:37
  SPEAKER_05: And I think I think that will answer a lot of questions.
• 38:39
  SPEAKER_01: Yeah.
• 38:40
  SPEAKER_01: That, yeah, for sure.
• 38:41
  SPEAKER_01: And then also it's, I mean, it's mental health too, right?
• 38:44
  SPEAKER_01: Like, are you asking a teacher to come work an 18-hour day on their feet and then making them drive an hour and a half home because you don't want to pay for a hotel room?
• 38:52
  SPEAKER_01: Like, that's ridiculous to me as a studio owner.
• 38:55
  SPEAKER_01: Like, I want you well rested, I want you in a great mood.
• 38:58
  SPEAKER_01: Of course, I'm gonna pay for your 20 Starbucks because I need you also awake.
• 39:01
  SPEAKER_01: Like, so taking care of your employees, and I think as a business owner, that's talking about the long-term big picture.
• 39:08
  SPEAKER_01: Do you want to retain your staff?
• 39:10
  SPEAKER_01: Because how you treat them is what's gonna make them stay.
• 39:13
  SPEAKER_01: Not what you pay them hourly.
• 39:14
  SPEAKER_01: Yes, that's a part of it, but how are you treating them as a human being?
• 39:17
  SPEAKER_01: Well, and are you valuing their mental health?
• 39:19
  SPEAKER_04: And like you said, Amy, you as as a studio owner, you need to build these expenses into your fees.
• 39:26
  SPEAKER_04: So maybe you have a competition fee just generally that covers those things.
• 39:31
  SPEAKER_04: And and you know, I think everybody hates an unnecessary fee, like a ticket master service charge fee.
• 39:37
  SPEAKER_04: Like nobody likes that.
• 39:38
  SPEAKER_04: But but if you know, if you explain this fee is for this, this is so Miss Jessica can come over the weekend.
• 39:44
  SPEAKER_04: Right.
• 39:44
  SPEAKER_04: This is this is paying for Miss Jessica's hotel room.
• 39:46
  SPEAKER_04: Like, who's gonna say, well, I don't think Miss Jessica needs a hotel room?
• 39:49
  SPEAKER_04: Like, I don't think anybody's gonna say that.
• 39:51
  SPEAKER_04: So if it's just up front and built in or it's built in over time or something, you know, I think that's important to explain and to hear.
• 40:00
  SPEAKER_01: 100%.
• 40:01
  SPEAKER_01: And I think I think as a business owner, too, a lot of people are afraid to ask for money.
• 40:05
  SPEAKER_01: Like, money is a hard topic for a lot of business owners.
• 40:08
  SPEAKER_01: And if you want to really get down and dirty in it, money can can be a hard topic for women in general to discuss.
• 40:15
  SPEAKER_01: That's a whole nother rabbit hole we can go down on different podcasts for you to know.
• 40:18
  SPEAKER_01: I am right in there.
• 40:20
  SPEAKER_01: Right, season six.
• 40:21
  SPEAKER_01: But listen, right, like so.
• 40:23
  SPEAKER_01: But we have to do that for our parents.
• 40:25
  SPEAKER_01: That's gonna create more value with your parents if you're open and upfront and you say, I um Miss Jessica needs to be there so that your kid can have a great experience.
• 40:32
  SPEAKER_01: This is what it costs, and we're dividing that up amongst the team and being open and upfront about it because that's valuable.
• 40:38
  SPEAKER_01: If she's my teacher, she's on my staff, heck yeah, I want her there, and I want her feeling great all weekend.
• 40:42
  SPEAKER_01: Like she's gonna be tired like me, but she's gonna be caffeinated.
• 40:45
  SPEAKER_05: Right.
• 40:45
  SPEAKER_05: And also new work makes a dream work, you know what I mean?
• 40:48
  SPEAKER_02: Right.
• 40:48
  SPEAKER_02: Yeah.
• 40:49
  SPEAKER_02: And hearing all of that and what you said, Amy, the same thing applies and how we started the conversation with the judges being treated like humans as well.
• 40:59
  SPEAKER_02: Yes, sometimes we do have to wake up at four in the morning and get on a plane to then travel all day, not even get to sit in our hotel room before we head straight to the venue to then work until 10 o'clock at night.
• 41:11
  SPEAKER_02: That does happen.
• 41:12
  SPEAKER_02: Is that acceptable?
• 41:14
  SPEAKER_02: I mean, it happens.
• 41:15
  SPEAKER_02: Do is that what I want to do as a judge?
• 41:17
  SPEAKER_02: No, I would prefer to get a good night's sleep.
• 41:20
  SPEAKER_02: I would prefer to be able to not have to change my clothes in the bathroom to get into my professional attire before I go sit down at the judge's table.
• 41:30
  SPEAKER_02: And I would like to have a nice, like, healthy dinner and not eat pizza.
• 41:35
  SPEAKER_02: Like, I you know, a lot of those things are what we actually are are dealing with instead of what the glamorous life of a dance competition judge a lot of people think.
• 41:45
  SPEAKER_02: And we all have learned through the years who to work for and who not to work for.
• 41:50
  SPEAKER_02: So the same thing applies in the inner.
• 41:52
  SPEAKER_02: And you would be surprised who those people are.
• 41:55
  SPEAKER_02: That is true.
• 41:56
  SPEAKER_04: Not to work for.
• 41:57
  SPEAKER_04: That is true.
• 41:57
  SPEAKER_02: Just that is true.
• 42:01
  SPEAKER_02: It is so true.
• 42:02
  SPEAKER_02: You would think you you would think you like, oh, well, this they've been around for forever.
• 42:07
  SPEAKER_02: They have they know how to well, I don't I mean, you just don't like you have to really do your research, and you have to sometimes you don't really get a taste of it until you've you've done it once, and then you're like, okay, maybe I'm not gonna work for this company anymore because of this, this, this, and this.
• 42:25
  SPEAKER_02: And it really is comes down to your your health and your mental health and if it's worth it for you, because sure, it like you said, money's great, all the things we're inspired by dance, but I need to feel like I'm walking away with a nice paycheck and also not completely exhausted where I'm laying in bed for a week straight and getting a cold after, and you know, all the all the other things that come with it.
• 42:52
  SPEAKER_05: Yeah, and also like I I worked for, you know, someone that put us in a very, very shady hotel to sleep in.
• 43:00
  SPEAKER_05: And I felt my safety was a concern.
• 43:03
  SPEAKER_05: Right.
• 43:04
  SPEAKER_05: And that's that's something where we need to like have a required at least three and a half star kind of hotel or some something along those lines so that we know that we're safe while we're in a foreign city.
• 43:16
  SPEAKER_05: Right.
• 43:17
  SPEAKER_05: Yeah.
• 43:17
  SPEAKER_04: Um with probably no transportation of your own, you know, most of the time if you're flying in, you've Ubered back, you know, from the hotel or from the airport and you're stuck.
• 43:25
  SPEAKER_02: Yeah.
• 43:26
  SPEAKER_04: You're stuck at that that one star motel.
• 43:29
  SPEAKER_04: Yeah.
• 43:29
  SPEAKER_01: You're not though.
• 43:30
  SPEAKER_01: I have I I will throw myself under the bus.
• 43:33
  SPEAKER_01: I have changed hotels in the middle of the night because of safety issues on multiple occasions because I refuse.
• 43:40
  SPEAKER_01: But not everybody has that resource.
• 43:43
  SPEAKER_01: Not everybody can do that.
• 43:44
  SPEAKER_01: Um, I'm just not gonna do it.
• 43:46
  SPEAKER_01: Yeah, good for you.
• 43:48
  SPEAKER_02: Well, let's jump over to the parent side.
• 43:52
  SPEAKER_02: And Amy, now that I know that you're a parent, and I wish I knew this before the episode started, are you a dance parent?
• 43:58
  SPEAKER_01: I um I have a little.
• 44:00
  SPEAKER_01: Boy, so he is taking combo classes right now.
• 44:03
  SPEAKER_01: He is not a competitive dancer, but he takes gymnastics, he takes ballet tap combo classes because he's younger, and he also plays soccer and basketball and does all the things.
• 44:14
  SPEAKER_01: So he loves to dance.
• 44:16
  SPEAKER_01: We do go to a competition studio that has a very large competition team.
• 44:20
  SPEAKER_01: I picked them on purpose because I know that they're very well organized.
• 44:24
  SPEAKER_01: So I'm not taking it off the table.
• 44:26
  SPEAKER_01: I'm it's really important for me, and I'm sure it's for Jessica too.
• 44:29
  SPEAKER_01: Like he's gotta find his own way.
• 44:30
  SPEAKER_01: I'm not gonna shove it down his throat.
• 44:32
  SPEAKER_01: That's how I grew up, doesn't mean it's a good fit for him, but opportunity my son tap my son did some tap for like two years, and then he was like, I'm out.
• 44:41
  SPEAKER_05: Yeah, I'm done.
• 44:42
  SPEAKER_02: All right, so soon to be potential dance parent, but uh, A ma'am, you've dealt with your fair share of dance parents as a studio owner.
• 44:50
  SPEAKER_01: I have, I have.
• 44:52
  SPEAKER_02: And Jess is Jess, is your daughter competing?
• 44:55
  SPEAKER_05: So my daughter currently doesn't compete, but she is gearing up to perform in the Nutcracker in a couple weekends, downtown of Philadelphia.
• 45:04
  SPEAKER_05: I love it.
• 45:04
  SPEAKER_05: So um, you know, that's where we're at.
• 45:07
  SPEAKER_05: And I I think as she progresses, she definitely wants to compete and be a part of the whole scene.
• 45:14
  SPEAKER_05: You know, I think the a dance parent wins the Unsung Hero Award.
• 45:20
  SPEAKER_05: Um, we do a lot of things for our children that no one will ever see.
• 45:24
  SPEAKER_05: And our children might not ever see as well.
• 45:27
  SPEAKER_05: Right.
• 45:28
  SPEAKER_05: You know, and I think the preparation to come before competition, before performance starts way before that weekend, that day.
• 45:36
  SPEAKER_05: Um, whether we're trying to give them the best training, um, you know, rehearsals with certain choreographers, traveling, you know, packing all their bags.
• 45:46
  SPEAKER_05: Yeah.
• 45:47
  SPEAKER_05: Like I have a a snack bag, I have a bag with for costumes and tights and props, and I have a bag for just her stuffed animals and her blanket.
• 45:57
  SPEAKER_05: And then I have my bag.
• 45:59
  SPEAKER_05: And then I sometimes just put my house in the car and then bring all the things.
• 46:05
  SPEAKER_05: It's you know, it's just a lot when you're and and then you're so stressed that you're gonna forget something.
• 46:11
  SPEAKER_05: And then when I get to the venue, I'm also working.
• 46:14
  SPEAKER_05: So I am stage left at the nutcracker.
• 46:17
  SPEAKER_05: So I won't be able to watch her perform um because I'll be kind of helping her and her class, her class of angels um do their steps on the side.
• 46:27
  SPEAKER_05: So, you know, I do think it's very special that I get to experience.
• 46:32
  SPEAKER_05: I also teach her, so it's very special experience being a part of her world and her dance friends, and um, you know, just enjoying all of those little moments that most dance parents don't get to see.
• 46:45
  SPEAKER_05: Right.
• 46:46
  SPEAKER_05: Yeah.
• 46:46
  SPEAKER_05: I also think that doing hair and makeup, if you still do your your dancers' hair and makeup, you guys are saints.
• 46:55
  SPEAKER_05: I say that out loud right now because I this is where we this is where we argue with me and my daughter, and I have to walk out of the room.
• 47:04
  SPEAKER_04: I've heard this.
• 47:04
  SPEAKER_04: Yep.
• 47:05
  SPEAKER_04: I was that kid.
• 47:06
  SPEAKER_04: You should like switch kids with another parent and be like, you do hers, I'll do hers, and we should be fine.
• 47:11
  SPEAKER_04: Yes.
• 47:11
  SPEAKER_05: Yeah, yeah.
• 47:12
  SPEAKER_05: Sometimes parents just hand them to me when they walk through the door.
• 47:15
  SPEAKER_05: I'm like, great, I'm very excited to do this.
• 47:20
  SPEAKER_05: It does require a lot of patience.
• 47:22
  SPEAKER_05: I don't want to mess up her, you know, her performance day.
• 47:26
  SPEAKER_05: But again, simultaneously, I'm getting ready to go to work.
• 47:30
  SPEAKER_05: So I have to, you know, get myself together and her together and out the door and try to do it um where she knows she's gonna, we're we're gonna do our jobs to the best of our abilities.
• 47:41
  SPEAKER_05: But to all the dance parents out there, I want you guys to know that it is worth it.
• 47:47
  SPEAKER_05: And I look back and I I thank my parents almost like every month for what they have given me and what I'm you know, how I'm being able to inspire all the kids and and and my students.
• 48:00
  SPEAKER_05: And it's just, you know, you they might not thank you today, they might not thank you tomorrow, but one day they're gonna look back and be like, wow, you did this?
• 48:09
  SPEAKER_05: Thank you so much.
• 48:11
  SPEAKER_05: You're a part of their success.
• 48:12
  SPEAKER_05: Aww.
• 48:13
  SPEAKER_02: Yeah, the whole hair and makeup thing.
• 48:16
  SPEAKER_02: I mean, that is definitely a part of the dance parent's job, I think, for the young dancers, until they're able to do exactly what their stage makeup is supposed to look like.
• 48:27
  SPEAKER_02: And every single dance parent, if you have a female identifying child, you every single dance parent has had to attempt to put fake eyelashes on a kid.
• 48:36
  SPEAKER_02: And and I can't imagine how hard that job is.
• 48:40
  SPEAKER_02: And then also being a hairstylist, I can't remember which mom it was on our dance mom's episode a few seasons back, but I feel like it was Marlowe, and she was like, I did not know that I had to become a hairstylist to be a dance parent.
• 48:54
  SPEAKER_02: Like I am doing different hairstyles, I'm like doing the bun and the this and the pony and the that and different hair changes 24-7.
• 49:02
  SPEAKER_02: And it's like, yeah, that is actually part of it.
• 49:05
  SPEAKER_02: I was that kid that would scream and and freak out on my mom in the dressing room because I have curly hair that gets really knotty really quickly.
• 49:15
  SPEAKER_02: And my mom has dead straight hair.
• 49:17
  SPEAKER_02: She has no idea what to do with these curls, and it was just a disaster, you know, getting getting my hair to look somewhat professional and sleek and polished.
• 49:28
  SPEAKER_02: The amount of like hairspray and ripping my hair back in ponytail to get all the bumps out and everything.
• 49:34
  SPEAKER_05: It was just And some of the competition teams have like really intricate hairstyles.
• 49:39
  SPEAKER_05: Yeah.
• 49:40
  SPEAKER_05: I'm always like in awe.
• 49:41
  SPEAKER_04: I'm an absolute kid.
• 49:43
  SPEAKER_04: I would be a pathetic dance mom because I'm like, I don't know, a ponytail, that's like all I can give you.
• 49:49
  SPEAKER_04: Maybe a but I can give you a bun, but like braiding, no.
• 49:58
  SPEAKER_02: If your dancer has a passion for ballet and classical training and wants to attend a unique seven-day summer intensive, then join us at Francisco Gela Danceworks Ballet Plus Intensive.
• 50:08
  SPEAKER_02: Taking place in sunny Miami, Florida this June 9th through the 15th, 2024.
• 50:13
  SPEAKER_02: Ballet Plus is an in-depth intensive leading students towards developing a strong technical foundation in ballet, modern, and jazz with a highly refined and authentic artistic voice.
• 50:24
  SPEAKER_02: And guess what?
• 50:25
  SPEAKER_02: If you attend the Ballet Plus Intensive this summer, then you'll also get a chance to dance with me.
• 50:30
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• 50:35
  SPEAKER_02: And I would love to see you there.
• 50:37
  SPEAKER_02: The Ballet Plus Intensive is open to intermediate and advanced dancers ages 10 through 22.
• 50:42
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• 50:48
  SPEAKER_02: Use the code MAKINGTHEIMPAT in all caps when registering on our website to receive$75 off tuition at FranciscogelaDance.com.
• 50:56
  SPEAKER_02: Thank you to Francisco Gela Danceworks for being our season five premiere sponsor.
• 51:01
  SPEAKER_02: Hope to see you in Miami this summer.
• 51:12
  SPEAKER_01: I will say though, from being in the competitive world as a child and then watching my own studios at dance parents, like the teamwork, like if we could just get a group of well-behaving dance parents together, they would run the world.
• 51:26
  SPEAKER_01: Like the delegation, like so if you're not great at hair, Leslie, there is like two other moms that are great, and we're just like everybody gets them.
• 51:32
  SPEAKER_01: Yep.
• 51:33
  SPEAKER_01: You do the hair, I'm buying you lunch.
• 51:34
  SPEAKER_01: Okay, great.
• 51:35
  SPEAKER_01: Next.
• 51:36
  SPEAKER_01: Done the end.
• 51:36
  SPEAKER_01: Yeah.
• 51:37
  SPEAKER_01: No discussion.
• 51:38
  SPEAKER_01: Right.
• 51:38
  SPEAKER_01: Exactly.
• 51:39
  SPEAKER_01: Exactly.
• 51:39
  SPEAKER_01: Delegation is key.
• 51:41
  SPEAKER_05: Yeah.
• 51:41
  SPEAKER_05: So when we're doing the nutcracker at the theater, it's a union theater.
• 51:45
  SPEAKER_05: So we can't even like dress the dancers.
• 51:49
  SPEAKER_05: Really?
• 51:49
  SPEAKER_05: The seamstress has to dress them.
• 51:51
  SPEAKER_05: Oh yeah.
• 51:52
  SPEAKER_05: In certain in certain theaters.
• 51:54
  SPEAKER_05: And they have these huge orbs that they're wearing around their head.
• 51:57
  SPEAKER_05: And it literally takes like a whole bobby pin thing to put it on.
• 52:02
  SPEAKER_05: So there's like 19 angels.
• 52:04
  SPEAKER_05: And it's going to take forever to put all that.
• 52:07
  SPEAKER_05: And we don't, there is no, there are maybe two or three parents backstage for that age group.
• 52:12
  SPEAKER_05: So it's going to be very interesting and fun.
• 52:16
  SPEAKER_04: Gotta get that backstage dress rehearsal going on.
• 52:18
  SPEAKER_02: Yeah.
• 52:19
  SPEAKER_02: That's that's what I was gonna say.
• 52:21
  SPEAKER_02: The backstage aspect of it on the dance parents end.
• 52:25
  SPEAKER_02: You know, they're they're essentially the dressers uh at competition.
• 52:29
  SPEAKER_02: They have become those dressers that you're talking about that happen at the union houses and in professional shows where on Broadway and things, you actually have a designated person that's helping you put your costume on, making sure they're already there prepared.
• 52:42
  SPEAKER_02: They have your hair piece, they have your wig, they have your accessories, they're making sure you don't forget anything.
• 52:46
  SPEAKER_02: They know what's needed.
• 52:48
  SPEAKER_02: Dance parents, that's becomes your job.
• 52:51
  SPEAKER_02: You are the dresser.
• 52:52
  SPEAKER_02: Yeah, you are you are the dresser.
• 52:54
  SPEAKER_02: So when your dancer puts on their costume, they go out and they do their thing on stage.
• 52:58
  SPEAKER_02: You might be able to run out into the auditorium and watch.
• 53:01
  SPEAKER_02: Running back, getting the next costume prepared.
• 53:04
  SPEAKER_02: All right, let me look at my list.
• 53:05
  SPEAKER_02: What are the accessories?
• 53:06
  SPEAKER_02: What tights are they wearing?
• 53:07
  SPEAKER_02: What shoes do they need for this one?
• 53:09
  SPEAKER_02: Do they have a hair piece for this?
• 53:10
  SPEAKER_02: Where are the bobby pins?
• 53:11
  SPEAKER_02: Do we need to safety pin something?
• 53:12
  SPEAKER_02: Like, those are all of the things that a lot of dance parents have to handle and do.
• 53:18
  SPEAKER_02: Or some dance parents are saying, good luck, kid, and trusting the kid to do it, depending on what age.
• 53:24
  SPEAKER_02: And I do think at a certain point, there is a point in a child's, you know, time as a as a dancer where they don't want mom in the dressing room anymore, just prodding and being annoying, like, did you for Did you remember this?
• 53:36
  SPEAKER_02: Don't forget about that.
• 53:37
  SPEAKER_02: What about this?
• 53:38
  SPEAKER_02: You know, I can't- You sound just like your mother.
• 53:40
  SPEAKER_02: I know.
• 53:43
  SPEAKER_02: Like, I could not wait for my mom to get out of the dressing room.
• 53:46
  SPEAKER_02: Like, cause she would just be like, you know, hovering behind, like, Did do you have everything?
• 53:52
  SPEAKER_02: Is everything okay?
• 53:53
  SPEAKER_02: Well, don't forget your earrings.
• 53:54
  SPEAKER_02: Well, make sure you double bobby pin that.
• 53:56
  SPEAKER_04: It'll just take the one time.
• 53:58
  SPEAKER_04: So, like, you know, 12-year-old you said, I'm good, mom, I know what to do.
• 54:01
  SPEAKER_04: Yes.
• 54:02
  SPEAKER_04: And then you forgot your headpiece.
• 54:03
  SPEAKER_04: Exactly.
• 54:04
  SPEAKER_04: And then so then, you know, you're like, okay, mom, you were right.
• 54:07
  SPEAKER_04: But Amy, what so when you were a studio owner, what did you like, how did you approach having parents help backstage?
• 54:15
  SPEAKER_04: Did you say, This is what you're doing, this is what you need to do, this is how you do this, or did they just sort of figure it out?
• 54:22
  SPEAKER_01: Um, from a competition standpoint, it was really important for us to have, we would have at least two meetings coming up to the competition season.
• 54:30
  SPEAKER_01: One was always hair and makeup, like this is how you do it.
• 54:33
  SPEAKER_01: Like, so we would take class time or rehearsal time and review everything.
• 54:37
  SPEAKER_01: And then at a certain age, I'm with Courtney.
• 54:40
  SPEAKER_01: At a certain age, I feel like a dancer should be able to do those things independently.
• 54:43
  SPEAKER_01: I'm huge too on getting to the venue with all that already done.
• 54:47
  SPEAKER_01: Yes.
• 54:47
  SPEAKER_01: And just your touch-up bag when you're doing the thing.
• 54:50
  SPEAKER_01: Just so you're not coming in barefaced with your hair not done and you've got 20 minutes to be on stage.
• 54:56
  SPEAKER_01: Like, let's not do that.
• 54:57
  SPEAKER_01: Just take the chaos away.
• 54:58
  SPEAKER_01: So we had we would have volunteers for competitions, moms that didn't mind being backstage or preferred to be backstage, and that would rotate.
• 55:07
  SPEAKER_01: And we'd probably do about between four and five competitions a season and a roster, and then we rotate.
• 55:13
  SPEAKER_01: So one mom can stay out the whole time, and then that mom's kids would go to the the next parent backstage just to give everybody a chance.
• 55:20
  SPEAKER_01: I love that.
• 55:20
  SPEAKER_01: But then, of course, you know, you've got some kids that they they have the freedom to choose.
• 55:24
  SPEAKER_01: They want mom backstage or they want dad backstage in the wings, you know, doing that.
• 55:28
  SPEAKER_01: So we gave it some structure and then also some leniency.
• 55:31
  SPEAKER_01: That's great.
• 55:32
  SPEAKER_05: I do think, Amy, that communication is key when it comes to doing your hair and makeup class, having that dress rehearsal, talking about the whole look.
• 55:40
  SPEAKER_05: I think that for them to see it and practice it is so important.
• 55:44
  SPEAKER_01: A hundred percent.
• 55:44
  SPEAKER_01: And then honestly, like I know as choreographers, we have a vision, but bear in mind don't go crazy with a hair change.
• 55:52
  SPEAKER_01: Like that's the best advice I can give you as a computer.
• 55:55
  SPEAKER_05: Yeah, yeah.
• 55:56
  SPEAKER_05: Wigs are very popular now.
• 55:58
  SPEAKER_01: They're popular.
• 55:59
  SPEAKER_01: Um, and I think as as someone that's worked in the competition area for almost 10 years and have run a studio, I know we have a vision as choreographers and as studio owners, but it's not a Broadway show.
• 56:11
  SPEAKER_01: Right.
• 56:12
  SPEAKER_01: We don't have full makeup artists and dressers backstage, so just be considerate.
• 56:17
  SPEAKER_01: Like I've seen some really amazing, some really amazing Beetlejuice makeup, but we shouldn't have to hold the show for that.
• 56:24
  SPEAKER_01: Like if you can't get it done in time, we need to make adjustments.
• 56:30
  SPEAKER_02: And especially coming, I'm sure, you know, you and Leslie both uh having directed dance competitions and run those events, that is your job to make sure the event runs on time.
• 56:41
  SPEAKER_02: And then Beetlejuice over here is holding up the whole darn show.
• 56:45
  SPEAKER_02: And holding it.
• 56:46
  SPEAKER_04: And and nobody told us that Beetlejuice was changing her face or face.
• 56:50
  SPEAKER_04: And that's that's the thing that I think everybody needs to remember when you're registering your dances.
• 56:54
  SPEAKER_04: You know, if you have anything in within your routines that may take up more time pre or post routine, we need to know about that as directors, as your as your competition directors, because I'll put your dance at the beginning or at the end or wherever you need it to go.
• 57:08
  SPEAKER_04: Like, but you gotta communicate.
• 57:11
  SPEAKER_04: Yeah, the big prop.
• 57:12
  SPEAKER_04: Crazy cost.
• 57:14
  SPEAKER_04: The freaking um rose petals that I have to sweep up that your people aren't helping me sweep up.
• 57:18
  SPEAKER_04: You, you know, also dance parents, you gotta sweep up the rose petals um on your own.
• 57:22
  SPEAKER_04: Bring your own broom.
• 57:23
  SPEAKER_04: I don't have one for you.
• 57:24
  SPEAKER_05: But yeah, like like a whole new episode that we can talk about that.
• 57:28
  SPEAKER_05: Let's just do a whole episode to throw on stage that aren't worth it.
• 57:31
  SPEAKER_04: Literally anything.
• 57:32
  SPEAKER_04: Don't throw anything.
• 57:33
  SPEAKER_02: Do not litter the stage.
• 57:35
  SPEAKER_02: I want to do an episode.
• 57:36
  SPEAKER_02: Do not litter the stage, everybody.
• 57:39
  SPEAKER_02: It's just on a loop.
• 57:40
  SPEAKER_02: Don't litter, don't throw that.
• 57:41
  SPEAKER_04: No, no, no rose puddles, no glitter, no fire.
• 57:45
  SPEAKER_01: Just everyone saying one word glitter, water, newspaper, streamers.
• 57:50
  SPEAKER_04: Oh god, confetti, none of it.
• 57:51
  SPEAKER_01: No, but Leslie, I think that's a great point.
• 57:53
  SPEAKER_01: It's it's about communication because I know that if a studio as a competition director, if a studio owner comes to me and says I have a really large set like prop, or uh this dancer is in three numbers and I need a little more time for hair and makeup for this one, I'm gonna do everything I can to accommodate you because you're my client.
• 58:09
  SPEAKER_01: Right.
• 58:10
  SPEAKER_01: And I want you to keep coming back.
• 58:11
  SPEAKER_01: But I can't, if you show up two numbers before they're supposed to be on stage and be like, oh, she's still getting dressed, and there's nothing I can do for you that's great.
• 58:19
  SPEAKER_02: And on the back end of things, like when you're registering, and I'm not a studio, so I don't often ever see what the actual registration looks like for dance studios, but I'm assuming, and I hope that all programs and softwares that the studios are using for registration allows there to have notes inserted into each event, each each entry to clarify and state some of those things.
• 58:47
  SPEAKER_02: So if that is there for you, which again, I'm saying if because I just don't know, like there could be one random, you know, software that doesn't allow that.
• 58:57
  SPEAKER_02: And then that's why it happens.
• 58:59
  SPEAKER_02: But like if that is there, please utilize it and be detailed.
• 59:03
  SPEAKER_02: Like, please say we have a makeup change that needs to happen and it takes a little bit of time.
• 59:08
  SPEAKER_02: This needs to go at the end.
• 59:10
  SPEAKER_02: We have a hair change here.
• 59:11
  SPEAKER_02: I mean, again, like you shouldn't be doing full, full-blown hair changes.
• 59:15
  SPEAKER_02: Most likely you shouldn't.
• 59:17
  SPEAKER_02: It's back in the day when I was competing, there was time to do that because there weren't levels and you weren't on stage every other second.
• 59:23
  SPEAKER_02: Now it's just like pick a hairstyle and stick with it and like do something that's gonna work for everything.
• 59:31
  SPEAKER_02: Um, unless it's like you can take the bun out and put it into a ponytail.
• 59:34
  SPEAKER_02: That's easy.
• 59:35
  SPEAKER_02: Then you can whip the bun back in very quick, but like get good at doing your hair changes fast if you're gonna do them because you can't hold the show up.
• 59:42
  SPEAKER_04: With with the you know, with the detailed stuff, like take it one step further.
• 59:46
  SPEAKER_04: Practice how long it takes Beetlejuice to put their makeup on or take it off.
• 59:50
  SPEAKER_04: How fast can you do it?
• 59:51
  SPEAKER_04: Right and and and submit that in your notes.
• 59:53
  SPEAKER_04: Hey, we can do this in in seven minutes.
• 59:56
  SPEAKER_04: If you need to put us, if you need to give us seven minutes, we can do it in seven minutes.
• 59:59
  SPEAKER_04: We'd love longer, but we can do it in seven minutes.
• 1:00:01
  SPEAKER_04: Like you you hold us up and listen, your judge has to go to the bathroom and the dance parents like grandma's watching the live stream and we're supposed to be on at three o'clock and she's not.
• 1:00:09
  SPEAKER_04: Like, yeah, just you know, every everybody is working together to make this happen on schedule.
• 1:00:14
  SPEAKER_04: Yes.
• 1:00:15
  SPEAKER_05: So keep the wheels turning and spinning in the right direction.
• 1:00:18
  SPEAKER_01: Yeah.
• 1:00:18
  SPEAKER_01: Yeah.
• 1:00:19
  SPEAKER_01: Like don't plan dramatic hair changes and makeup changes and then be upset that awards don't start until 11:30.
• 1:00:25
  SPEAKER_01: Done.
• 1:00:25
  SPEAKER_05: If their solos are solos for a whole nother day, then for me, like I used to have my soloists do their hair however they wanted to, so they look different.
• 1:00:36
  SPEAKER_05: Right, sure.
• 1:00:37
  SPEAKER_05: Um, I think that makes them more individual.
• 1:00:40
  SPEAKER_05: But if it's on a different day.
• 1:00:41
  SPEAKER_02: Right.
• 1:00:42
  SPEAKER_02: Yeah.
• 1:00:42
  SPEAKER_02: If it doesn't conflict, then you can do it.
• 1:00:44
  SPEAKER_02: Yeah.
• 1:00:45
  SPEAKER_02: But but even if you have like dreams of this hair change and then you get the schedule and you're like, oh, I'm not sure if that hair change is gonna happen, cut the hair change.
• 1:00:54
  SPEAKER_02: I'm sorry.
• 1:00:54
  SPEAKER_02: You have to be accommodated, you have to accommodate and you have to be flexible, and you have to not think about just you in this huge picture of a dance competition.
• 1:01:03
  SPEAKER_02: It's gonna be okay if your hair didn't get into that whatever style you wanted, unless it was like truly a huge part of the choreography.
• 1:01:11
  SPEAKER_01: And the judges don't know.
• 1:01:12
  SPEAKER_01: They really don't know.
• 1:01:14
  SPEAKER_01: Yeah, nobody knows.
• 1:01:16
  SPEAKER_01: Yep, nobody behind that table knows that you were supposed to have a high problem.
• 1:01:19
  SPEAKER_01: Right, exactly.
• 1:01:20
  SPEAKER_04: The only thing I'm ever gonna say is if you did a classical ballet variation with your hair down, I'm gonna say something about that.
• 1:01:27
  SPEAKER_04: Or if you did a really hardcore like hip-hop, you know, like you are living it and you have a bun.
• 1:01:33
  SPEAKER_04: Those are the two instances I'm gonna say something about your hair, unless I'm saying your hair looks messy, you should get rid of the frizzies away.
• 1:01:41
  SPEAKER_04: Like that's it.
• 1:01:41
  SPEAKER_05: Although I do respect like a studio that's trying to hustle and they're in the bun for the hip-hop and they can't, they just can't, you know, they're trying so hard to say.
• 1:01:50
  SPEAKER_05: Put a bandana around it.
• 1:01:51
  SPEAKER_05: I don't know.
• 1:01:52
  SPEAKER_05: Yeah, yeah, make it funky, do something.
• 1:01:55
  SPEAKER_05: I I totally get that too.
• 1:01:57
  SPEAKER_02: Yeah, I mean, for me, like I I respect if if it isn't a bun, if if they had to be in a bun, the my initial thought is, oh, well, they just didn't have time to change the hair, and at least they came on time.
• 1:02:08
  SPEAKER_02: You know, like that's like that's where my head it is the least of my concerns.
• 1:02:12
  SPEAKER_02: Yeah, it's like I don't want to see a bun for hip-hop, but like thanks for not slowing down the show.
• 1:02:17
  SPEAKER_02: So I appreciate that.
• 1:02:18
  SPEAKER_02: Thank you.
• 1:02:19
  SPEAKER_02: I'll let this slide.
• 1:02:20
  SPEAKER_02: You know, it's not exactly it's not a huge deal breaker, like it's not gonna change my score.
• 1:02:25
  SPEAKER_05: Yeah, the most important thing for dancers and studio directors and um teachers to remember is the dancer needs to come on stage looking fresh every time.
• 1:02:35
  SPEAKER_05: So, you know, if we have the flyaways and the wispies from changing our hair, you know, getting up to our costume, then we just need to slick it back, redo our makeup, and go on like it's our first time we've ever hit the stage.
• 1:02:46
  SPEAKER_05: Because we're supposed to judge you guys uh as if it's your first time on stage.
• 1:02:51
  SPEAKER_05: So it's our first time seeing you ever, every time.
• 1:02:54
  SPEAKER_02: So you want to present that the same way.
• 1:02:56
  SPEAKER_02: That's a great point.
• 1:02:57
  SPEAKER_02: And that's another duty that mom can be there, you know, with the hairspray ready.
• 1:03:02
  SPEAKER_02: Final check, making sure everything looks in place, mom's watching the kid get ready, making sure that the checklist is getting checked off.
• 1:03:11
  SPEAKER_02: And then also for all the the dance dads out there, like you're not forgotten about.
• 1:03:16
  SPEAKER_02: I'm sure you're doing coffee runs and last minute uh grab the food and oh, they forgot something back home.
• 1:03:23
  SPEAKER_02: Please go run and get their dance shoes that they they're gonna be the only ones in the wrong shoes.
• 1:03:28
  SPEAKER_02: You know, dad is still put to work too off, or maybe they're the ones hauling the props on and off stage.
• 1:03:35
  SPEAKER_02: Or maybe they get to sit there in the audience and watch all day long while their wife is scrambling and having a panic attack backstage.
• 1:03:45
  SPEAKER_02: Sometimes there's tailgate parties outside.
• 1:03:47
  SPEAKER_02: I see that as well.
• 1:03:48
  SPEAKER_02: Yeah, a lot of the dads will watch the live stream and have a little tailgate, or or sometimes eat cooking the food for this the dancers and getting a barbecue up and say, hey, there's hot dogs out here when you guys get a break.
• 1:04:00
  SPEAKER_02: Like that's it's I mean, yeah, it's a whole event and it's a whole family event.
• 1:04:04
  SPEAKER_01: So listen, if you want to drop some brats off at the judge's table, just you know, casually, nobody's gonna play.
• 1:04:12
  SPEAKER_02: Yep.
• 1:04:12
  SPEAKER_02: Yep.
• 1:04:13
  SPEAKER_02: Y'all, this was such a great episode.
• 1:04:16
  SPEAKER_02: I'm sure we could talk about so many more aspects to the competition day on all sides, but I think we really covered it.
• 1:04:23
  SPEAKER_02: And I and I hope that all of our listeners out there, whether you're a studio owner, a dance parent, a dancer, a dance judge, a dance competition director or owner, I hope that you enjoyed this chat as we head into the season, which is finally here, and we're all so excited about it.
• 1:04:41
  SPEAKER_02: And I definitely think that a lot of people will get some laughs from this and be like, yep, I've been there, I've experienced that.
• 1:04:48
  SPEAKER_02: Or for some of our new people breaking into the industry saying, Oh gosh, this is what I'm about to sign up for.
• 1:04:54
  SPEAKER_02: Here we go.
• 1:04:56
  SPEAKER_02: That was the goal with this episode, was just to kind of give you a little inside look as to what you've signed up for with when you paid those entry fees.
• 1:05:06
  SPEAKER_02: So thank you to our special guests, Amy and Jess, for joining us on this chat.
• 1:05:11
  SPEAKER_02: It was so much fun and loved your perspectives and all of your experience in this beautiful dance world.
• 1:05:17
  SPEAKER_02: And how all of our guests lead us out on making the impact is with one final thought.
• 1:05:21
  SPEAKER_02: So you can chat to whoever you'd like to chat to with your final thought about maybe it can just be about dance competitions and the season ahead.
• 1:05:31
  SPEAKER_05: All right.
• 1:05:32
  SPEAKER_05: Well, I'll I'll get started.
• 1:05:34
  SPEAKER_05: Um, I think one thing, especially if we're talking to newbies coming into the season, whether it's their first competition season ever, or maybe their first time ever doing their solo um hitting the stage, you have to remember it is a journey from beginning to end.
• 1:05:50
  SPEAKER_05: You are not the the same dancer when you go to your first solo or your first competition rehearsal that you are in July after your nationals.
• 1:05:59
  SPEAKER_05: It is an exciting journey.
• 1:06:01
  SPEAKER_05: It goes, there's ups and downs and everything in between.
• 1:06:04
  SPEAKER_05: You know, enjoy your moment, the moments, and enjoy every step along the way.
• 1:06:09
  SPEAKER_05: You can't get these moments back with your teammates in your dance family.
• 1:06:12
  SPEAKER_05: So have no expectations and just go for it.
• 1:06:17
  SPEAKER_01: I love that, Jess.
• 1:06:18
  SPEAKER_01: And um, just to kind of piggyback, I would say competition is a performance experience.
• 1:06:23
  SPEAKER_01: It's supposed to be a little stressful, but more fun than stressful.
• 1:06:27
  SPEAKER_01: So make sure that you are soaking in the moment that you're enjoying connecting and networking with other dancers, other teachers, other parents.
• 1:06:35
  SPEAKER_01: Um, it's a positive the dance community is very, very small.
• 1:06:38
  SPEAKER_01: It should be a positive thing.
• 1:06:40
  SPEAKER_01: Save the critiques and the criticisms for when you get back in the studio and are ready to work on things again.
• 1:06:45
  SPEAKER_01: When your dancers come off stage, teachers congratulate them.
• 1:06:48
  SPEAKER_01: They've just come out of a very vulnerable moment.
• 1:06:50
  SPEAKER_01: Keep it very positive and have fun.
• 1:06:53
  SPEAKER_01: And that's how I think that's the number one tip to avoid burnout from competitions is to go in, think of it as a performance experience, and make sure that everyone is having fun doing what they love.
• 1:07:05
  SPEAKER_02: We hope you enjoyed our episode this week, all about a day in the life at a dance competition.
• 1:07:10
  SPEAKER_02: Shout out to our special guest, IDA Juddis, for joining us on this chat.
• 1:07:15
  SPEAKER_02: Don't forget to follow them on Instagram.
• 1:07:17
  SPEAKER_02: You can find Jessica at JWO Dance and Amy at AmyT Tooly.
• 1:07:23
  SPEAKER_04: Don't forget to follow Making the Impact on Apple Podcasts, Spotify, Amazon Podcasts, and pretty much everywhere you listen to podcasts.
• 1:07:30
  SPEAKER_04: And if you want more exclusive episodes, support our podcast by joining our Platinum Premium membership for only$5 a month.
• 1:07:36
  SPEAKER_04: Join now at Impact Dance Adjudicators.com slash Platinum Premium or click the link in our show notes.
• 1:07:42
  SPEAKER_00: Be sure to check out IDA affiliated competition, Just Dance Invitational.
• 1:07:48
  SPEAKER_00: Are you looking for a dance competition that features free workshop classes, free photo and video, cash prizes, and full panels of IDA judges at every event?
• 1:07:57
  SPEAKER_00: Well, look no further than Just Dance Invitational.
• 1:08:00
  SPEAKER_00: Just Dance Invitational will be hosting eight different events in their 2024 season.
• 1:08:05
  SPEAKER_00: From California to Indiana.
• 1:08:07
  SPEAKER_00: Find them in a city near you.
• 1:08:09
  SPEAKER_00: Just Dance Invitational's mission is to invest in the future of our dancers.
• 1:08:13
  SPEAKER_00: By supporting these young artists, their goal is to create an atmosphere that allows for empowerment, self-expression, and growth.
• 1:08:21
  SPEAKER_00: Registration is now open for their 2024 season.
• 1:08:24
  SPEAKER_00: Visit their website to learn more at JustDanceInvitational.com.
• 1:08:29
  SPEAKER_00: We hope to see you at an upcoming event.
• 1:08:31
  SPEAKER_04: Season 5 of Making the Impact keeps bringing the hits.
• 1:08:35
  SPEAKER_04: Coming up in the next few weeks, look forward to our next Studio Spotlight episode, a crash course on awards ceremonies, and what to do when the parent wants it more than the dancer.
• 1:08:44
  SPEAKER_02: Hope your dance season is going great.
• 1:08:46
  SPEAKER_02: We'll see you next week.
• 1:08:47
  SPEAKER_02: Until then, keep dancing.