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The Do's and Don'ts of Costuming for the Competitive Stage · 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.
• 0:16
  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.
• 0:23
  SPEAKER_04: Part of the fun of going to dance competitions is seeing all the creative, unique, and beautiful costumes.
• 0:28
  SPEAKER_04: From a simple basic leotard to feathers, sequence, and rhinestones, the way dancers are costumed can dramatically enhance or detract from the performance.
• 0:36
  SPEAKER_04: We're joined today by IDA judges Tina DiMaddio and Daniel Tardibono to chat about costuming for the competition stage.
• 0:42
  SPEAKER_04: From the top of the bun to the tips of the top.
• 0:47
  SPEAKER_01: Hey everyone, and this is Courtney Ortiz, your host for Making the Impact a Dance Competition Podcast.
• 0:52
  SPEAKER_01: And I am here today with my co-host Leslie Mueller.
• 0:55
  SPEAKER_01: Hi, dance lovers.
• 0:56
  SPEAKER_01: Yes! We are here to talk about all things costume.
• 1:00
  SPEAKER_01: I'm so excited about this topic.
• 1:03
  SPEAKER_01: It is the start of the season.
• 1:06
  SPEAKER_01: We are about to jump into competition world and we're gonna see all the most fabulous costumes on stage.
• 1:11
  SPEAKER_01: And we have some awesome guests here and fabulous IDA judges to talk about costuming and presentation for the competition stage.
• 1:20
  SPEAKER_01: We want to say thank you to everyone who's been listening and supporting us on this podcast journey.
• 1:25
  SPEAKER_01: We've had such a blast sharing all of this amazing knowledge from our educators and judges on the roster.
• 1:31
  SPEAKER_01: And we couldn't do without all of you listeners.
• 1:33
  SPEAKER_01: So thank you, thank you, thank you so much.
• 1:35
  SPEAKER_01: Yeah.
• 1:36
  SPEAKER_04: And if you guys want to stay up to date every week, be sure you subscribe to Making the Impact on Apple Podcasts, Spotify, and Google Podcasts and leave us a review if you like what you hear.
• 1:45
  SPEAKER_04: Let's do it.
• 1:46
  SPEAKER_01: I want to jump right in.
• 1:47
  SPEAKER_01: I just want to get to know our fabulous judges that are here today.
• 1:50
  SPEAKER_01: And we have two awesome judges that are coming from New York City and Texas today.
• 1:57
  SPEAKER_01: So let's hear from your first judge, Sheena.
• 2:01
  SPEAKER_05: Hey guys, I'm Sheena.
• 2:03
  SPEAKER_05: I have been a competition choreographer for about 15 years.
• 2:08
  SPEAKER_05: And every year I I know, I can't believe it.
• 2:11
  SPEAKER_05: I choreograph for about seven different studios.
• 2:14
  SPEAKER_05: And from July to January, I'm just hitting the ground running.
• 2:17
  SPEAKER_05: So I see a lot of pieces from their first A count until the moment they hit the stage.
• 2:23
  SPEAKER_05: And sometimes costuming can be just as difficult as creating the piece, and we really want to make sure that you guys are getting that part down.
• 2:30
  SPEAKER_01: And Daniel, hello, hello.
• 2:33
  SPEAKER_01: Can you tell us a little bit about you, who you are, where you're from, and anything else you want to share?
• 2:38
  SPEAKER_02: Yeah.
• 2:38
  SPEAKER_02: Hi guys, so excited to be here.
• 2:40
  SPEAKER_02: My name's Daniel.
• 2:41
  SPEAKER_02: I am originally from Ocoma City, and now I'm in Dallas, Texas.
• 2:46
  SPEAKER_02: Have been in the dance education field for over 20 years, was the director of studio, taught, choreographed, did a ton of uh costuming, as we all know, is such a huge part of what we do in the competition world.
• 2:59
  SPEAKER_02: I've been uh lucky enough to be judging about 10 years now, a little bit over 10 years.
• 3:06
  SPEAKER_02: And so, I know I just love it, love dance education and what it does to bolster kids' self-esteem and just all the other amazing benefits we've all seen before.
• 3:17
  SPEAKER_01: Awesome.
• 3:18
  SPEAKER_01: We're so excited to have you both here with us today, and we can't wait to talk about costumes.
• 3:24
  SPEAKER_04: Yeah, Daniel and Sheena, thanks guys for joining us on this podcast episode.
• 3:28
  SPEAKER_04: Y'all have been on the roster for a little while, so you guys know this.
• 3:31
  SPEAKER_04: But for our audience, we base most of our topics this first season on our IDA Judges blog.
• 3:37
  SPEAKER_04: This blog that inspired this episode is a little bit vintage from March 2017.
• 3:42
  SPEAKER_04: And that blog was called Costuming for the Competition Stage.
• 3:45
  SPEAKER_04: So, listeners, if you want to check out the show notes to find the link to the blog for even more advice on costuming than you'll hear today, check it out in the show notes.
• 3:53
  SPEAKER_04: So, my first my first question is gonna go kind of specifically to Daniel because you've owned a studio, correct?
• 4:00
  SPEAKER_02: Well, I was the the director of a studio, I wasn't the actual owner, but yes, I function in that role for sure.
• 4:05
  SPEAKER_04: Okay.
• 4:06
  SPEAKER_04: So as the director of a studio, you know, you you you're looking at the budget.
• 4:09
  SPEAKER_04: You're looking at you know where you're picking picking these costumes, how it's gonna fit into the overall scheme of everything for the whole studio.
• 4:16
  SPEAKER_04: But, you know, and and we look at certain costume books and the whole phenomenon of of custom costumes.
• 4:21
  SPEAKER_04: Sure.
• 4:22
  SPEAKER_04: Thinking about your general studio, you know, across the country, how can teachers affordably costume their routines while also achieving that vision that they have?
• 4:30
  SPEAKER_04: You know, they have this like look in their mind and they're f trying to find something that works.
• 4:35
  SPEAKER_04: What's your best advice for them?
• 4:36
  SPEAKER_02: Oh gosh, you've you've asked the million-dollar question.
• 4:39
  SPEAKER_04: I started out with a bang.
• 4:41
  SPEAKER_04: Here we go.
• 4:41
  SPEAKER_02: Yeah, what what I think is so important is to remember that the costume is an expression and extension of what you're doing in the dance.
• 4:50
  SPEAKER_02: So a lot of times when I would work with groups or solos, we would make sure and start the choreography first and see how it evolved, and that usually will lend itself, you know, to kind of start giving a certain direction.
• 5:03
  SPEAKER_02: I think that coming from a background of a nonprofit studio, it was really challenging because you know, some of our parents, maybe in a middle to lower income bracket, and they're not able to spend even, you know,$50 to$75.
• 5:18
  SPEAKER_02: So we would, you know, our staff, we would get together and talk about, you know, oh gosh, I was at HM and I saw this really great top, and it works so great with these, you know, boy shorts, and we can embellish it a little bit.
• 5:30
  SPEAKER_02: You know, sometimes that's all that that's needed.
• 5:32
  SPEAKER_02: And then also a lot of junior pieces we would get at, you know, department stores or things like that online that we could order in bulk, and you know, it would help us keep those costume costs down.
• 5:43
  SPEAKER_02: And then, you know, I've also taught in different studios where there was no price limit, you know, for those costumes.
• 5:49
  SPEAKER_02: And so I think that the thing to take away from that is that, you know, a high priced costume doesn't necessarily mean you're gonna score better.
• 5:59
  SPEAKER_02: It doesn't necessarily mean that you, you know, don't break the bank on your costume.
• 6:05
  SPEAKER_02: Just make sure that it's an extension of what the choreographer and the dancer and the parent as well is uh interested in putting out there on the stage.
• 6:14
  SPEAKER_04: Yeah, totally.
• 6:15
  SPEAKER_04: Yeah, I think that's wonderful advice.
• 6:16
  SPEAKER_04: Sheena, what do you think?
• 6:17
  SPEAKER_05: Yeah, I totally agree with Daniel.
• 6:19
  SPEAKER_05: I think that you sometimes just really have to spend a lot of time and go outside the box to find that vision if you have a budget.
• 6:27
  SPEAKER_05: Like if you have unlimited money, sometimes it's easy to just get on there and Google and go to the top dance costume companies or get a costume costume and say, here's what I want.
• 6:37
  SPEAKER_05: And you have it, you pay the money, and you're happy.
• 6:39
  SPEAKER_05: But sometimes you just don't have that option and you need to hit up all the department stores.
• 6:44
  SPEAKER_05: Like Daniel was saying, we go to HM, Macy's, Forever 21.
• 6:47
  SPEAKER_05: We've gone to Strawberry, we've gone to thrift stores, Modcloth.
• 6:53
  SPEAKER_05: There's a ton of companies out there that could be a dance costume.
• 6:58
  SPEAKER_05: And also your makeup and hair choice can add a lot, and that doesn't cost extra money.
• 7:03
  SPEAKER_05: If you want to add like an interesting eyeshadow or a unique double bun situation, sometimes the hair can make a big statement without breaking the bank.
• 7:14
  SPEAKER_01: Yeah, and I I agree with you guys.
• 7:16
  SPEAKER_01: And something that I feel like is is helpful to also hear is, and I know we're kind of talking about like, you know, budget-friendly costumes right now.
• 7:24
  SPEAKER_01: I am always inspired when I'm like walking through a Forever 21 and they have some like um, I'm always like, that's a dance costume.
• 7:31
  SPEAKER_01: Oh my gosh.
• 7:32
  SPEAKER_01: Like somebody needs to buy this and make this a dance costume because they have like awesome like sparkle dresses and like things that would look beautiful on stage under the lights.
• 7:41
  SPEAKER_01: And I've seen costumes like that in costume catalogs that are like quadruple the price.
• 7:47
  SPEAKER_01: And I think that, you know, for me, I would rather see somebody have something different and unique and individual.
• 7:54
  SPEAKER_01: And that doesn't necessarily mean it has to be custom.
• 7:57
  SPEAKER_01: Don't get me wrong, I love me a custom costume.
• 7:59
  SPEAKER_01: I think they're gorgeous to see.
• 8:01
  SPEAKER_01: But like we said, not everybody is fortunate enough to be able to purchase a custom costume and they are quite expensive.
• 8:08
  SPEAKER_01: So, you know, looking outside of those catalogs and going to your local mall and just feeling inspired, you will absolutely find something that maybe not everyone's gonna have.
• 8:18
  SPEAKER_01: And that's also saving you money at the same time.
• 8:21
  SPEAKER_01: So I always support and appreciate that.
• 8:23
  SPEAKER_04: Right.
• 8:23
  SPEAKER_04: And speaking of outside the box kind of a way to find things, I know in the pageant world for a long time, there's a lot of resale with pageant dresses and pageant shoes and things that you really are only gonna wear once.
• 8:35
  SPEAKER_04: I've seen a lot of the same thing happen with dance competition custom costumes.
• 8:39
  SPEAKER_04: Like I've seen the groups on Facebook, I've seen people that I know, you know, trying to resell these beautiful, just like people spent time on this piece of art that is a bra top and you know, a bikini basically.
• 8:50
  SPEAKER_04: And but you know, but it's it's been worked on so nicely, but the kid doesn't fit into it anymore.
• 8:54
  SPEAKER_04: So that's also an option to explore, you know, if if you do want something custom, but maybe you don't want to, you know, pay full price, somebody's gonna be willing to sell you something.
• 9:02
  SPEAKER_05: Yes.
• 9:02
  SPEAKER_05: Leslie, I am so glad you just said that.
• 9:04
  SPEAKER_05: I was in the unique position to work at two studios who have partnered together through me and have this huge archive of used costumes that they're just sharing back and forth right now.
• 9:16
  SPEAKER_05: Wow.
• 9:16
  SPEAKER_05: So if you yeah, if you happen to be a dance studio that has a sister studio or you're on really good, friendly terms with another studio, and you guys want to get together and say, hey, we have these$300 costumes that we used once, and maybe you guys want to use it for a dance, and you can sell them, and the other studio gets them at half the price, and everyone's happy.
• 9:38
  SPEAKER_01: Yeah, I mean, that's so cool.
• 9:40
  SPEAKER_01: Oh my gosh, I love that.
• 9:42
  SPEAKER_01: It it's so true.
• 9:43
  SPEAKER_01: I mean, I think it's genius how people are are now doing that and and reselling the costumes, especially because like uh when I was growing up, we had a seamstress at our studio, and we would, for our solos, usually get some sort of custom style costume.
• 9:57
  SPEAKER_01: But I the other, I now that I knew that people were reselling them, me and my best friend, when I was home for a visit in Maryland once, we were like, my mom kept all my costumes.
• 10:05
  SPEAKER_01: They're they're sitting in the basement, like in, you know, in their hanging racks and everything still.
• 10:11
  SPEAKER_01: And I was like, let's go see, like, because we thought the costumes were amazing back then.
• 10:15
  SPEAKER_01: I was like, let's go see and check them out, like and see, you know, if there's anything because she now owns a studio, so I was gonna give her some of my old solo costumes.
• 10:22
  SPEAKER_01: We looked at these costumes and they are tragic.
• 10:24
  SPEAKER_01: Like, absolutely not.
• 10:26
  SPEAKER_01: No one will wear this now, especially compared to what is on the stage that we see these days.
• 10:32
  SPEAKER_01: But, you know, we I I always appreciated that where I would always walk out in my solo costume and know that no one else was gonna have the same costume as me.
• 10:41
  SPEAKER_01: And we were lucky enough to have a seamstress, but and not everyone is, but I think that going to the reselling route is a great way to still be unique and individual and not having, you know, potentially the same costume as someone else from a costume catalog.
• 10:55
  SPEAKER_01: So I think it's a really great idea, and I'm glad that people are doing it.
• 10:59
  SPEAKER_05: Yeah.
• 10:59
  SPEAKER_05: And you guys can also take an existing costume and add to it or alter it in a way that makes it look different.
• 11:08
  SPEAKER_02: And I think that it's okay to engage the parents in a way to empower them a little bit to start kind of thinking outside the box.
• 11:16
  SPEAKER_02: And if they're if they're creative or if they have a certain vision, obviously you have to have that partnership with those parents.
• 11:23
  SPEAKER_02: But you know, what Sheena was saying, there's some wonderful opportunities to share with amongst friendly studios.
• 11:30
  SPEAKER_02: I know when I go out and judge and have made friendships through judging, there's been oftentimes that we talk about, oh gosh, you know, I did this one piece this one year.
• 11:38
  SPEAKER_02: I bet you guys could, you know, really enjoy this costume.
• 11:41
  SPEAKER_02: And so there's some of that sharing that happens, which I think was just fantastic for the dance community.
• 11:45
  SPEAKER_04: Yeah, I I think there should be more of that, honestly.
• 11:47
  SPEAKER_04: I mean, especially like you said, you make friends in the judging world and the judging community.
• 11:51
  SPEAKER_04: And, you know, we all we all have those people across the country that, you know, have a studio or have a friend who has a studio.
• 11:58
  SPEAKER_04: And I just think the more connected and the more empowered we can make each other just makes the community even stronger.
• 12:04
  SPEAKER_04: And especially like you said, for your nonprofits, for your studios that maybe don't have that budget, like, you know, what am I doing with my$300 costume just sitting around collecting dust in the basement?
• 12:13
  SPEAKER_04: Like, yeah, somebody could use that.
• 12:15
  SPEAKER_04: I think that's that's a really wonderful thing.
• 12:17
  SPEAKER_01: So speaking of kind of the custom costume route at the moment, and it doesn't necessarily have to be about custom, but usually when we do see a custom costume, uh I've seen the ones that are like decked out in rhinestones, like head to toe.
• 12:30
  SPEAKER_01: I can't imagine how long this took to rhinestone this costume and how much it cost, honestly.
• 12:36
  SPEAKER_01: But I I secretly love it.
• 12:38
  SPEAKER_01: I think they're beautiful to look at.
• 12:39
  SPEAKER_01: But how important are rhinestones?
• 12:42
  SPEAKER_01: Do you feel like that they're an essential to the piece, even you know, if the piece doesn't need it?
• 12:46
  SPEAKER_01: Do you think that, you know, some studios might always believe a rhinestone is necessary on every single costume, but how important are they?
• 12:53
  SPEAKER_01: What do you feel?
• 12:54
  SPEAKER_05: I love a rhinestone.
• 12:56
  SPEAKER_05: Just what you just said.
• 12:57
  SPEAKER_05: When you see that lyrical costume come out and it is just sparkling to the high heavens, it's gorgeous.
• 13:02
  SPEAKER_05: It's so much fun to watch.
• 13:04
  SPEAKER_05: And the fabulous musical theater costumes with Rhin Stones, it's great.
• 13:07
  SPEAKER_05: I do feel like rhinestones aren't essential for every single piece.
• 13:12
  SPEAKER_05: I love seeing an earthy, grounded contemporary piece that's super less is more.
• 13:17
  SPEAKER_05: And it just if you're creating a world and you're creating a vibe.
• 13:21
  SPEAKER_05: And if Rhin Stones wouldn't live in that world, sometimes it can throw off the intention of the piece.
• 13:26
  SPEAKER_05: So just be careful what your intention is.
• 13:28
  SPEAKER_05: And if it's to sparkle, then go for it.
• 13:31
  SPEAKER_02: Yeah, I think I would agree.
• 13:33
  SPEAKER_02: I think that for the right piece, it's gorgeous.
• 13:36
  SPEAKER_02: I mean, some of some of the the powers and the artistic, you know, endeavors to make these gorgeous patterns.
• 13:44
  SPEAKER_02: I mean, you can't help but be stunned when they walk out on the stage.
• 13:47
  SPEAKER_02: So, yes, they're gorgeous and they're beautiful to look at.
• 13:50
  SPEAKER_02: I just don't recall, and I think you know, I could probably speak for a lot of judging uh uh friends to say that I don't think I ever elevated someone's score compared to someone else because they had rhinestones.
• 14:03
  SPEAKER_02: Right.
• 14:03
  SPEAKER_02: So it is definitely not essential.
• 14:06
  SPEAKER_02: So if you're if you're that mom right now gluing rhinestones on the costume while you're you're listening to this, I mean you go for it, knock yourself out.
• 14:16
  SPEAKER_02: To the other mom that's stressed out because she can't afford to do, you know,$200 of rhinestones for her child's solo costume, don't sweat it.
• 14:24
  SPEAKER_02: It's okay.
• 14:25
  SPEAKER_04: Absolutely.
• 14:26
  SPEAKER_04: 100% agreed.
• 14:27
  SPEAKER_04: And I mean, I will always if I like your costume, I'll always say it.
• 14:31
  SPEAKER_04: You know, I will always give you a compliment, but is it gonna give you a higher score?
• 14:35
  SPEAKER_04: Probably not.
• 14:36
  SPEAKER_04: No, like, but you know, to take the compliment, like you said, like I'm not gonna knock you for not having rhinestones, but I will definitely tell you I really like your rhinestones.
• 14:44
  SPEAKER_05: At the end of the day, it's your experience on the stage of the dancer and the parent.
• 14:50
  SPEAKER_05: And if you guys love rhinestones, it makes us happy to know that you love to wear that and you had that experience, and it wasn't about the score.
• 14:59
  SPEAKER_05: So, so yes, it doesn't mat it doesn't matter for the score, but you shouldn't be putting them on just for the score.
• 15:04
  SPEAKER_05: Like put it on because you like it.
• 15:06
  SPEAKER_02: And can I can I also stick up a little bit for the studio owner to say that if the group costume has been decided to have rhinestones on it, you need to be a team player.
• 15:19
  SPEAKER_02: And you need to go ahead and put the rhinestones on so that all of you match.
• 15:23
  SPEAKER_02: But specifically, if we're talking about solos, you know, that's a little bit different.
• 15:26
  SPEAKER_02: But for sure, if you're in a group piece, you've you've got to match even to the smallest rhinestones.
• 15:31
  SPEAKER_01: I want to go back a quick second because Leslie, you were mentioning how you know the the costume, regardless of how many rhinestones it has or doesn't have, your score is not gonna really change based on the amount of rhinestones.
• 15:44
  SPEAKER_01: But can we talk about maybe for a second what might change our score with the with the costume?
• 15:50
  SPEAKER_01: So this is good.
• 15:51
  SPEAKER_01: This is gonna get good, guys.
• 15:53
  SPEAKER_01: Oh yeah.
• 15:54
  SPEAKER_01: So I know for me that like, like we kind of already discussed that the costume needs to make sense for the dance.
• 16:02
  SPEAKER_01: So, you know, if you're doing, like you said, Sheena, you said, like a grounded, earthy contemporary, and then you walk out in this like bright yellow, Ryan stoned, like with a huge headpiece, like costume, and although the costume's like absolutely beautiful, it doesn't match the style at all to the choreography.
• 16:23
  SPEAKER_01: I'm just kind of like distracted the whole time and kind of questioning, like, wait, who why why did you go this route with the costume?
• 16:30
  SPEAKER_01: Like, I like the costume, it's great, it's beautiful, but doesn't really compliment this dance.
• 16:34
  SPEAKER_01: Is there anything you know that you guys feel as far as like scoring is concerned as to what may lower that costume score?
• 16:42
  SPEAKER_02: I think the only time I have ever lowered a costume score is if I found it to be inappropriate.
• 16:49
  SPEAKER_02: It was hard to watch because of that, or if there was a massive malfunction of the costume.
• 16:57
  SPEAKER_02: So a strap broke that maybe you know, we all would have asked them to double pin it.
• 17:03
  SPEAKER_02: You know, and that that just might have been a way for me to say, hey gosh, you know, you you lost a half a point.
• 17:07
  SPEAKER_02: Next time just make sure you double tap everything.
• 17:10
  SPEAKER_02: But I think you know, things have happened like that before, like you said, Courtney, uh, you know, a two-tap number, and it's like this super flowy dress.
• 17:18
  SPEAKER_02: I think I just try to use that as a teaching moment to the to the teacher on the audio tapes, just saying, you know, gosh, this just isn't complimenting the dance, you're doing a great job, and talking more about the technique and the overall performance, and suggesting things like, you know, this would be great with like a short crop top and gene shulks or you know, if it's a tap number or whatever it is, leggings and a top and you know, whatever that is, but just to provide a way to maybe look at it a little bit in a different perspective.
• 17:47
  SPEAKER_01: Yeah, and it's of course like providing that feedback mid-season, like of course, it's like teachers can always take it however, you know, with a grain of salt, because we don't expect you to show up the next competition with a brand new costume if you obviously can't make that happen.
• 18:02
  SPEAKER_01: But sometimes it's like just for us watching it one time, being an outside perspective and kind of taking it in and just thinking of it as you know a suggestion, a helpful suggestion, and then maybe a light bulb can go off.
• 18:14
  SPEAKER_01: Oh, I didn't even think of it like that.
• 18:15
  SPEAKER_01: You know what?
• 18:15
  SPEAKER_01: That's true.
• 18:16
  SPEAKER_01: I'm gonna go buy some leggings down the street and we're gonna switch this up a little bit.
• 18:20
  SPEAKER_01: You know, it it can be that easy, but at the same time, we don't expect you to like have to change it if you if you're like, nope, I think this costume's fabulous and I'm leaving it.
• 18:28
  SPEAKER_01: Great, that's awesome.
• 18:30
  SPEAKER_02: And listen, can I just say I I'm thinking back of a solo that I did say I am guilty of that.
• 18:36
  SPEAKER_02: And I remember not really liking this dress, and the daughter and the mom loved it and loved it.
• 18:42
  SPEAKER_02: And I just like, you know what, knock yourself out, let's just put it on stage.
• 18:45
  SPEAKER_02: And I just remember watching them come out on stage and going, oh man, wrong choice, wrong choice.
• 18:51
  SPEAKER_02: And what was great was that the you know, the judge's critiques said the same thing.
• 18:56
  SPEAKER_02: So I was able to play those to the parents and say, I made the wrong judgment call.
• 19:00
  SPEAKER_02: And I think you guys would agree.
• 19:02
  SPEAKER_02: Let's talk about you know something else for the next competition.
• 19:04
  SPEAKER_02: So it it's really nice to for judges to speak out and say that it does help the studio, studio owner.
• 19:10
  SPEAKER_04: Yeah, I'm sure it's nice to be validated.
• 19:12
  SPEAKER_02: And I was the one that made the mistake.
• 19:14
  SPEAKER_05: So yeah, I mean, to me, I just I I need it to be clean, like ironing the costumes sometimes.
• 19:22
  SPEAKER_05: Sometimes they throw them in their dream duffels, and it's this gorgeous dress that's maybe a sheath or a shift and it's completely wrinkly, or if your hair is having flyaways, or you you're putting your hair in a ponytail and it's kind of just like I rolled out of bed hair, maybe straighten it or brush it extra.
• 19:42
  SPEAKER_05: Like just the extra bit of effort to look polished goes such a long way.
• 19:49
  SPEAKER_05: And the same thing that Daniel was saying, if it's if the costume is inappropriate or if it's distracting me in any way from watching the dance, then that will definitely lower your score.
• 20:00
  SPEAKER_05: For for the instance of having a crazy rhinestone costume for a contemporary dance that's it that's doesn't really go with the dance, it might not help your score, but I wouldn't go crazy giving you a deduction.
• 20:13
  SPEAKER_05: But if it did compliment, it might make my overall impression just so much higher that it would raise your score.
• 20:21
  SPEAKER_05: So in a way, it does lower your score if it doesn't go with it.
• 20:25
  SPEAKER_04: Totally.
• 20:26
  SPEAKER_04: You just you said something that sparked something that I always say.
• 20:29
  SPEAKER_04: If if I'm looking at a piece and they walk out and something's amiss with the costume, if it's your tights have a run and your hair is a hot mess and the costume's not ironed or whatever it is, you know, those are things that I will take points off for because the one and I always say this, and I don't think anybody could say the opposite.
• 20:46
  SPEAKER_04: We have control of how we show up to an event.
• 20:49
  SPEAKER_04: We are not in control of whether my music stops in the middle.
• 20:52
  SPEAKER_04: I'm not in control of whether the tap, the, the stage is, you know, wood or marley or doesn't sound good or it's slippery.
• 20:58
  SPEAKER_04: Like we cannot control any of those things.
• 21:00
  SPEAKER_04: But I can control that my costume is pressed or steamed.
• 21:04
  SPEAKER_04: I can control that I have an extra pair of tights just in case that I rip it.
• 21:07
  SPEAKER_04: My shoes are clean.
• 21:08
  SPEAKER_04: I don't have holes in my ballet shoes.
• 21:10
  SPEAKER_04: My hair is done.
• 21:11
  SPEAKER_04: Like I can control all of those things.
• 21:13
  SPEAKER_04: And you will automatically get that five or ten or however many points I'm allowed to give you if you show up and that is in your control, which is absolutely agreed.
• 21:23
  SPEAKER_05: And all the little details for groups as well.
• 21:25
  SPEAKER_05: Like, are we parting our hair all on the left side or the right side?
• 21:29
  SPEAKER_05: Or what color lip are we wearing all the same shade of lipstick?
• 21:32
  SPEAKER_05: Are we wearing glasses or not glasses?
• 21:34
  SPEAKER_05: Like all of those little things really elevate a studio from others when you can tell that it has been talked about and it has been a conversation because those things don't just naturally happen.
• 21:47
  SPEAKER_05: Like it was seen too that it was going to be perfect.
• 21:51
  SPEAKER_05: And that's something that we notice.
• 21:53
  SPEAKER_01: No, it it's a hundred percent.
• 21:55
  SPEAKER_01: I mean, I I notice immediately, and it comes down to professionalism and it comes.
• 22:00
  SPEAKER_01: Down to knowing that this is competition and not recital.
• 22:03
  SPEAKER_01: I al I say that very often.
• 22:04
  SPEAKER_01: And I'm not knocking recital.
• 22:06
  SPEAKER_01: I'm just saying that there should be a a little bit more of a higher expectation at the competition level because you're getting judged on that.
• 22:14
  SPEAKER_01: It's a it's really costume is really like the final, like the bow on top of the present, like the final package element that we're looking for that's going to like make or break it.
• 22:27
  SPEAKER_01: And really, like I think we all kind of are in agreement that like it really comes down to like the costume score is more about like, did you come prepared on stage?
• 22:36
  SPEAKER_01: Something for me that like I am a huge stickler for is I prefer to not see bra straps.
• 22:42
  SPEAKER_01: Any sort of bra that is involved in the costume.
• 22:45
  SPEAKER_01: I understand that people have to wear a bra, I get it.
• 22:48
  SPEAKER_01: But we either need to pick costumes where you can wear a bra without having to like hugely disguise it, or we have to figure out another alternative.
• 22:56
  SPEAKER_01: But I I've seen so many things, I've seen those clear straps just falling off everywhere and the dancer can't lift their arm because the shots they're gonna wear.
• 23:05
  SPEAKER_01: Yeah.
• 23:05
  SPEAKER_01: I've seen giant, huge, like tan bras, like not even the clear back ones.
• 23:09
  SPEAKER_01: I'm like, oh my gosh, it just ruins the line of your body and it's not a part of the costume, you know?
• 23:14
  SPEAKER_01: You get there's gotta be another way to figure out how to be stage ready.
• 23:18
  SPEAKER_01: And another thing that I can't stand is when I see black leggings or black pants and tan jazz shoes or something like that.
• 23:26
  SPEAKER_01: Completely break the line.
• 23:27
  SPEAKER_01: I've seen it, even though I I I don't feel like I should have to say this because it's kind of common sense that you don't put tan shoes on with black pants, but you've I've seen it on stage or like black tan tap shoes with like black jazz pants or something like that.
• 23:40
  SPEAKER_01: You know, the costume was black pants, but we only had tan tap shoes.
• 23:44
  SPEAKER_01: Well, maybe you shouldn't have picked that costume then, because if you don't want to make them buy tap black tap shoes, then you have to pick something that works for the tan tap shoes.
• 23:52
  SPEAKER_01: You know, it's things like that where the teachers have the control, and it's not the dancers' fault, you know, that that was what they were told to wear.
• 23:58
  SPEAKER_01: But I think that the teachers have to be smart about selecting the costume so it works for all of the dancers in the group and on stage.
• 24:05
  SPEAKER_04: Yeah, and that's one of the things, you know, being being a dancer who has to wear a bra.
• 24:09
  SPEAKER_04: There are plenty, and like, you know, here we go.
• 24:11
  SPEAKER_04: There's plenty of dancers who don't.
• 24:12
  SPEAKER_04: And good for you, because man, that was never my life.
• 24:15
  SPEAKER_04: But it comes down to the teacher picking the costume that's going to work for everybody.
• 24:20
  SPEAKER_04: So, you know, yeah, nine out of ten of the girls might be able to wear that beautiful low back with nothing in the back and it's gonna show off their scapula and the muscles and it's gonna be great.
• 24:28
  SPEAKER_04: But the one girl is gonna need a sports bra.
• 24:31
  SPEAKER_04: And if you can't figure something out for her that makes her feel comfortable and confident, then you need to pick another costume.
• 24:36
  SPEAKER_04: And that's, you know, that is what it comes down to because, like you said, we're we're we're judging you on your appearance, your technique, your presentation, your stage presence, all these things.
• 24:45
  SPEAKER_04: And and something glaring like that.
• 24:47
  SPEAKER_04: That again, like I said, if you have control over it, if you have any means of controlling that, do it.
• 24:52
  SPEAKER_04: Because, you know, not everybody's leg is gonna be the same height.
• 24:55
  SPEAKER_04: I understand that.
• 24:56
  SPEAKER_04: But you can put your dancers on stage in a way that makes everybody feel confident and look confident and look good.
• 25:02
  SPEAKER_04: You can do you can do that.
• 25:03
  SPEAKER_04: I'm here to tell you, you can do it.
• 25:05
  SPEAKER_04: It's possible.
• 25:06
  SPEAKER_04: We can do it.
• 25:07
  SPEAKER_02: I think I was just gonna just completely, you know, like air clap you, Leslie, on that one.
• 25:13
  SPEAKER_02: Because it's really important for all of us as teachers and as judges share this a lot, is it's all about the kids.
• 25:21
  SPEAKER_02: Yes and it really is for their experience on the stage.
• 25:24
  SPEAKER_02: So there's been hundreds of times that I've seen a costume.
• 25:26
  SPEAKER_02: Oh man, I love it.
• 25:28
  SPEAKER_02: I think it looks fantastic.
• 25:29
  SPEAKER_02: And then I remember the group that I'm costuming.
• 25:32
  SPEAKER_02: And if there is one child who is not gonna look good in that, I have to be the grown-up and say, This isn't right.
• 25:41
  SPEAKER_02: I need that one child to feel as confident as possible on the stage.
• 25:44
  SPEAKER_02: And that equals higher scores, it equals, you know, better placement, it equals that top 10.
• 25:50
  SPEAKER_02: So, you know, you know, I'm sure everyone's thinking about those two pieces.
• 25:54
  SPEAKER_02: And if you have that one child who is not confident in a two-piece, it's okay.
• 25:59
  SPEAKER_02: Don't force them to go out there and try to fake it.
• 26:03
  SPEAKER_02: And then, you know, you know they feel self-conscious and you know they can't dance their hundred percent best.
• 26:08
  SPEAKER_02: It's okay for everybody to look great and confident.
• 26:11
  SPEAKER_02: So go with a different costume.
• 26:13
  SPEAKER_04: Yeah, or they make they make those wonderful.
• 26:15
  SPEAKER_04: I've seen so many of these, and maybe this is just a smart costumer, but you know, it's all the same fabric, but there's three different versions of it.
• 26:22
  SPEAKER_04: So you have the couple people who are in the two-piece, you have the couple people who are in the one-piece, you have the couple people who have the crossing fabric across the body, and like that's helpful for everybody.
• 26:31
  SPEAKER_04: That's inclusive, that makes everybody feel confident and like they have a part, you know, it's like this is a cool costume too.
• 26:37
  SPEAKER_04: It's not just because this person looks good in this costume, like you look good in this.
• 26:42
  SPEAKER_04: This is how we can make you feel a hundred percent, like you said, Daniel.
• 26:45
  SPEAKER_02: Can I bring up one other thing before we go on?
• 26:48
  SPEAKER_02: Is about the boys.
• 26:50
  SPEAKER_02: Yes, yeah, so the boys have to be as well presented as the girls.
• 26:58
  SPEAKER_02: So, like what Sheena was saying, like, there's so many times boys run out and they are just a wrinkled mess.
• 27:05
  SPEAKER_02: And I mean it's it's so sweet, and it's you know, it's cute because they're the boys and we're in the minority as fellas in the dance world, but we have to be on par with the girls.
• 27:16
  SPEAKER_02: So if the girls are slicked back as a part, the boys should have a really great sharp hairdo, hairstyle.
• 27:22
  SPEAKER_02: It can't be fuzzy and floppy if the girls are all slicked back.
• 27:25
  SPEAKER_02: And then, you know, don't throw away costumes for the boys, make sure that they look just as put together as the girls, and there's so many wonderful opportunities for boys.
• 27:34
  SPEAKER_02: And back when I was dancing and coaching forever ago, there was zero choices for boys.
• 27:40
  SPEAKER_02: And I mean, I remember being a kid with a t-shirt hot gluing, you know, sequin strips to match the girls.
• 27:47
  SPEAKER_02: Oh my gosh.
• 27:49
  SPEAKER_02: Because that's just all we had.
• 27:50
  SPEAKER_02: But it's super important that the boys are as put together and presented as well as the girls.
• 27:56
  SPEAKER_04: Yeah, and feel and feel as thought about.
• 27:58
  SPEAKER_04: I mean, we we put so much thought into these costumes, and at least I hope people do.
• 28:02
  SPEAKER_04: And like you said, you know, the poor little boy is just running out there with his wrinkled t-shirt with the sequin.
• 28:07
  SPEAKER_04: And, you know, it's it's either that nobody thought about it or somebody didn't think about it enough.
• 28:12
  SPEAKER_04: So, Daniel, speaking as a male perspective, do you have any like sort of quick tips for teachers who are kind of struggling to costume their boys?
• 28:20
  SPEAKER_02: I think a boy always looks super classy in a solid colored Oxford that matches the girl.
• 28:26
  SPEAKER_02: There is, I mean, you know, if it's a little bit more jazzy, you can always open the shirt and either, you know, no shirt or a tank top or something underneath.
• 28:34
  SPEAKER_02: The boys just need to feel apart, like you said, Leslie.
• 28:37
  SPEAKER_02: I think that so many times we focus on the majority of the group, which is going to be the girls.
• 28:42
  SPEAKER_02: But if the choreographer and studio director takes just five minutes and says to the boy, okay, this is what I'm thinking for your costume, super excited about it.
• 28:51
  SPEAKER_02: Just those few minutes will really speak a lot to that to that young man and it'll it'll go a long way.
• 28:56
  SPEAKER_02: Plus, for the boys to walk out and be presented so well, I think that that's key.
• 29:01
  SPEAKER_02: So I always go for a nice solid classic Oxford in whatever color there's you know, it's a rainbow of colors nowadays that you can match the girls with.
• 29:08
  SPEAKER_02: That's just a real quick tip.
• 29:09
  SPEAKER_01: Yeah, and just like a solid jazz pant, like uh, you know, that fits you well, that you can switch out 24-7.
• 29:18
  SPEAKER_01: And I've seen boys just wear the same, same black slacks that you know are stretchy and they can dance to their best for every dance, and they just switch out the shirt and it and it works.
• 29:28
  SPEAKER_01: I mean, hey, let one less thing you have to buy for the boys, you know.
• 29:31
  SPEAKER_02: Yeah, and if the boys are doing black pants, make sure you always do black socks and black jazz sheets.
• 29:35
  SPEAKER_02: Yeah.
• 29:36
  SPEAKER_02: So that line that line is extra long and extended.
• 29:39
  SPEAKER_02: Yes, don't forget the socks.
• 29:41
  SPEAKER_02: Don't forget the black socks.
• 29:42
  SPEAKER_01: Totally.
• 29:43
  SPEAKER_01: And you know, we're gonna we're gonna go there right now with the hottest topic.
• 29:50
  SPEAKER_01: Guys, here we go.
• 29:51
  SPEAKER_01: World.
• 29:52
  SPEAKER_01: Speaking of, you know, making dancers feel comfortable and confident on stage, tights or no tights.
• 29:59
  SPEAKER_01: Don't the question.
• 30:04
  SPEAKER_05: Don't all jump at once.
• 30:07
  SPEAKER_05: I think it is very situational.
• 30:12
  SPEAKER_05: I really do.
• 30:13
  SPEAKER_05: Yeah.
• 30:14
  SPEAKER_05: There are certain dancers who look great barely wearing a swatch of fabric.
• 30:22
  SPEAKER_05: And I'm able to still enjoy the dance and I'm not distracted at all.
• 30:26
  SPEAKER_05: But there are many a case where where the no tights is just very distracting.
• 30:31
  SPEAKER_05: And I want you to be covered, and I want to know that everything is staying in its place.
• 30:36
  SPEAKER_02: Yeah, absolutely.
• 30:38
  SPEAKER_02: No, I think you're right.
• 30:39
  SPEAKER_02: I'm gonna take the guy angle on this.
• 30:42
  SPEAKER_02: It is really, really uncomfortable for me when there's no tights and we're doing a contemporary piece in just a leotard, which is a very hot style right now.
• 30:51
  SPEAKER_02: Everybody loves that, with the kind of high cut.
• 30:54
  SPEAKER_02: It seems a little bit too much for me, uh, just as a dad.
• 30:58
  SPEAKER_02: I, you know, I anyway.
• 31:00
  SPEAKER_02: It's a you know, it's a tough subject, like Sheena was talking about.
• 31:04
  SPEAKER_02: I see good reasons and I see bad reasons.
• 31:06
  SPEAKER_02: I just want to encourage those teachers out there, make sure that you're practicing multiple times in the costume that you're gonna perform in and have people sit at different angles in the studio because it might look fine when you're standing up watching, but if you're sitting where we are as judges, it gives you a whole different story, and so to speak, yeah.
• 31:27
  SPEAKER_02: And then obviously, lots of body tape, make sure that your girls have you know nude briefs under those leotards.
• 31:34
  SPEAKER_02: There's just been a lot of uncomfortable situations that I think any judge could share where things things happened and it was very uncomfortable.
• 31:41
  SPEAKER_02: And I felt really bad for that child because there's no way that they felt comfortable or confident.
• 31:48
  SPEAKER_02: And you know, I tell my my fellow teachers and staff in this all the time.
• 31:52
  SPEAKER_02: We we don't want to be the reason that someone tells the story as they're old or that they quit dancing because this happened.
• 32:00
  SPEAKER_02: Like, let's not be a part of that story.
• 32:02
  SPEAKER_02: So if we miss the ball and we we didn't say, you know what, we need to put tights on under this leotard for your contemporary piece, and something happened, and then they quit dancing, and then they're telling this story as they're older.
• 32:13
  SPEAKER_02: Like, let's not be part of that, let's part be part of the narrative of gosh, I feel so confident, and I had such a great experience on stage, and it you know, it helped me so much.
• 32:22
  SPEAKER_02: And whether it's tights or no tights, make sure that the child is confident and secure in all the movements in their costumes.
• 32:30
  SPEAKER_05: So I definitely agree.
• 32:32
  SPEAKER_05: The one hiccup that we have that maybe you guys can all jump on.
• 32:36
  SPEAKER_05: This is actually me asking you guys the question.
• 32:39
  SPEAKER_05: When you the tights options become more scarce when they're trying to dance barefoot.
• 32:47
  SPEAKER_05: You know, you know what I mean?
• 32:49
  SPEAKER_05: They don't want to wear the stirrup tights and they don't want to wear that convertible tight that cuts off their leg line.
• 32:57
  SPEAKER_05: Oh, don't do that.
• 32:58
  SPEAKER_05: They're dancing right, but they're dancing contemporary.
• 33:01
  SPEAKER_05: So they want to dance barefoot.
• 33:03
  SPEAKER_05: So what do we do?
• 33:04
  SPEAKER_04: I think the choice there becomes, I mean, I personally do not mind a footless tight.
• 33:10
  SPEAKER_04: Now, please do not roll up your convertible tight because convertible tights are meant for your point shoes to put your toe pads on underneath your tights and then roll them over.
• 33:20
  SPEAKER_04: That is what convertible tights were made for.
• 33:21
  SPEAKER_04: They were not for dancing barefoot, they were for the ease of using your toe pads.
• 33:25
  SPEAKER_04: Like that's the original type, you know, convertible tight world.
• 33:28
  SPEAKER_04: We have now, you know, changed the story and people are like, oh, it's gonna be really easy to do this.
• 33:33
  SPEAKER_04: Well, sure, but also makes you look like you have a big cankle because you've had that rolled up piece right there.
• 33:38
  SPEAKER_04: Yeah.
• 33:39
  SPEAKER_01: So a not stage ready at all.
• 33:41
  SPEAKER_04: Not stage ready and you look like you just came out of rehearsal or you know, like you forgot to do the thing.
• 33:46
  SPEAKER_04: You know, so uh a footless tight is always an option.
• 33:48
  SPEAKER_04: But where we come into, you know, if they don't want to wear a tight at all, then you have to be smart about costuming.
• 33:54
  SPEAKER_04: So then you put on a longer dress, then you put on a short that is slightly longer so it covers up what you need to have covered.
• 34:02
  SPEAKER_04: You know, if if you're wearing the high-cut Leotard, the high cut brief and no tights, it's just a recipe for disaster, no matter how much body tape or butt glue you have on.
• 34:11
  SPEAKER_01: And like I would feel restricted if I had that much like glue glue and and things on.
• 34:18
  SPEAKER_01: Like, I don't feel like that I would be able to get my leg as high or like move the same way if I didn't have that restriction.
• 34:26
  SPEAKER_01: You know, I I mean my thoughts on on the whole tights thing, I I think that everybody looks gorgeous.
• 34:33
  SPEAKER_01: Like, I love seeing the bare legs on stage, honestly.
• 34:36
  SPEAKER_01: I think it's very beautiful.
• 34:38
  SPEAKER_01: I also love the fact that it like obviously is flattering for every skin tone and different different skin tones don't have to try to match tights to match them and things like that.
• 34:48
  SPEAKER_01: I just think it's a beautiful, beautiful package on stage to see that and the muscle definition of your legs and everything.
• 34:55
  SPEAKER_01: However, there's no way in the world that if my teacher back when I was growing up said, put this leotard on with no tights, that I'd get on stage.
• 35:03
  SPEAKER_01: I mean, I I would be terrified as a teenage girl.
• 35:07
  SPEAKER_01: I I would be absolutely terrified.
• 35:10
  SPEAKER_01: And all I would be thinking about is, is anything gonna fall out?
• 35:12
  SPEAKER_01: You know, like the whole time.
• 35:14
  SPEAKER_01: And I th and I, you know, the good thing is is that I think these kids are so used to it now because this is the trend and everybody's doing it.
• 35:20
  SPEAKER_01: But I like I like the suggestion, Leslie, that you said was, you know, change the costume up a little bit.
• 35:26
  SPEAKER_01: It doesn't always have to be a leotard just because it is really cool and in style, we can wear a booty short, we can do a legging to if we want to be barefoot.
• 35:34
  SPEAKER_02: And I think if you are gonna do that, the cut of the leotard is so important.
• 35:39
  SPEAKER_02: Yes.
• 35:39
  SPEAKER_02: So just there's a there's a million different cuts, but make sure you try it on, try it on your specific dancer because it can fit them differently.
• 35:45
  SPEAKER_04: Yeah, and that and the nude brief underneath, I think, is just the smartest way to go for anything, especially if you're gonna be tightless.
• 35:51
  SPEAKER_04: There's you know, just that extra layer is really important.
• 35:54
  SPEAKER_05: Last thing you want is the the booty riding up 20 minutes, 20 seconds into your routine.
• 35:59
  SPEAKER_05: Right.
• 36:00
  SPEAKER_04: And then you have the struggle of, okay, well, you know, I was taught not to touch your costumes, not to, you know, not to mess with it.
• 36:06
  SPEAKER_04: It's like, well, but what do you do?
• 36:08
  SPEAKER_04: Like, do you not or do you do?
• 36:09
  SPEAKER_04: It's it's just it becomes a really big challenge and a distraction, not only for the dancer, for the audience, for the judge.
• 36:14
  SPEAKER_04: And I don't want to be distracted.
• 36:16
  SPEAKER_01: No, I want to enjoy it.
• 36:18
  SPEAKER_04: That's always what I say.
• 36:19
  SPEAKER_04: So I think that, you know, our our goal in having this conversation is again, like we've been saying this whole episode, is to make the dancer feel comfortable and confident.
• 36:27
  SPEAKER_04: And and to make, I mean, and then secondly, to make your audience comfortable and confident.
• 36:33
  SPEAKER_04: So if a dad is in the room and the dad is uncomfortable with what that child has on, maybe rethink what that child has on.
• 36:40
  SPEAKER_01: Yeah.
• 36:41
  SPEAKER_01: On the flip side about the tights or no tights, I'm gonna say a few instances where I do want to see tights.
• 36:47
  SPEAKER_01: Yes.
• 36:48
  SPEAKER_01: And that is in a classic jazz routine where you're, you know, you should be wearing fish nets if that's you know the vibe of the dance.
• 36:56
  SPEAKER_01: I've seen so many like studios that are embracing jazz dance, which thank you because it's getting lost in the competition contemporary world.
• 37:05
  SPEAKER_01: So thanks for keeping jazz alive.
• 37:06
  SPEAKER_01: But we have to stay true to the style.
• 37:09
  SPEAKER_01: So I don't necessarily need you to always have on the leotard and no tights.
• 37:15
  SPEAKER_01: If it's a classic jazz and you're doing like fossy or you're doing Chicago or something like that, like put on your fishnets.
• 37:21
  SPEAKER_01: Why not?
• 37:22
  SPEAKER_01: Put tan tights under your fishnets.
• 37:24
  SPEAKER_01: That's another helpful tip.
• 37:25
  SPEAKER_01: It really accentuates those lines.
• 37:28
  SPEAKER_01: Yeah.
• 37:28
  SPEAKER_01: And so, you know, I love a fishnet when it's appropriate for jazz uh or tap, even sometimes for tap dances and black tights and black jazz shoes.
• 37:37
  SPEAKER_01: I love that look as well, especially for dancers who might be struggling with like getting their knee stretched all the way or f or getting their ankle stretched all the way.
• 37:46
  SPEAKER_01: That's actually a really helpful disguise to you know a judge that they'll blend a little bit more and make accentuate their lines.
• 37:54
  SPEAKER_01: Quick side note, actually, that I always like to share.
• 37:57
  SPEAKER_01: When I was growing up, my teacher, my solo teacher, hated my hyperextended elbows.
• 38:02
  SPEAKER_01: So every solo costume I had, I was in long sleeves.
• 38:06
  SPEAKER_01: And I never understood why.
• 38:07
  SPEAKER_01: And eventually, as I got older, and she finally kind of told me, she's like, You have you struggle with them.
• 38:13
  SPEAKER_01: So I tried to hide them from the uh judges and the audience.
• 38:16
  SPEAKER_01: And she would also put me in an extremely high cut, like a French cut leotard to make my legs look longer because I'm only five foot.
• 38:23
  SPEAKER_01: So, you know, it's being smart with your choices on you know how to disguise your flaws if you have them, and um, making yourself look the best on stage.
• 38:33
  SPEAKER_01: But like tights or no tights, heated topic.
• 38:35
  SPEAKER_01: We all have our own thoughts.
• 38:36
  SPEAKER_01: I think overall, we just want you to feel covered and confident.
• 38:40
  SPEAKER_04: Like Courtney was saying, I'm glad you brought that up.
• 38:42
  SPEAKER_04: Like stylistically, tights versus no tights, and stylistically shoes.
• 38:47
  SPEAKER_04: You know, people are coming out in the musical theater category doing, you know, hit me with a hot note or what would classic musical theater.
• 38:54
  SPEAKER_04: Why are you in a turner?
• 38:56
  SPEAKER_04: Oh and no tights.
• 38:57
  SPEAKER_04: Right.
• 38:58
  SPEAKER_04: Why are you not in a jazz shoe or a character shoe and tights?
• 39:01
  SPEAKER_04: Tan fishnets, come on now.
• 39:03
  SPEAKER_04: And so my question to you guys, style-wise or not, shoes versus no shoes.
• 39:09
  SPEAKER_05: To my dancers, it it matters to them if they can turn, if we're turning.
• 39:15
  SPEAKER_05: And shoes equals better turns for them.
• 39:18
  SPEAKER_05: For for my dancers, might be different for other dancers.
• 39:21
  SPEAKER_05: So if we're doing a lot of pirouettes in the routine, we'll probably wear shoes.
• 39:24
  SPEAKER_05: If we are doing a lot of floor work and not as many turns, maybe we'll go barefoot.
• 39:29
  SPEAKER_02: Yeah, and I I'm gonna go old school.
• 39:31
  SPEAKER_02: So I I'm always gonna say a shoe that's appropriate for the style that you're doing.
• 39:37
  SPEAKER_02: So I know right now the big one shoe phrase has kind of been going on, and I I don't know how many times I've had to say the moment you walk out on the stage, you're telling me you can only turn on that one leg by only wearing one shoe.
• 39:51
  SPEAKER_02: So I tell people a lot either two shoes or no shoes.
• 39:55
  SPEAKER_02: But don't let your dancers come out with one shoe.
• 39:58
  SPEAKER_05: Absolutely not.
• 39:59
  SPEAKER_05: Agreed.
• 39:59
  SPEAKER_04: Agreed.
• 40:00
  SPEAKER_04: Four of us agreed.
• 40:01
  SPEAKER_04: You've heard it from IDA folks.
• 40:03
  SPEAKER_04: Hey, teachers or no shoes.
• 40:05
  SPEAKER_01: Two shoes or no shoes.
• 40:07
  SPEAKER_01: Please, for 2020, let's make this happen.
• 40:10
  SPEAKER_02: Yes.
• 40:11
  SPEAKER_01: I agree with you, Daniel.
• 40:13
  SPEAKER_01: I I would love to see the appropriate shoe for each style.
• 40:16
  SPEAKER_01: And does that mean that jazz needs to have a jazz shoe?
• 40:19
  SPEAKER_01: It doesn't always, it depends on the style of the jazz.
• 40:21
  SPEAKER_01: If it's more of a contemporary jazz and you want to be barefoot, great.
• 40:25
  SPEAKER_01: And at the same time, I also agree with with Yushina because I'm that same dancer.
• 40:29
  SPEAKER_01: I'm like, if I need to turn, I need something on my foot.
• 40:32
  SPEAKER_01: I'm not trained, I'm I'm not a barefoot turner.
• 40:36
  SPEAKER_01: However, I've been at studios who are barefoot turners and they're amazing.
• 40:40
  SPEAKER_01: Like they nothing holds them back.
• 40:42
  SPEAKER_01: They've built up those calluses and they're like, we train barefoot.
• 40:45
  SPEAKER_01: That's just what we do.
• 40:47
  SPEAKER_01: Now, speaking of shoes, I'm gonna personally say that I dislike those turner things.
• 40:53
  SPEAKER_01: What are they called?
• 40:53
  SPEAKER_01: Turners, turners, pirouettes, heff soles.
• 40:56
  SPEAKER_01: Depends on the brand.
• 40:57
  SPEAKER_05: I actually don't think they give your foot the most beautiful shape.
• 41:00
  SPEAKER_05: It kind of gives it a little bit of a sickled look with those turn.
• 41:05
  SPEAKER_05: As a teacher, I've found the kids love these shoes.
• 41:09
  SPEAKER_05: They feel so comfortable in them, especially my studios that do a lot of acro because they can feel their heel on the ground and they can still twirl and turn and throw their front aerials without thinking they're gonna slip.
• 41:22
  SPEAKER_05: They feel super comfortable and they just dance better because they're more confident.
• 41:26
  SPEAKER_05: So maybe they're not the judge's favorite shoe, but they dance better.
• 41:30
  SPEAKER_05: So that's why I allow the I allow them to wear them.
• 41:33
  SPEAKER_04: Yeah.
• 41:33
  SPEAKER_04: I mean, I find them problematic because the majority of the time, no matter what brand it is, the straps do not stay on.
• 41:41
  SPEAKER_04: And then yeah, then we're looking at, okay, number one, that looks messy, number two, that's dangerous.
• 41:45
  SPEAKER_04: Number three, now you're distracted because your strap is falling off.
• 41:48
  SPEAKER_04: And if you just had on a jazz shoe, most of the time your jazz shoe is not gonna fall off.
• 41:52
  SPEAKER_04: I mean, if your jazz shoe fits, it's gonna stay on.
• 41:54
  SPEAKER_04: You know, there's been very few occasions when somebody has like stepped on it and it fell off.
• 41:58
  SPEAKER_04: But like the shoes that I see coming off are the turners, and to me that becomes starts to become a dangerous thing, like you said, with people throwing aerials and doing all sorts of acro in those shoes, which is where those shoes were born out of that was that came out of the rhythmic gymnastics world.
• 42:13
  SPEAKER_04: And it makes sense for what they do to me.
• 42:15
  SPEAKER_04: So yeah, I don't think they're going anywhere, on to my discouragement.
• 42:20
  SPEAKER_04: Um I think they're here to stay, but I do think you know there are ways if you're if you're wearing a turner with a stirrup tight, for example, I think that's a smart way to do it.
• 42:29
  SPEAKER_04: That way you can at least get those straps underneath that stirrup to kind of have another layer of like holding onto the strap.
• 42:35
  SPEAKER_01: Yeah.
• 42:36
  SPEAKER_01: I don't hate them.
• 42:37
  SPEAKER_01: I'm not gonna take points off if, you know, you come out in a turner.
• 42:40
  SPEAKER_01: You know, and I think that it it is a good solution to have that, you know, bare leg look with also an option to be able to turn successfully.
• 42:50
  SPEAKER_01: I do agree that I don't feel like they're the most flattering for every dancer.
• 42:54
  SPEAKER_01: I feel like that they're kind of they're not allowing the dancers to really like articulate through their feet in the proper way.
• 43:01
  SPEAKER_01: I feel like that they don't like find the highest relevaes as they might, you know, if they were just bare feet or if they had on a jazz shoe.
• 43:08
  SPEAKER_01: But overall, I agree.
• 43:10
  SPEAKER_01: I don't want the straps to fall off on those turners.
• 43:12
  SPEAKER_01: And we talked about these turners as actual shoes.
• 43:16
  SPEAKER_01: They are a shoe, they're not bare feet.
• 43:19
  SPEAKER_01: So that being said, you have to wear both of them.
• 43:21
  SPEAKER_01: You don't wear one shoe.
• 43:24
  SPEAKER_01: You don't wear one shoe outside.
• 43:26
  SPEAKER_01: You would never go on Broadway and see what somebody wearing one shoe.
• 43:30
  SPEAKER_01: And that being said, about the turners and another reason why they're not my absolute favorite, but like they're okay for competition.
• 43:37
  SPEAKER_01: I just want to let all the like dancers know that if you are going to transition into the real world, that I can probably like 98% guarantee that you'll never wear a turner in the professional world.
• 43:47
  SPEAKER_01: Nobody will ever pay you to wear a turner.
• 43:49
  SPEAKER_04: You'll probably wear a shoe.
• 43:51
  SPEAKER_04: You you may like do a pickup company that allows you to wear whatever shoe you want and they don't pay you.
• 43:56
  SPEAKER_04: They just thank you for your service.
• 43:57
  SPEAKER_04: Then you can wear a turner, but like nobody is gonna pay you a salad.
• 44:00
  SPEAKER_04: To wear that shoe.
• 44:02
  SPEAKER_04: Absolutely.
• 44:02
  SPEAKER_04: Most likely not.
• 44:03
  SPEAKER_04: That's true.
• 44:04
  SPEAKER_01: So, you know, we jazz shoes are also hopefully not going anywhere.
• 44:08
  SPEAKER_01: No, please keep the jazz shoe alive.
• 44:10
  SPEAKER_01: We love a jazz shoe.
• 44:11
  SPEAKER_01: And you know, all your other shoes are here to stay.
• 44:14
  SPEAKER_01: And turners are turners.
• 44:16
  SPEAKER_01: We love them, we hate them.
• 44:17
  SPEAKER_01: But as long as you point your feet and wear two of them, then we'll be happy.
• 44:20
  SPEAKER_01: We're good.
• 44:21
  SPEAKER_01: No points off for you.
• 44:23
  SPEAKER_04: Oh gosh, guys, we have had such a good time with you this evening.
• 44:27
  SPEAKER_04: Thank you for joining us.
• 44:28
  SPEAKER_04: Do you have anything else you'd like to share in the realm of costumes and helping studios out?
• 44:32
  SPEAKER_02: All I'm gonna say is head to toe.
• 44:35
  SPEAKER_02: Just make sure from the very top of your head all the way through to your tippy toes, every single part of your costume, earrings, eyelashes, makeup, hair is just spot on.
• 44:48
  SPEAKER_02: You've done so many hours and weeks and months of hard work.
• 44:52
  SPEAKER_02: You want to present your absolute best out there.
• 44:55
  SPEAKER_05: I would just want to reiterate to the studio owners to please practice in the costume.
• 45:00
  SPEAKER_05: I know that we've said that already tonight, but it's just so important that they have done it in the costume.
• 45:06
  SPEAKER_05: They know it's not gonna ride up, they know the strap's not falling off, they know they can make that quick change if there's a slight change mid-routine if it's a production.
• 45:15
  SPEAKER_05: Just don't let their first try be the first competition that you paid a lot of money for.
• 45:20
  SPEAKER_00: We hope you enjoyed this week's episode all about costumes.
• 45:24
  SPEAKER_00: Shout out to our special guests, Sheena and Daniel.
• 45:26
  SPEAKER_00: If you want to follow them on social media, you can find Sheena at Sheena DeMatio and Daniel at Daniel T1776.
• 45:34
  SPEAKER_04: Do you have a question you've been dying to ask a judge?
• 45:36
  SPEAKER_04: Now's your chance to send us your questions.
• 45:38
  SPEAKER_04: We might answer them on the show and give you a shout out.
• 45:41
  SPEAKER_04: Submit your questions to us on our website at www.impactdanceadjudicators.com slash podcast.
• 45:48
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• 45:53
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• 45:56
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• 46:00
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• 46:03
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• 46:09
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• 46:20
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• 46:24
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• 46:32
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• 46:37
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• 46:43
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• 46:50
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• 46:55
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• 47:00
  SPEAKER_04: Coming up in the next few weeks, we've got some exciting topics, including tap, competition kindness, and the January edition of QA with Courtney.
• 47:08
  SPEAKER_04: Be sure to subscribe on Apple Podcasts, Google Podcasts, and Spotify and tune in every Monday for new episodes.
• 47:15
  SPEAKER_00: As always, we're so happy you joined us for this week's episode of Making the Impact.
• 47:19
  SPEAKER_00: Thanks for tuning in.
• 47:20
  SPEAKER_00: Till next time, keep dancing.