Latest / Making The Impact - A Dance Competition Podcast / The Top 10 Studio Habits Judges See At Competition

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The Top 10 Studio Habits Judges See At Competition · Making The Impact - A Dance Competition Podcast

0:07
SPEAKER_10: Have you ever wondered what goes on behind the table at a dance competition?
0:10
SPEAKER_10: Exactly what are the judges looking for anyway?
0:13
SPEAKER_10: This is Making the Impact a Dance Competition podcast.
0:15
SPEAKER_10: 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_10: For our 100th episode, we've invited some of our IBA judges to chime in on the top 10 habits, good and bad, that we see from studios at competition.
0:32
SPEAKER_10: Making the impact always strives to provide helpful insight and education for dancers, dance teachers, and dance parents in the competitive world.
0:39
SPEAKER_10: So stick around for the next 100 episodes for even more of your favorite content.
0:45
SPEAKER_06: Hey y'all, welcome to this week's episode of Making the Impact.
0:50
SPEAKER_06: I'm your host, Courtney Ortiz, and I am here with my co-host Leslie Mueller.
0:55
SPEAKER_10: Hey Courtney.
0:56
SPEAKER_10: Hey guys.
0:57
SPEAKER_10: Uh we have a pretty cool episode for you today.
1:00
SPEAKER_06: Yeah, you want to know why it's really cool?
1:03
SPEAKER_10: Um, it's because it's our hundredth episode.
1:06
SPEAKER_10: It's our hundredth episode.
1:08
SPEAKER_10: Holy crap.
1:10
SPEAKER_10: It's pretty exciting.
1:12
SPEAKER_10: I mean, a hundred we've done this a hundred times.
1:14
SPEAKER_10: This will be the time 100 that we have done this.
1:17
SPEAKER_10: It's pretty cool.
1:17
SPEAKER_06: Technically, we've done more than 100 because in season one, we didn't count our QA episodes as actual episodes, and we changed that in season two.
1:27
SPEAKER_06: So we have technically done more than a hundred.
1:31
SPEAKER_10: Oh my gosh.
1:31
SPEAKER_10: All right.
1:31
SPEAKER_10: Well, this is our official hundredth episode, plus a few bonuses.
1:35
SPEAKER_10: Yeah.
1:36
SPEAKER_10: So I think we're awesome.
1:37
SPEAKER_06: Yeah, me too.
1:38
SPEAKER_06: I can't believe how far we've come.
1:40
SPEAKER_06: We've literally created this beast of a podcast that people are talking about all over the world.
1:47
SPEAKER_06: We're getting noticed at events like we're celebrities.
1:50
SPEAKER_10: Yes, we're so fancy.
1:52
SPEAKER_10: It's it's really cool.
1:53
SPEAKER_10: And, you know, I just I think, you know, your original idea to start this was needed.
1:59
SPEAKER_10: And it's clearly very needed.
2:00
SPEAKER_10: You know, it was needed at the time almost three years ago now, and it's just grown so much.
2:05
SPEAKER_10: And we've heard from so many people who are still just discovering this.
2:08
SPEAKER_10: And that's the cool thing is that it's it feels like it's been forever to us, but some people are still coming to this podcast brand new and listening from from episode one, you know, and still commenting on, oh, remember that up or like we listened to this episode.
2:19
SPEAKER_10: And I'm like, oh my God, that was like a thousand years ago.
2:22
SPEAKER_10: Yeah.
2:22
SPEAKER_06: Yeah.
2:23
SPEAKER_06: People are like, oh my gosh, I just discovered this and I binged it from beginning to end.
2:27
SPEAKER_10: So now that's that's commitment right there.
2:29
SPEAKER_10: Cause listen, these are long episodes.
2:31
SPEAKER_10: This isn't just like a 20-minute little, you know, bite-sized thing.
2:35
SPEAKER_10: So with people who are binging, like, thank you for the commitment.
2:38
SPEAKER_06: Yeah.
2:38
SPEAKER_06: I I'm so grateful for all the fans that have discovered us, that have stayed with us from the very beginning.
2:45
SPEAKER_06: We're we love y'all, and we wouldn't be here in all the all the success we've had if it wasn't for you.
2:51
SPEAKER_06: So thank you to our fans.
2:53
SPEAKER_06: And I mean, some of the things we've achieved over the past almost three years.
2:58
SPEAKER_06: It's been like two and a half years since we've been doing this.
3:01
SPEAKER_06: And remember, this was not like something we created in the pandemic.
3:04
SPEAKER_06: This is something pre-pandemic.
3:06
SPEAKER_06: Pre-pandemic, which feels like a century ago, uh, a whole lifetime ago.
3:10
SPEAKER_06: But we did it and we were here and we've like since since the start, we've been featured in podcast magazine, which is so crazy.
3:18
SPEAKER_07: Like who knew there was even a podcast magazine?
3:20
SPEAKER_07: Yeah, no, I I didn't.
3:22
SPEAKER_06: And I still want to go to like Barnes and Noble and go, you know, see if they have when it was out in January.
3:28
SPEAKER_06: I could have, I should have done that.
3:30
SPEAKER_06: Yeah.
3:30
SPEAKER_06: Picked up the magazine and looked at our podcast.
3:33
SPEAKER_10: Yeah, I wonder.
3:34
SPEAKER_10: Now I I mean, like, when's the last time you were in a Barnes and Noble?
3:37
SPEAKER_10: Yeah, they closed in New York, like all of them.
3:39
SPEAKER_10: But yeah, I mean, we were featured in that mag in podcast magazine for January 22, uh, January 2022, and they thought we were worthy of 4.5 out of five mics.
3:50
SPEAKER_10: Yeah.
3:50
SPEAKER_10: So thank you to them.
3:52
SPEAKER_06: And we were featured in Welp magazine, which is an online magazine back in 2021, named one of the 20 best dance podcasts of 2021, which is really exciting.
4:02
SPEAKER_06: We've hit number 15 on the Apple Podcast charts in charts in the US on the performing arts charts.
4:10
SPEAKER_06: And it's just, and we've hit over 160,000 listens on our podcast from people all around the world, which is so cool.
4:19
SPEAKER_10: I can't even comprehend that number.
4:21
SPEAKER_10: That's a lot, that's a big number.
4:22
SPEAKER_10: And y'all know how I am about math.
4:24
SPEAKER_10: So that just that sounds like a lot.
4:26
SPEAKER_10: So I'm gonna be proud of that number, even though I don't really know what it means.
4:29
SPEAKER_06: It's a lot.
4:30
SPEAKER_06: It's a lot.
4:30
SPEAKER_06: In podcast world, it's a lot.
4:32
SPEAKER_06: So thank you to everyone who's been listening, who's been sharing, who's been joining our Facebook group.
4:36
SPEAKER_06: We love connecting with you all there.
4:38
SPEAKER_06: If you happen to see Leslie or I at a competition event this season, come say hi, let us know you listen.
4:45
SPEAKER_06: We love meeting our fans live in person.
4:47
SPEAKER_06: And I actually this weekend I got a cute little selfie with two minis in my class at Revel, and they came up to me and they said, We listen to your podcast.
4:57
SPEAKER_06: And I was like, Oh my god, I need to get a photo with you.
5:00
SPEAKER_10: I mean, it's so like podcasts, they're not necessarily that new, but like in the grand scheme of like entertainment for people, yeah.
5:08
SPEAKER_10: Like podcasts are still kind of new.
5:09
SPEAKER_10: So the fact that what are those girls, like seven?
5:11
SPEAKER_10: Yeah, they were tiny.
5:13
SPEAKER_10: And the fact that they listen to a podcast, first of all, and like know what a podcast is.
5:17
SPEAKER_10: I mean, I think that's really cool.
5:18
SPEAKER_06: It is cool.
5:19
SPEAKER_06: It's so cool.
5:20
SPEAKER_06: So thanks, moms, for introducing them to our pod.
5:23
SPEAKER_03: Yeah.
5:23
SPEAKER_06: So what have been some of your faves out of reminiscing back, looking back at all a hundred episodes that we've done?
5:29
SPEAKER_06: Oh my god, that have been some of your faves.
5:31
SPEAKER_10: Looking back all the way to season one, that was just like we said, it was a whole lifetime ago, it feels like.
5:36
SPEAKER_10: Uh 20, it was 2019 when we started, right?
5:39
SPEAKER_10: Fall of 2019.
5:41
SPEAKER_12: Yeah.
5:41
SPEAKER_10: Yep.
5:42
SPEAKER_10: I think this episode actually was more spring time that of 2020.
5:46
SPEAKER_10: But the musical theater episode, which was episode 24 in season one, we had some phenomenal guests.
5:52
SPEAKER_10: We had I I really like the the episodes that have an education kind of component component so people can really understand what we are looking for.
6:01
SPEAKER_10: I mean, that was the original premise of this podcast in the first place.
6:04
SPEAKER_10: So I really I think people appreciate the education about what goes into a musical theater entry.
6:09
SPEAKER_10: And I love talking about that one.
6:11
SPEAKER_06: Yeah.
6:11
SPEAKER_06: Yeah, that was a great one.
6:12
SPEAKER_06: I mean, I I have so many favorites.
6:14
SPEAKER_06: I really loved our musicality episode because if y'all know me, you know I'm all about that musicality and counting.
6:20
SPEAKER_06: I can't wait for our counting episode for season four.
6:22
SPEAKER_06: That is coming, everyone.
6:23
SPEAKER_06: I cannot wait for it.
6:24
SPEAKER_10: We're gonna get so niche in season four.
6:26
SPEAKER_10: It's gonna be like the tiniest topic, but we're gonna talk about it for an hour.
6:30
SPEAKER_10: Yep.
6:30
SPEAKER_10: So counting.
6:31
SPEAKER_03: Yep, counting is coming.
6:33
SPEAKER_03: Counting 101, that's what we'll call it.
6:34
SPEAKER_03: Oh, I love it already.
6:36
SPEAKER_06: And I loved our jazz dance episode because I love me some jazz dance, and there were so many helpful things that I I think more more studios need to listen to in that episode.
6:47
SPEAKER_06: And we're actually gonna talk about some of those things in in this episode today.
6:51
SPEAKER_10: Yes.
6:51
SPEAKER_10: So that was Jazz Keeping Jazz Dance Alive from season two, episode 40.
6:56
SPEAKER_10: And the musicality episode was season two, episode 52.
6:59
SPEAKER_10: If you guys want to go back.
7:00
SPEAKER_10: Go back and check them out.
7:01
SPEAKER_10: Yeah, and my other favorite, I think this is a more recent one, was Mini Mania from season three, episode 78.
7:09
SPEAKER_10: And yeah, it's just it's was so fun to talk to sort of some of the experts on the minis and how they train their kids to just be so beastly at a tiny age.
7:20
SPEAKER_06: Yeah, that was definitely a fun one.
7:22
SPEAKER_06: We have had so many great episodes this season as well, and this season is not over yet.
7:26
SPEAKER_06: Everyone, there is still more to come.
7:29
SPEAKER_06: And just for your fun fact, just so y'all know, the current first place winner of the most listened to podcast episode from Making the Impact is still lyrical versus contemporary.
7:42
SPEAKER_10: Like by a lot.
7:43
SPEAKER_10: Yes, by like a thousand listens compared to the second place winner, Project 21 Studio Spotlight from uh season three.
7:52
SPEAKER_06: Yep.
7:52
SPEAKER_06: So that's pretty exciting.
7:54
SPEAKER_06: Even though you know Lyrical versus contemporary has been around since season one, but then Project 21 was such a popular episode.
8:01
SPEAKER_06: So many people wanted to hear about that studio, and that is in second place across all hundred episodes.
8:06
SPEAKER_06: It's crazy to it's crazy to think an episode from season three has already gained that much listen.
8:11
SPEAKER_10: Right.
8:11
SPEAKER_10: And I I'm so curious to see sort of at the end of the season, like where things stand.
8:15
SPEAKER_10: Because I do I mean, Lyrical versus Contemporary was episode four.
8:19
SPEAKER_10: Yeah.
8:19
SPEAKER_10: Like number four.
8:20
SPEAKER_10: Number four.
8:21
SPEAKER_10: So that obviously is getting a lot of attention.
8:24
SPEAKER_10: Either people are going back or they're subscribing and they're just starting from the beginning.
8:28
SPEAKER_10: Um, but I think that's getting sought out specifically for what it is, again, with the education component.
8:34
SPEAKER_06: And we knew we knew what we were doing when we put Lyrical versus Contemporary at the very beginning of season one, y'all.
8:39
SPEAKER_06: We knew.
8:40
SPEAKER_06: We knew y'all need to hear it.
8:42
SPEAKER_06: Yes.
8:43
SPEAKER_06: So I'm glad it's been out there in the podcast world for two and a half years for you to listen to it.
8:47
SPEAKER_06: Right.
8:47
SPEAKER_06: It's just gonna keep on gaining traction.
8:49
SPEAKER_06: Maybe we'll do a 2.0 lyrical versus contemporary.
8:52
SPEAKER_10: Well, because I mean, I think even in the past almost three years, things have again shifted somehow.
8:58
SPEAKER_10: You know, there's all kinds of new stuff that's happening constantly in in those worlds.
9:02
SPEAKER_10: Uh, so I think it would be interesting to give a little revisit.
9:05
SPEAKER_06: Yes, and I am pumped to jump into this episode today that we're talking about the top ten uh studio habits that the judges see at competition.
9:17
SPEAKER_06: So we have some judges that are going to be chiming in on today's episode sharing some of those habits that they've seen across the board throughout their time behind the table.
9:26
SPEAKER_06: But before we do jump into the episode, we want to tell you a little bit more about our sponsors who help support our podcast.
9:35
SPEAKER_06: And first up, uh it's Arrange Us, a dance formations app.
9:39
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9:47
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9:53
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10:00
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10:25
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10:28
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10:36
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10:38
SPEAKER_06: Head on over to the Apple App Store now to download the Arrange Us app or click the link in our show notes.
10:44
SPEAKER_10: And continuing to support us into season three is Level Up Dance Supplies.
10:48
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11:04
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11:12
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11:21
SPEAKER_06: Alright, and one of the fun things that we've added to the mix over here in IDA World is our brand new Making the Impact Award that we have been awarding at competitions nationwide this season.
11:33
SPEAKER_06: And if you attend an IDA affiliated competition event with at least one IDA judge on the panel, then your your dance might win the Making the Impact Award.
11:43
SPEAKER_06: And this award is going to a dance it can be a solo through production that the judges felt made an impact either through their choreography, their performance, or their execution.
11:53
SPEAKER_06: And we have a few winners that we want to give a shout out live on the podcast who are recent who've recently won at an IDA affiliated competition.
12:02
SPEAKER_06: The first winner is Grace Pauls with her solo, Me and the Devil, from On Edge Movement in Phoenixville, Pennsylvania.
12:11
SPEAKER_06: And she won this award at Diva Dance Competition in Morristown, New Jersey.
12:15
SPEAKER_10: We also have a large group called Get Ready from Starlight Dance Studio in Highland, Illinois.
12:20
SPEAKER_10: They were at Positive Vibes in Bloomington, Illinois in March.
12:24
SPEAKER_06: Yay! Congrats to our recent winners.
12:27
SPEAKER_06: And if you are a lucky winner of the Making the Impact Award, then be sure to register your award and we can give you a shout-out live on an upcoming pod episode.
12:36
SPEAKER_10: And finally, we also have a lovely review from a supporter from our Kofi account.
12:41
SPEAKER_10: If you guys don't know, Kofi is a way that you can uh support the podcast monetarily by buying us a coffee.
12:47
SPEAKER_10: You can also leave us a review there.
12:48
SPEAKER_10: So we got a great review recently from Liliana.
12:51
SPEAKER_10: She says, My mom and I love listening to your podcast together.
12:54
SPEAKER_10: I'm 10 years old and I love conventions.
12:56
SPEAKER_10: I've learned so much from your shows.
12:58
SPEAKER_10: Kinosphere is now my favorite term.
13:00
SPEAKER_10: Oh, I love that.
13:01
SPEAKER_10: She says, I always find a spot in the room where I have enough space to move outside, outside of mine.
13:06
SPEAKER_06: Thank you.
13:07
SPEAKER_06: Oh, Liliana, that was so cool.
13:09
SPEAKER_06: So cute.
13:09
SPEAKER_06: Oh my gosh.
13:10
SPEAKER_06: And I totally um when I when I saw this review come in, I had to immediately send it to Shelly Fig, who is the judge who introduced all of us to the word kinosphere.
13:20
SPEAKER_06: Yes, thank you, Shelly.
13:27
SPEAKER_10: Courtney, we really are making the impact.
13:29
SPEAKER_10: Truly.
13:29
SPEAKER_10: I mean, this kid learned a new word, and so did I.
13:33
SPEAKER_10: Exactly.
13:33
SPEAKER_10: Like we're we are all making the impact for each other.
13:36
SPEAKER_06: All right, everybody.
13:37
SPEAKER_06: We're gonna jump into this week's episode, and we're super excited for this to be our hundredth episode because we're going to chat about the top 10 studio habits that your judges see at competition.
13:47
SPEAKER_06: Now, something that I just want to mention off the top of this episode to kind of give you an idea as to like what does that mean, studio habits?
13:55
SPEAKER_06: So, as judges, we kind of get to know you as a studio throughout the weekend.
13:59
SPEAKER_06: When we're sitting behind the table and you bring 50 dances and we watch 50 of your dances, most of the time there's always some type of habit that we see across the board at your studio, all the way from petites all up into seniors.
14:14
SPEAKER_06: And it's pretty consistent.
14:15
SPEAKER_06: Um, and it might be something that you as a studio don't e aren't even aware of or never even noticed before.
14:20
SPEAKER_06: But finally getting that outside eye to really zone in and notice those things and and mentioning those things, I'm sure that oftentimes it's the same thing on your critique tape over and over and over again that feels maybe like consistent habit that you probably didn't even realize.
14:38
SPEAKER_06: So that's what we're talking about today.
14:40
SPEAKER_06: And I think that a lot of people who are listening might have heard these same critiques from your judges as well.
14:48
SPEAKER_06: Or you might immediately go back into the studio and be like, oh no, are we one of those studios that that does this habit?
14:53
SPEAKER_06: Oh my gosh, I I don't know.
14:55
SPEAKER_06: I hope we're not.
14:56
SPEAKER_06: You know, you might you might zone in a little bit, look a little closer at some of these details that we seem to find as we get to know you throughout the weekend.
15:04
SPEAKER_06: So that's what we're chatting about today.
15:06
SPEAKER_06: I'm excited.
15:07
SPEAKER_06: Yeah.
15:07
SPEAKER_10: And, you know, peppered in here also, our judges that contributed to this podcast also noticed some good habits that they see, which I really love.
15:15
SPEAKER_10: So we're gonna bring some of those up as well.
15:17
SPEAKER_10: And those range anywhere from, you know, technique habits that they see that are good and consistent to backstage behavior and things, you know, things that are not necessarily dance related, but that they love to see uh studios present in the competition setting.
15:32
SPEAKER_10: So are we ready to dive in?
15:33
SPEAKER_06: Let's do it.
15:34
SPEAKER_06: Cool.
15:35
SPEAKER_06: All right, let's hear from our very first judge.
15:37
SPEAKER_01: Hey, this is IDA Judge Amy.
15:40
SPEAKER_01: And one of the studio habits that I witness as a judge is not using a prop or set piece to the fullest.
15:46
SPEAKER_01: There's so much time and energy put into building these set pieces or finding a prop to use, and you'll have a dance that will have dancers start on a set piece at the beginning and then maybe finish on it at the end, but then the middle of the piece, it's not used at all.
16:04
SPEAKER_01: Same thing with a prop.
16:05
SPEAKER_01: There's this really cool prop that they'll use for maybe 10 seconds or so, and then they'll put it down and won't use it for the rest of the piece.
16:14
SPEAKER_01: If you're gonna put the time and energy into incorporating a set piece or a prop, I love seeing it used from beginning to end.
16:23
SPEAKER_01: It can add a cool new level or layer to the piece and make it way interesting.
16:30
SPEAKER_01: So let's use those props and set pieces to the fullest.
16:34
SPEAKER_06: All right, so you just heard from our very first judge, Miss Amy Mays, and she's talking all about those props, y'all.
16:42
SPEAKER_06: And I think if you if I hope that everyone has listened to our prop episode that we launched at the top of the season.
16:50
SPEAKER_10: Yes, because this is one of those big things.
16:52
SPEAKER_10: Like we talked about that exact scenario in that episode where you know it's one of my biggest pet peeves too is a lonely prop.
16:58
SPEAKER_03: Yeah.
16:58
SPEAKER_10: It's just so lonely back there, that mirror that you came out, you know, and you put it, you looked at yourself once and you put it on the floor, and then you did a bunch of PK turns and you never once went back to that mirror in three minutes.
17:07
SPEAKER_10: Yeah.
17:08
SPEAKER_06: Yeah.
17:08
SPEAKER_06: And I think there is a difference between like a set piece and a prop.
17:12
SPEAKER_06: And I think regardless, if even if it's a set piece, I think it just really needs to make sense.
17:18
SPEAKER_06: Like there are so many times when I see giant set pieces that are touched or utilized once.
17:24
SPEAKER_06: And then I think about the fact that like you had to rent a U-Haul to get this set piece here.
17:29
SPEAKER_06: Yes.
17:29
SPEAKER_06: And what purpose is it serving?
17:31
SPEAKER_10: Somebody's dad stored that in his garage.
17:33
SPEAKER_10: Where are you putting this?
17:34
SPEAKER_10: Yeah.
17:34
SPEAKER_06: So you you have to haul this to an event and it wasn't even used.
17:39
SPEAKER_06: Right.
17:39
SPEAKER_06: And it I just think that like as studios and as teachers, we need to make sure that like we are looking at the bigger picture and really, really trying to decide, is this set piece worth it?
17:51
SPEAKER_06: Is this prop worth it?
17:53
SPEAKER_06: Because if you're using, if you're doing a hat prop, then you better be using that hat 24-7 or get rid of the hat at at a point in time, right?
18:01
SPEAKER_10: But like fully get rid of it.
18:03
SPEAKER_10: Like I I sort of, you know, I see the struggle of if you can't get to the side of the stage or like, but that's also it's not even a struggle because core if it's a solo, choreograph yourself to the corner and toss it off stage if you don't want it anymore, you know.
18:15
SPEAKER_10: But when I see like that same scenario of a hat or something else that you take off, and then it again, it just lays there in the middle of the stage alone and in your way.
18:25
SPEAKER_06: And then we're like, okay, are you ever gonna go back to it?
18:27
SPEAKER_06: I kind of want you to go back to it because I want you to use your prop, right?
18:31
SPEAKER_06: But then you never do.
18:33
SPEAKER_06: So again, I think it could be a nice, let's chuck it off the stage or get rid of it.
18:38
SPEAKER_06: But yeah, there I there I have seen some props lately that it just feels very unnecessary.
18:44
SPEAKER_06: And also, I think that as far as like the habit, I've also, and I've mentioned this on a few on previous podcast episodes, that I've seen prop studios.
18:54
SPEAKER_06: So like studios, maybe they're using props really well.
18:58
SPEAKER_06: Maybe they're not, but they have a prop for every darn dance that enters the stage.
19:04
SPEAKER_06: And I'm sitting here getting to know you as a studio, and I'm thinking, are we not able to do a dance without a prop?
19:10
SPEAKER_06: Don't you think that it's possible?
19:11
SPEAKER_06: I think it's possible.
19:13
SPEAKER_06: I don't think we need a set piece or a prop for every single dance.
19:17
SPEAKER_10: Right.
19:17
SPEAKER_10: And I think for me it's like keep it simple.
19:20
SPEAKER_10: And you know, I I feel like you should only use a prop or a set piece if it's absolutely 1000% necessary to the concept or to the story.
19:29
SPEAKER_10: And I would say nine times out of ten it's not, or you could achieve the same result without it.
19:34
SPEAKER_10: But I do agree, like, as thinking of it as like a studio habit, there's definitely those studios that do come out and there's a prop everywhere constantly, and like, you know, there's flower petals everywhere, there's you know, a big front porch set that gets used 14 times.
19:49
SPEAKER_10: And like I will have to say, I guess if you're gonna use it, you better use it for a few years because somebody made that.
19:54
SPEAKER_06: Right.
19:55
SPEAKER_06: Right.
19:55
SPEAKER_06: And I have seen actually some studios that bring out props that and like recycle them for different dances in the same event, which I'm not that mad at.
20:05
SPEAKER_06: I've actually seen people go as far as like even changing like the prop has like interchangeable like color schemes that they can just like put a new, you know, like I don't know, like facade.
20:16
SPEAKER_06: Yeah, yeah.
20:16
SPEAKER_06: They like kind of just like shift it around and make it match different dances, which I'm like, okay, like that feels right to me.
20:24
SPEAKER_06: And and as long as you are using it, if you're building stairs and a big platform, make sure there are people on those stairs the whole time.
20:34
SPEAKER_06: Cause then what's the point?
20:35
SPEAKER_06: Right.
20:35
SPEAKER_06: There's no point if it and I love when people move the props around the stage and change like the set.
20:41
SPEAKER_06: I think that for me, that instead of them being just stationary and stuck in one place, I think it makes it exciting and changes the visuals.
20:48
SPEAKER_06: And I've seen people like uh teams really get like tables and like okay, we're gonna rotate the table, we're gonna pick up the table, someone's on top of the table, some you know, things like that.
20:57
SPEAKER_06: I think we can get really creative with the prop usage, but it's definitely not the best look when props aren't being used to their fullest, like Amy said.
21:06
SPEAKER_10: Agreed.
21:06
SPEAKER_10: Thank you, Amy, for that awesome start.
21:08
SPEAKER_15: Hi, I'm IDA Judge Cassandra Springs, and I believe one of the best habits that studios have shown in my experience of being a judge is being on time, checked in, and ready to take the stage.
21:23
SPEAKER_15: It just teaches professionalism and it's just a good habit to get into to reflect the other dancers who are also competing, and also the path of the competition.
21:37
SPEAKER_15: So just being prepared and ready to go.
21:39
SPEAKER_15: Of course, things happen and costume changes and quick changes that have to happen.
21:44
SPEAKER_15: But I think just going the extra mile to make sure that the dancers are ready next stage and on time for their call time is an amazing habit.
21:53
SPEAKER_05: Ooh, I like this habit because this is a good habit.
21:57
SPEAKER_10: We love a good habit, and you know what, Cassandra is.
22:00
SPEAKER_10: Judge after my own heart because on time is my life.
22:03
SPEAKER_10: Y'all better have be on time.
22:05
SPEAKER_10: You are on time always.
22:07
SPEAKER_10: I'm always late.
22:08
SPEAKER_10: Well, and it's I actually was running an event recently and circumstances beyond everyone's control made my event run half an hour late, and I was mortified because I just I don't do things late.
22:21
SPEAKER_10: Late is not really in my vocabulary.
22:23
SPEAKER_10: So, you know, it was it was very difficult.
22:25
SPEAKER_10: But uh I agree with Cassandra because you know, a a great studio habit, a great personal habit to get into is you know, check in on time, get your quick change done, show up when you're supposed to be there collectively, because uh in an event, you know, like a dance competition, everybody is relying on everybody to be on time, the staff, the venue, the competitors, the parents, you know, because the later we run, the worse it is for everybody.
22:49
SPEAKER_10: Yeah, you know.
22:50
SPEAKER_06: Yeah, and I was actually talking about this recently.
22:52
SPEAKER_06: Um, and this is just a helpful tip for everybody.
22:54
SPEAKER_06: It's actually and it was actually something that was mentioned in our podcast group is the fact that a lot of competitions will pad their schedule a little bit, uh, to give enough time in between dances to kind of allow, you know, we also the competitions know what the duration of your dance is if you accurately put the proper time in when you registered your dance, but they also pad that schedule just a little bit.
23:18
SPEAKER_06: So there is the possibility that if people are on time and everything's running smoothly, it might run early.
23:24
SPEAKER_07: Yep.
23:25
SPEAKER_06: And I think that it's important to remember that the excuse of, well, you guys are running early and my dancers aren't ready isn't really a good enough excuse because you probably should have already been at the venue anyway, stretching and warming up, and you should have already had your hair and makeup done.
23:41
SPEAKER_06: You know, I think that what we typically like to say is arrive at least an hour and a half before your first scheduled dance.
23:47
SPEAKER_10: If not two hours.
23:48
SPEAKER_10: And I mean, this doesn't necessarily apply to entry number one at 8 a.m.
23:53
SPEAKER_10: Like please, please do not show up to any event at six o'clock in the morning if you start at eight.
23:57
SPEAKER_10: Like nobody is asking you to do that.
23:59
SPEAKER_10: That's when you do your hair and makeup in the car.
24:02
SPEAKER_10: You know, and then you show up at seven.
24:04
SPEAKER_10: That's reasonable.
24:05
SPEAKER_10: But like if you're dancing at two o'clock, you should probably be there at noon.
24:09
SPEAKER_10: Like, and also sort of ready.
24:11
SPEAKER_10: Like, I just I agree, you know, Courtney, the the padding of the schedule is there because we know people are going to be late.
24:18
SPEAKER_10: Just and but on the off chance that sometimes people are on time, like thank you.
24:23
SPEAKER_10: You know, you really do have to be prepared for anything.
24:25
SPEAKER_10: So I definitely, and especially at at um at many competitions, the award, there's some sort of like sportsmanship award or studio spirit award that is given specifically by the backstage managers to studios.
24:39
SPEAKER_10: And one of the things that like they consider when offering that award to a certain studio is are they on time?
24:45
SPEAKER_10: Right.
24:45
SPEAKER_10: Are they are they making us behind?
24:47
SPEAKER_10: Because they're not getting that award.
24:48
SPEAKER_10: If they're gonna allow us to stay on time, that's the studio that's getting the award.
24:52
SPEAKER_06: Absolutely, yeah.
24:53
SPEAKER_06: And we can't be coming to the backstage saying, Oh, can we switch here?
24:58
SPEAKER_06: Oh, can we switch this dance here?
25:00
SPEAKER_06: I you know, my student isn't ready, or she needs more time to breathe, is too quick of a quick change for her.
25:06
SPEAKER_06: It's like, hmm, we just you know, the schedule is set and that's what it is, and you need to try to make the most of it.
25:12
SPEAKER_06: And I know the competition does put into consideration if a dance dancer was in a dance, you know, two before.
25:19
SPEAKER_06: Sure.
25:19
SPEAKER_06: And if you do need a little bit of time for that quick change, we can make it happen.
25:23
SPEAKER_06: But I think that being easygoing and ready to work and ready to go backstage is super important.
25:29
SPEAKER_06: And that's exciting to hear as far as the sportsmanship award because the judges on our end, we don't see what's happening backstage.
25:36
SPEAKER_06: So it is really exciting when we're at awards and we've watched your studio all weekend long, and then we find out who gets that award to hear how great they were and supportive and clapping for others and checking in on time.
25:48
SPEAKER_06: Yeah, that's like a great, great, great quality to have as a studio.
25:52
SPEAKER_06: So I think that's super important.
25:54
SPEAKER_06: And another tip just to give uh a helpful hint to everyone is if you're concerned of a competition running early and it's gonna make you're you're not sure if you're gonna make it their own time, pretty much all comps now have live streams.
26:06
SPEAKER_06: Yes.
26:07
SPEAKER_06: You can log on to the live stream and see, like, okay, let's check what entry they're on and see like how compare it to your schedule.
26:12
SPEAKER_10: Right.
26:13
SPEAKER_10: Yeah.
26:13
SPEAKER_10: And yeah, as long as as long as the the event is keeping it up to date in terms of the live schedule or the live stream, then you know, you'll know.
26:21
SPEAKER_10: And like I said, it it's one of those things that really does affect so many more people than just you in terms of this kind of event where it's like one one wrong move and we are behind the rest of the day.
26:34
SPEAKER_03: Yeah.
26:34
SPEAKER_10: And nobody wants that.
26:35
SPEAKER_10: Everybody loves everybody loves a dance competition, but it's 1130 awards, and you're like, Yep, why are we half an hour behind?
26:42
SPEAKER_10: Totally.
26:42
SPEAKER_10: It's that one studio that showed up late.
26:44
SPEAKER_10: Like, nobody wants to be that studio, so don't be that studio.
26:47
SPEAKER_06: Don't be it.
26:49
SPEAKER_06: All right, let's head on to our next studio habit coming from IDA Judge Katie.
26:55
SPEAKER_16: This is IDA Judge Katie.
26:57
SPEAKER_16: I think one studio habit that I tend to see when I am judging is the stomping on the floor.
27:03
SPEAKER_16: I think sometimes this can be done for counting or timing purposes, but I find when it's a really good piece and I'm invested in it, that sometimes the noise takes away from the performance.
27:16
SPEAKER_06: All right.
27:16
SPEAKER_06: That was IDA judge Katie.
27:18
SPEAKER_06: And I, as I was listening to that, I wasn't quite sure what she meant at first when she said stomping on the floor.
27:24
SPEAKER_06: I'm like, who's stomping on the floor?
27:27
SPEAKER_03: What are people doing?
27:28
SPEAKER_06: Why are we stomping on the floor?
27:29
SPEAKER_06: But then as she elaborated and explained uh that I it I know exactly what she's talking about now.
27:36
SPEAKER_10: Yes, and I I did the same thing.
27:38
SPEAKER_10: Um and then I realized, and and it's that it's the you know, walk on the stage, stomp, stomp, hit your pose.
27:45
SPEAKER_10: Or we've hit our pose, stomp, stomp, everybody walks off stage.
27:48
SPEAKER_10: It's like the cue to get on or off or to to be together for something.
27:53
SPEAKER_06: Well, I'm thinking that she was I I inter is that how you interpret it?
27:56
SPEAKER_06: That's how I interpret it.
27:57
SPEAKER_06: Yeah, I interpreted it as and mainly probably because I witnessed this this weekend was if it's like a contemporary dance and they're like in the movement, but then they're using like this, like if it's like a pot de bureau, they're doing like a boom boom boom.
28:12
SPEAKER_06: And they're making it really loud.
28:13
SPEAKER_06: Percussive.
28:14
SPEAKER_06: Yeah, like they're using their feet to to inhale yeah, to kind of interesting.
28:18
SPEAKER_06: Yeah, make it percussive, but also it's like she said, it kind of feels like that it was supposed to be like let's stay on the beat, everybody.
28:26
SPEAKER_06: Like almost a choreographic choice.
28:29
SPEAKER_06: Yeah, which I can't tell.
28:30
SPEAKER_06: And again, I don't know if it's a it could very well be a choreographic choice on the choreographer's end, saying, Hey, really make sure we're putting a lot of power in this Padabur Right or this like stepball change so we can all be on the same beat.
28:44
SPEAKER_06: And if that's the case, then that's like a choreographer habit.
28:46
SPEAKER_06: Right.
28:47
SPEAKER_06: I don't know.
28:47
SPEAKER_06: I think could enhance the dance occasionally, but if it's like consistent through the studio and you see it in every dance, then it's a habit.
28:55
SPEAKER_06: So I that's how I interesting.
28:57
SPEAKER_06: Yeah.
28:58
SPEAKER_10: Well, because I mean I do see a lot of studios, that's how they enter and exit.
29:02
SPEAKER_10: Is you know, it's it's either that or it's somebody's yelling five, six, seven, eight, or I don't mind that.
29:08
SPEAKER_10: You know, oh, I really do.
29:09
SPEAKER_10: Oh, really?
29:10
SPEAKER_10: I think that I mean, maybe for little bitties, yeah.
29:13
SPEAKER_10: But like I think as sort of an advanced, you know, right 13 and up person, like you should be able to finish your dance, everybody takes a breath, and then they can go.
29:22
SPEAKER_10: Like, I don't think I don't because like sort of like she says, if this is what her her meaning was, you know, you've just done this emotional lyrical piece and everybody's about to cry, and then all of a sudden, you know, Sally goes, Stomp, stomp.
29:35
SPEAKER_10: Right.
29:35
SPEAKER_10: They exit, like, wait, why?
29:37
SPEAKER_10: Why did you stomp?
29:38
SPEAKER_10: That's what I thought.
29:39
SPEAKER_10: But I mean, yeah, I agree.
29:40
SPEAKER_10: If you were choreographing um like a percussive stomp into the piece as a part of a step, one off, you know, a one-off situation, sure.
29:49
SPEAKER_06: Um, but if it's like in every dance, and then it makes it hard for me as a judge to determine if you truly as a as a studio and as a dancer understand how to articulate through your feet and soften your footwork, or if it's a stylistic choice.
30:09
SPEAKER_06: Right.
30:09
SPEAKER_06: And I think that's something where the lines are blurred often in especially contemporary dance, because you know, same with like the Barbie feet and things like that.
30:18
SPEAKER_06: I need to know that you know how to point your foot properly and flex your foot pop properly before we start Barbie foot.
30:25
SPEAKER_06: And the same thing can kind of be applied to some of these things that are stylistic choices where it's so blurred that I'm not, I can't really tell.
30:34
SPEAKER_06: Like if you were like a beyond advanced dancer and this was a this was a choreographic choice, I would know that.
30:40
SPEAKER_06: Right.
30:41
SPEAKER_06: But then there's sometimes dancers that don't have a strong of technique that are then trying to add this percussiveness to the footwork.
30:49
SPEAKER_06: And then I'm kind of questioning, okay, well, you landed really heavy in your leap and you didn't have control going down to the floor for your floor work.
30:57
SPEAKER_06: Yeah.
30:58
SPEAKER_06: And now you're adding this style trying to be stylized, percussive footwork that I can't t tell if you're just following the trend or if you want, you know, it's just yeah, it's just kind of confusing for me.
31:11
SPEAKER_06: But I agree with you on the, like you said, for the littles, if they need to.
31:15
SPEAKER_06: I it distracts me when people, the dancers are so pumped to say 5678 at the end of their dance that they haven't even hit the final pose.
31:26
SPEAKER_06: And then they're like 5'6.
31:28
SPEAKER_10: And it's never even like with like any sort of timing.
31:31
SPEAKER_10: It's just, you know, Sarah has been chosen to say 5678 and she's so ready.
31:36
SPEAKER_10: Right.
31:36
SPEAKER_10: Because it's her job.
31:37
SPEAKER_10: Right.
31:37
SPEAKER_10: And she's just 5'6.
31:38
SPEAKER_10: Yeah.
31:39
SPEAKER_06: You're like, oh my god, girl.
31:40
SPEAKER_06: Like, I need a beat.
31:42
SPEAKER_06: I need a moment.
31:43
SPEAKER_06: I need I need I need a resolution.
31:45
SPEAKER_06: And then we exit the stage.
31:47
SPEAKER_06: Yeah.
31:47
SPEAKER_06: I like feel like everyone's so excited to get off the stage.
31:50
SPEAKER_06: Yeah.
31:51
SPEAKER_06: We've done it.
31:51
SPEAKER_06: We've done it.
31:52
SPEAKER_06: Yeah.
31:52
SPEAKER_10: So either way, uh, Judge Katie K, uh, we have we agree with you.
31:58
SPEAKER_10: Maybe none of the stomping.
32:00
SPEAKER_06: No more stomping.
32:01
SPEAKER_06: Please and thank you.
32:03
SPEAKER_06: All right, let's see what our next habit is from I don't know who.
32:09
SPEAKER_03: Who is it?
32:10
SPEAKER_03: Ooh, this is a juicy one.
32:13
SPEAKER_03: Let's listen.
32:15
SPEAKER_00: Hi there.
32:15
SPEAKER_00: This is IDA judge Tommy Scrivens.
32:18
SPEAKER_00: I think one of my biggest pet peeves whenever I'm watching competition dances is the dreaded dun dun dun one shoe.
32:27
SPEAKER_00: It does a huge disservice for your dancer.
32:29
SPEAKER_00: It shows that they're one-sided and that sometimes that they are only going to be doing specialty things on one side.
32:36
SPEAKER_00: Either both shoes or no shoes is the way to go.
32:41
SPEAKER_07: Oh yeah.
32:41
SPEAKER_06: We love some Tommy Scribbins.
32:43
SPEAKER_06: Oh my gosh.
32:44
SPEAKER_06: I Tommy, first of all, thank you so much for telling the world this one more time because y'all need to hear it.
32:51
SPEAKER_06: I don't know how many times we have to say this on the podcast.
32:54
SPEAKER_10: Oh, you know, and I don't maybe it's working, at least in the cities that I've been to, because I honestly haven't seen a one shoe recently.
33:00
SPEAKER_10: Oh, I have.
33:01
SPEAKER_10: I'm sorry.
33:02
SPEAKER_06: Oh man, it makes me so mad.
33:04
SPEAKER_06: And I and luckily when I've been seeing it lately, I've been on the teacher critique.
33:08
SPEAKER_10: Nice.
33:09
SPEAKER_10: So you can really go into it.
33:11
SPEAKER_06: And I do.
33:11
SPEAKER_06: So you you know who you are.
33:13
SPEAKER_06: Yeah.
33:14
SPEAKER_10: And you know, it it it does seem to be a studio habit.
33:17
SPEAKER_10: I don't often see one random kid in one shoe.
33:21
SPEAKER_10: It really is across the board at a whole studio, which means somebody is saying this is okay.
33:26
SPEAKER_10: This is okay.
33:27
SPEAKER_10: Not even this is okay, this is what we are doing.
33:29
SPEAKER_10: Right.
33:29
SPEAKER_10: This is the choice that we as a studio are making.
33:32
SPEAKER_10: And that's where I'm like, oh not a fan.
33:35
SPEAKER_06: Exactly.
33:36
SPEAKER_06: And I think that's why it's a perfect, a perfect habit to include in this, because like you said, it's not just one dancer coming out and the studio is just like, oh, well, you know, she doesn't listen to me.
33:49
SPEAKER_06: She won't put two shoes on.
33:51
SPEAKER_06: It's like no, the there is someone of authority, yes, who is saying, yeah, sh yeah, sure, whatever.
33:57
SPEAKER_06: I care more about your acro tricks than I care about you looking professional on stage.
34:01
SPEAKER_10: Yeah.
34:01
SPEAKER_10: Or and it's like it's it was part of the thought process.
34:04
SPEAKER_10: It was, okay, we're gonna go to Weissman's and we're gonna pick out that costume and they're gonna wear this, you know, headpiece, and then she's gonna wear one shoe.
34:10
SPEAKER_10: Like it's part, it was part of the process.
34:11
SPEAKER_10: It definitely, if it's across the board like that, it wasn't an oversight.
34:15
SPEAKER_10: It wasn't something like you said, where she doesn't listen to me.
34:18
SPEAKER_10: It was here is your costume plot.
34:20
SPEAKER_10: Right.
34:20
SPEAKER_10: And it includes one shoe.
34:22
SPEAKER_10: And that is, like I said, where I get like really frustrated because it's I think I don't I don't know.
34:28
SPEAKER_10: I just don't know a judge who's like, you know what, it's fine.
34:30
SPEAKER_10: I'm happy, I'm happy to see one shoe.
34:32
SPEAKER_10: I don't know, I don't know that person.
34:33
SPEAKER_10: I don't either.
34:34
SPEAKER_10: Tell her to call me because I don't know her.
34:36
SPEAKER_06: I do not know her either.
34:38
SPEAKER_06: And I I recently mentioned it in our podcast group because someone was asking about what type of We've talked about the turners on the pod before and how they're not a lot of our pref we don't really love them.
34:51
SPEAKER_06: But I've honestly, like I mentioned in the group recently, I've accepted that turners are here to stay.
34:57
SPEAKER_10: I mean, and what's crazy is they've been here for like 20 years and only now are we finally just begrudgingly like, I guess it's fine as long as you have two.
35:05
SPEAKER_06: Yes, but I think that's the main thing.
35:06
SPEAKER_06: I think that like when I was phasing out of competitions and and bare-leggedness, like being bare-legged, was becoming a trend and becoming a thing of the competition world.
35:17
SPEAKER_06: The turners didn't exist yet.
35:18
SPEAKER_06: And I think turners got popular from dance moms.
35:21
SPEAKER_06: But the turners uh of the time when I was growing up, they were like little foot thongs.
35:25
SPEAKER_06: Yeah.
35:26
SPEAKER_06: And they just gave you a little bit of something on the ball of your foot so you could pirouette and bare feet if you didn't have those calluses yet.
35:34
SPEAKER_06: But the point of them was to actually look like you were still in bare feet.
35:37
SPEAKER_06: Correct.
35:37
SPEAKER_06: So I think that the issue that I have with the turners is the fact that people think that they look like bare feet, but it's not.
35:46
SPEAKER_06: Your straps fallen off constantly.
35:48
SPEAKER_06: Your straps falling off, your toes are covered.
35:50
SPEAKER_06: It's a half of a shoe.
35:51
SPEAKER_06: It's a shoe.
35:52
SPEAKER_10: Like there's no going around it.
35:54
SPEAKER_10: It's like the skew number at the store is in the shoe department.
35:58
SPEAKER_10: Yes, it's a shoe.
35:59
SPEAKER_06: It is a shoe.
36:00
SPEAKER_06: You would never ever go on stage in any style of dance wearing one shoe, ever.
36:06
SPEAKER_06: And uh, I could go on about this all day, you guys.
36:09
SPEAKER_06: I I have so many thoughts, but I just think it's really important to know that you every single judge is going to mention it.
36:16
SPEAKER_06: It is unprofessional for you to go out on stage wearing only one.
36:20
SPEAKER_06: And if you can't execute the skills in both shoes or no shoes, then you're not ready to do that skill at competition.
36:27
SPEAKER_06: The end.
36:28
SPEAKER_06: The end.
36:29
SPEAKER_06: Sorry about it.
36:30
SPEAKER_06: Period.
36:30
SPEAKER_06: I'm sorry if you don't like that answer, but that's what it is.
36:33
SPEAKER_06: And I care all about safety.
36:35
SPEAKER_06: I'm huge.
36:35
SPEAKER_06: Yes.
36:36
SPEAKER_06: I'm huge on safety.
36:37
SPEAKER_06: But again, like if you need one shoe for your turns, but you need one barefoot for your acro, then we have to decide what's more important.
36:47
SPEAKER_10: Well, and also do your acro dance in no shoes.
36:50
SPEAKER_10: Right.
36:51
SPEAKER_10: And then go do your lyrical dance in two shoes.
36:53
SPEAKER_10: Right.
36:53
SPEAKER_10: And and there therein lies a whole nother conversation of adding a whole bunch of stuff into a style that doesn't need it.
36:59
SPEAKER_10: Right.
36:59
SPEAKER_10: You know, if you did a true lyrical dance, you don't need to be barefoot.
37:03
SPEAKER_10: You could be, but if you did a true acro dance, you don't need one shoe.
37:06
SPEAKER_03: Right.
37:07
SPEAKER_10: So if you just stayed true to the purity of the style that you're dancing in, this whole conversation is eliminated.
37:13
SPEAKER_05: Exactly.
37:15
SPEAKER_10: Yes.
37:16
SPEAKER_10: We are also heated.
37:17
SPEAKER_10: Thank you, Tommy, for bringing this to light.
37:18
SPEAKER_10: Thanks, Tommy.
37:26
SPEAKER_06: As a dance teacher or choreographer, I am sure you have felt the pain of trying to remember all of your transitions and formation changes when creating a new dance for competition.
37:35
SPEAKER_06: Or maybe you have always used a notebook to store your choreography notes.
37:39
SPEAKER_06: Now you can ditch the pen and paper all thanks to a brand new app called Arrange Us.
37:44
SPEAKER_06: Arrange Us is a mobile app that allows you to visualize your formations on stage in a convenient and easy way.
37:51
SPEAKER_06: Just add your dancers straight into the app, and then you can move them around effortlessly with the tip of your finger.
37:57
SPEAKER_06: Sounds easy, right?
37:58
SPEAKER_06: You can watch your transitions come to life, color coordinate your dancers, and once you are done, you can even share it with your team.
38:05
SPEAKER_06: And one of my favorite features from Arrange Us is you can now synchronize your music with your formations.
38:11
SPEAKER_06: This app is a game changer for our dance world, and I highly recommend checking it out.
38:17
SPEAKER_06: You can try it now for free by clicking the link in our show notes and downloading the Arrange Us app now in the App Store.
38:30
SPEAKER_14: Hi, IDA Judge Jacqueline Belygion here.
38:33
SPEAKER_14: I love when a studio owner pre-selects which student or students come up to receive the award for each routine entered.
38:41
SPEAKER_14: It just makes awards run so much smoother and makes our lives that much easier.
38:47
SPEAKER_06: That was IDA Judge Jackie giving us a really good habit that we see a competition, another good one thrown into the mix.
38:55
SPEAKER_06: And Leslie, you direct a competition.
38:58
SPEAKER_06: So you have to handle awards a lot.
39:01
SPEAKER_10: Man, and it's again, it's one of those things like we talked about earlier about studios that are on time are the gems of a dance competition's life because you make our event run smoothly for everyone.
39:13
SPEAKER_10: Same thing here.
39:15
SPEAKER_10: When when students know exactly what award they are accepting on behalf of your studio, that makes awards run smoothly.
39:22
SPEAKER_10: Have you ever seen a hot mess of an award ceremony?
39:25
SPEAKER_10: Probably.
39:25
SPEAKER_10: And it's because the kids do not know what their num what their number is, what their studio name is, who choreographed.
39:33
SPEAKER_10: Like you I it all starts like we always say from the top.
39:36
SPEAKER_10: So as a studio owner, competition director, the best awards ceremonies that you will ever experience are the ones where the studio owner and the competition or the competition director of the studio has pre-selected the kids for number 485, Monsters Incorporated.
39:52
SPEAKER_10: Sally is going to get that award.
39:53
SPEAKER_10: She knows it, it's on an index card or something, because otherwise it's mass chaos up there.
39:59
SPEAKER_10: And it's it's again every competition director's worst nightmare is to have an award ceremony that's a hot mess.
40:04
SPEAKER_10: And we can't control that.
40:06
SPEAKER_10: Only the participants can control that.
40:08
SPEAKER_10: Yeah.
40:09
SPEAKER_10: So when when it happens properly, as Jackie is uh praising the studios that do that, it it benefits everyone.
40:16
SPEAKER_06: Yeah.
40:17
SPEAKER_06: Yeah, and I think that it I think it's always not a bad idea.
40:21
SPEAKER_06: And I think it's very important for studios to have a nice little meeting before the competition weekend at the studio.
40:28
SPEAKER_06: Let's all get together, even if people have to be on Zoom and let's go over etiquette, let's do some competition reminders, let's make sure everybody knows who is getting what award.
40:39
SPEAKER_06: And let's also maybe even do like a little test example of like, okay, so what happens when we announce this number?
40:46
SPEAKER_06: And then the person stands up and they go get the award.
40:49
SPEAKER_06: And because there have been times as a judge where I'm part of my job sometimes, depending on who I'm working for, is to hand out the trophies at the award ceremonies.
40:58
SPEAKER_06: And it is definitely stressful when dancers don't know when it's their dance and um they don't stand up right away.
41:06
SPEAKER_06: So we're like looking around the a massive, you know, whole sea of dancers trying to get the phone.
41:10
SPEAKER_10: And the MC is going a mile a minute and nobody can hear, and kids are looking at their phone and not paying attention.
41:16
SPEAKER_06: Right.
41:16
SPEAKER_06: Yeah, and that's that's it's hard.
41:18
SPEAKER_06: Or sometimes I've seen even dancers just sit on the floor and raise their hand and ask for their award instead of standing up and saying thank you and acknowledging the person that's giving it to you.
41:29
SPEAKER_06: And you know, that type of etiquette as well is super important to teach our dancers, not eye rolling on stage or being upset.
41:37
SPEAKER_10: Or not even getting up to accept an award they don't think is right.
41:40
SPEAKER_10: Right.
41:41
SPEAKER_10: And I've definitely seen that, and that is the worst.
41:44
SPEAKER_10: So yeah, and again, I I cannot stress enough that we, as the people on the stage handing out the awards, can only do so much to keep this running.
41:53
SPEAKER_10: And I think, you know, we hear a lot of complaints kind of in the competition industry about oh, awards lasted so long and it was confusing.
42:00
SPEAKER_10: And part of that is on the people accepting the awards, which is the kids.
42:04
SPEAKER_10: And the only reason they're gonna know what to do is because they've been taught what to do from the studio.
42:09
SPEAKER_10: So I think Courtney, your idea of having a practice round uh is a great idea and also really stressing to your students to know what their number is, because we've had many a situation with you know the popularity of certain songs, right in and especially in certain age groups, and that tends to be the little biddies.
42:26
SPEAKER_10: You know, I know my solo is called Fly, but there's four of them.
42:30
SPEAKER_10: Right, you know, so poor little Bitty doesn't know what she's gotta know her number.
42:35
SPEAKER_10: I mean, write it in sharpie on on her palm.
42:38
SPEAKER_10: I mean, do what you gotta do because it does get confusing and everybody is it's loud and it's hot and we're tired and we get it, like all of us are.
42:45
SPEAKER_10: So I I love, love, love it when the kids know exactly what they're standing up for and when.
42:50
SPEAKER_06: Yes.
42:51
SPEAKER_06: So shout out to those studios who are getting those kids prepped and prepared for the award ceremony properly.
42:56
SPEAKER_06: All right, let's hear from IDA Judge Maddie.
43:00
SPEAKER_12: Hey, this is IDA Judge Maddie from Florida, and the biggest studio habit that I see on stage at competition is dancers stepping forward on a parallel supporting leg for arabesques and ponches.
43:12
SPEAKER_12: If you would rotate your standing leg, your back leg would go much higher and your life would be much easier, and it would help to complete the line.
43:18
SPEAKER_12: Good luck and see you on stage.
43:20
SPEAKER_10: Such a sweet sign off from Maddie.
43:22
SPEAKER_10: You heard it straight from Maddie Kurtz, y'all.
43:24
SPEAKER_10: She needs you to turn out your standing leg.
43:26
SPEAKER_10: I need you to as well.
43:28
SPEAKER_10: So does Leslie.
43:30
SPEAKER_06: I can't, I I this is a big one for me.
43:32
SPEAKER_06: I love this technical habit.
43:34
SPEAKER_06: It's something that I've noticed more in the past, I'd say, 10 years.
43:40
SPEAKER_06: I feel like just the emphasis on rotation in general is lacking across the board because we're so focused on the flexibility of dancers these days.
43:49
SPEAKER_06: That yes, we're creating a beautiful working leg line, but what about your standing leg?
43:54
SPEAKER_06: We're forgetting about the standing leg.
43:56
SPEAKER_06: And I told I actually focus on that leg more when I'm judging.
44:00
SPEAKER_06: Then that working leg that's looking beautiful.
44:03
SPEAKER_06: And somehow that leg understands rotation, but then the standing leg thinks it's allowed to be turned in and you know.
44:09
SPEAKER_10: Right.
44:10
SPEAKER_06: That doesn't make sense to me.
44:11
SPEAKER_10: It doesn't.
44:12
SPEAKER_10: And I I um did an online critique recently where I where I made that correction.
44:16
SPEAKER_10: It was specifically in Devlope, uh, Devlope a la Sicone.
44:20
SPEAKER_10: And this dancer had some had amazing flexibility, you know, but her standing leg was parallel and she didn't go through passe to her devil pay to get her beautiful leg way, way, way up there.
44:31
SPEAKER_10: And her hip was lifted almost immediately after that foot came off the ground.
44:35
SPEAKER_10: And one of the things that I said that I was like, ooh, I'm gonna do this, I'm gonna use this again, was your flexibility is already there, but I need your technique to show off your flexibility, not the other way around.
44:46
SPEAKER_10: Right.
44:47
SPEAKER_10: Like you need your technique first.
44:48
SPEAKER_10: Right now, you're using your flexibility first.
44:50
SPEAKER_10: Right.
44:51
SPEAKER_10: And so that's very similar to what we're talking about with just the standing leg.
44:54
SPEAKER_10: Because if you can do a develop and get your working leg next to your ear, you can turn out your standing leg.
45:00
SPEAKER_10: Absolutely.
45:01
SPEAKER_10: Just you just it's an oversight.
45:03
SPEAKER_06: It's just something that you don't think is important.
45:05
SPEAKER_06: And I, as a judge, it's just as important.
45:08
SPEAKER_06: Yeah.
45:09
SPEAKER_06: If not more.
45:10
SPEAKER_06: Right.
45:10
SPEAKER_06: Because if we're if we're practicing improper technique like that, then it's going to continue to carry on.
45:16
SPEAKER_06: If no one's correcting it, that's the problem for me is how is this slipping through the cracks of the choreographers on the teachers?
45:22
SPEAKER_06: When you're drilling your dance, are the teachers only staring at that working leg and that's all you care about?
45:27
SPEAKER_06: But remember the judges are sitting at foot level.
45:29
SPEAKER_06: Right.
45:29
SPEAKER_06: I'm staring at your standing leg that's parallel or turned in right in front of me.
45:33
SPEAKER_06: Yeah.
45:34
SPEAKER_06: You know, I think that it cannot be an oversight.
45:36
SPEAKER_06: And then if you're working on in a parallel standing leg and in your Erebus, then how are you working at the ballet bar?
45:43
SPEAKER_10: Right.
45:43
SPEAKER_06: Because when you do Erebus, if you do fondue arabus at the ballet bar, you're trying to tell me that your fondue was parallel.
45:50
SPEAKER_06: And oh, can you imagine?
45:52
SPEAKER_06: No.
45:53
SPEAKER_06: And then if your fondue isn't parallel, then when you start to stretch your leg to Arebus, are you rotating your standing leg to parallel?
46:00
SPEAKER_10: I'm just trying to do that.
46:01
SPEAKER_10: That's a lot of work.
46:02
SPEAKER_06: Yes.
46:02
SPEAKER_10: Why would you do so much work?
46:04
SPEAKER_10: Yes.
46:04
SPEAKER_10: You know, and like Maddie said, your life would be so much easier if you would just and it's, you know, I I your leg will get higher.
46:11
SPEAKER_10: I feel you.
46:12
SPEAKER_10: And yes, agreed.
46:14
SPEAKER_06: Yeah, that I think this applies for me in particular, not just in Airbus, in every standing leg.
46:19
SPEAKER_06: If it's a rote if it's supposed to be a turnout anything.
46:22
SPEAKER_06: Yeah.
46:23
SPEAKER_06: Anything, then make sure your standing leg is rotated and not just turning that heel.
46:28
SPEAKER_06: It needs to be a fully rotated leg from the top of the hip.
46:30
SPEAKER_10: Yeah, and like, and I don't we're not asking for like perfection because not everybody has this crazy ridiculous turnout.
46:36
SPEAKER_10: So like, but it's gotta it's gotta come from your hip.
46:39
SPEAKER_10: It's gotta come from somewhere.
46:40
SPEAKER_10: And even if that is not the most 180-degree angle that exists, like that's fine.
46:45
SPEAKER_10: That's okay.
46:46
SPEAKER_10: That's actually probably harder.
46:47
SPEAKER_10: You know, like I even if you had that, I wouldn't ask for that in a Panche or an Arabesque.
46:51
SPEAKER_10: I just need something.
46:52
SPEAKER_10: Something.
46:53
SPEAKER_10: I need something.
46:54
SPEAKER_10: To also just show us that you take ballet.
46:56
SPEAKER_07: Yes, please.
46:57
SPEAKER_06: We love ballet.
46:58
SPEAKER_06: All right, let's hear from our next judge, Marissa.
47:01
SPEAKER_13: Hey podcast listeners.
47:02
SPEAKER_13: This is IDA judge Marissa Anderson.
47:05
SPEAKER_13: Hope you're all doing well and loving this season.
47:08
SPEAKER_13: I found that I see an absence of people and studios and dancers just not warming up.
47:17
SPEAKER_13: And I recently saw a studio do it as a cohesive unit, and I thought it was really awesome.
47:23
SPEAKER_13: So I wish that this was a habit that studios would adapt and just do a whole studio warm-up as one, as a team, and I just think it builds their character, it builds their focus, and it just gets them in the right mindset for their competition.
47:38
SPEAKER_13: I hope this was helpful and hopefully talk to you soon.
47:42
SPEAKER_06: Oh, this is a good one, and I'm really glad that Marissa brought this up because this is something that I've always wondered as a judge, since I'm sitting or sitting there.
47:52
SPEAKER_06: I I don't know if dancers are properly warming up behind the scenes.
47:56
SPEAKER_10: Right.
47:57
SPEAKER_06: So I think that this is a great tip for a lot of studios to remember.
48:01
SPEAKER_06: And you know, I think the hard part is warming up with a studio is maybe everybody's competing at different times.
48:07
SPEAKER_06: You know, maybe the group dances aren't until later, and maybe you've already done solos or do retreatos early.
48:12
SPEAKER_06: But I do think it's important for soloists to know and remember that you can't just get out there and dance.
48:16
SPEAKER_06: You have to make sure that we're warming up properly.
48:19
SPEAKER_06: And if that means your teacher isn't leading you through the warm-up because they don't have time, they're running around with the other soloists, like you have to take the initiative to put your headphones in and give yourself some type of warm-up, whether that's a ballet bar or whether that's just sitting and stretching, whatever works for you, but it's super important for the safety of your body.
48:38
SPEAKER_10: Totally, because you know, competitions we you don't know sometimes what you're dancing on.
48:44
SPEAKER_10: You know, there's could be a ballroom floor, it could be a stage, it could be a sprung floor, you just don't know.
48:48
SPEAKER_10: So, you know, to show up and just be like, I'm ready.
48:51
SPEAKER_10: Right.
48:52
SPEAKER_10: I don't think you're ready.
48:52
SPEAKER_10: I think I like the idea of a whole studio warm-up if you can, or even just like, you know, if all your soloists are going in the morning session, do a group warm-up with them.
49:02
SPEAKER_10: Do your group warm-up with your groups after lunch or whenever it is.
49:05
SPEAKER_10: Because, like you said, I, or like she said, I think the camaraderie aspect is good and the sort of, you know, we're all in this together, even though my dance might not be till later.
49:12
SPEAKER_10: Like I'm gonna do the jumping jacks with you.
49:14
SPEAKER_06: Yeah.
49:14
SPEAKER_06: Yeah.
49:15
SPEAKER_06: And I also think it's important to remember that if you do do a studio warm-up and you're not go, go, go, go, go immediately following, that you still need to make sure that you're keeping warm-ups on over top of your costume and keeping your body physically warm because you can get cold really quick if you go sit down and wait for three hours until your next dance, you're not warm anymore.
49:36
SPEAKER_06: So you have to make sure that we're you're entering the stage safely.
49:40
SPEAKER_06: I will say that I did w get to witness it uh recently at a competition where I was on a judge's break and I was heading to go eat dinner and I was walking through the lobby on my way to the staff room, and I saw an entire studio doing progressions across the floor.
49:56
SPEAKER_06: Okay.
49:57
SPEAKER_06: And I was really confused because the one thing that I mean, I was excited.
50:01
SPEAKER_06: The one thing that bothered me was they were taking up so much space.
50:04
SPEAKER_06: Yeah.
50:04
SPEAKER_06: So I felt like that was a little inconsiderate where it was like, okay, we need the entire hallway to do our progressions.
50:10
SPEAKER_06: Which I'm like, okay, there's a lot of other people here, y'all, that like there I'm walking through your progressions across the floor right now.
50:17
SPEAKER_06: But I was really excited that there was a teacher leading them in like bot maz across the floor.
50:21
SPEAKER_10: Yeah.
50:22
SPEAKER_10: I mean, the intent is good, but that's that is another thing too.
50:24
SPEAKER_10: Like you just have to take take into consideration the space that you're in.
50:27
SPEAKER_10: Like maybe a ballet bar would have been better.
50:29
SPEAKER_10: So they may have been, you know, holding onto the wall.
50:31
SPEAKER_06: Like in uh in a designated space that feels out of the way.
50:35
SPEAKER_10: Maybe not a hallway.
50:36
SPEAKER_06: Yeah, because even like sometimes, you know, and depending on the the venues and the space that we have, but like I've seen studios just like completely just take over an area that is feels very central and like in the way to run dances and like blasting their music and people have to walk around them.
50:53
SPEAKER_06: And it's like, okay, we have to make sure we're being considerate to everybody.
50:57
SPEAKER_06: Agreed.
50:58
SPEAKER_06: Yeah.
50:58
SPEAKER_06: But great, great, great tip.
51:00
SPEAKER_06: I hope that everybody remembers to warm up as a studio at your next competition.
51:06
SPEAKER_06: Let's see which judge is next.
51:09
SPEAKER_03: I don't know who.
51:10
SPEAKER_03: I have no idea.
51:11
SPEAKER_17: Hello, this is IDA judge Karen Gore, and one of the best habits I've seen throughout the years in competitive dance that the studio can promote is supporting other dancers.
51:22
SPEAKER_17: Supporting your dancers while you're on the stage, while you're backstage, in the dressing room, going on the stage, coming off the stage, in the audience, telling your other dancers that you're there and you're in the audience and you are cheering for them no matter what happens while they're up there.
51:39
SPEAKER_17: It's so wonderful to see all the dancers just being together as one big dance family and supporting one another no matter what.
51:48
SPEAKER_17: Early in the morning, late at night, after their 100th dance or their first dance.
51:53
SPEAKER_17: It's so wonderful to see all the studios coming together and cheering each other on.
51:58
SPEAKER_17: Have a great competitive dance season.
52:00
SPEAKER_17: Oh, I love this one from Karen.
52:02
SPEAKER_10: I know.
52:03
SPEAKER_10: And, you know, you really do, it really does make a difference, I think, in the morale of the whole event, if studios are supportive of other studios.
52:12
SPEAKER_10: And I think it depends on where you are.
52:14
SPEAKER_10: I have seen that a lot where it's very clear that like some of the dancers are probably friends outside of dance, even if they go to different studios.
52:22
SPEAKER_10: And that's I love I love when that happens, just like just like Karen said.
52:26
SPEAKER_10: It's just uplifting and makes you feel like, okay, like yes, we're at a competition, but I value what you do and you value what I do.
52:33
SPEAKER_10: Yeah.
52:34
SPEAKER_06: Especially after this year, the past two years that we've had in the competition world of not even being able to be on stage.
52:41
SPEAKER_06: And then last season being kind of stuck in the block scheduling format and not really being able to watch and witness other studios, a lot of studio a lot of competitions are back to normal and we're all mixed and mingled together again.
52:54
SPEAKER_06: And I think that that's what makes competition dance so special is watching the other competitors alongside you and seeing what they're the work that they're putting in and seeing the choreography and seeing the costumes.
53:04
SPEAKER_06: And if you love what they're doing, then support them.
53:07
SPEAKER_06: Even if you don't love what they're doing, support them.
53:10
SPEAKER_06: I think that we all have been through such a tough year.
53:13
SPEAKER_06: And to just hear that not only your dance family and your studio owners cheering you on in the out in the audience, but hearing someone else saying great job or hearing someone else clap for you at awards is just so fulfilling, I'm sure, as a dancer.
53:29
SPEAKER_10: Yeah.
53:29
SPEAKER_10: And, you know, even the even the, you know, sort of drive-by, great job, like that that means a lot.
53:36
SPEAKER_10: Yeah.
53:36
SPEAKER_10: So I think that's a great thing to encourage uh your students or your kids to do at competition because it's it's been a rough couple years and the more joy we have, the better.
53:46
SPEAKER_06: Yeah, absolutely.
53:47
SPEAKER_06: I think that that's something that all studios should definitely remember and consider and take advantage of the cheering and supporting for everyone, y'all, especially at awards.
54:00
SPEAKER_10: I think that's I mean, nothing, nothing like is a worse look than a whole studio just sitting silently when overalls are announced and they're not from your studio.
54:10
SPEAKER_10: It's just not a good look.
54:12
SPEAKER_10: Yeah, you know, and peop eyes are always watching, and it's a small dance world.
54:17
SPEAKER_10: So, like, be be the be the change.
54:19
SPEAKER_10: Clap for everybody.
54:20
SPEAKER_10: That's it.
54:21
SPEAKER_06: All right.
54:22
SPEAKER_06: We have two more habits to share with you.
54:25
SPEAKER_06: And we actually have another habit from Mr.
54:28
SPEAKER_06: Tommy Scrivins.
54:29
SPEAKER_06: He's back, y'all, and let's hear what he has to say.
54:31
SPEAKER_00: Hello, this is IDA Judge Tommy Scrivins from New York City.
54:36
SPEAKER_00: I think one of my biggest things with uh competition dances that I see that's trending is that often studios decide to put a bunch of tricks and turns and things into routines that most of the times the dancers cannot actually do them, or actually it ends up tiring them out.
54:52
SPEAKER_00: The simpler the better is my is my thing.
54:54
SPEAKER_06: Less is more.
54:57
SPEAKER_06: It is.
54:57
SPEAKER_06: We say it a lot.
54:58
SPEAKER_06: Uh it yeah, it is.
55:00
SPEAKER_06: It is.
55:00
SPEAKER_06: I say it all the time on my critiques, uh recently in particular, and I totally agree with Tommy.
55:05
SPEAKER_06: I think I think they're feel I feel like that studios see other studios winning that have really lots of tricks in their dance, and then those studios think, well, they won.
55:18
SPEAKER_06: So that means that's what I need to do.
55:21
SPEAKER_06: Even if I know as a teacher and a studio owner that my dancers aren't ready for all of these crazy tricks.
55:28
SPEAKER_06: But it that's what wins, so we have to do it.
55:30
SPEAKER_10: Yeah, and I just I hate the sort of peer pressury aspect of that because that's what it is.
55:35
SPEAKER_10: It's it's peer pressure, and I just, you know, and I understand the frustration of, you know, feeling like those kinds of dances always win.
55:44
SPEAKER_10: And we've talked about this before.
55:46
SPEAKER_10: The tricky dances that win, yes, they're tricky, but they are usually nine times out of ten supported by good technique.
55:53
SPEAKER_10: Right.
55:54
SPEAKER_06: Or performance.
55:54
SPEAKER_10: Or performance or execution something.
55:57
SPEAKER_10: Yeah.
55:57
SPEAKER_10: And and that is why.
55:59
SPEAKER_10: Do I want to see those tricks all the time, even if it is well executed?
56:03
SPEAKER_10: Not so much.
56:04
SPEAKER_10: I want to see more dancing, but I have to reward the quality execution of a trick.
56:09
SPEAKER_10: I have to.
56:10
SPEAKER_10: I can't not.
56:10
SPEAKER_10: You know, it's not that wouldn't be ethical of me to be like, I don't like tricks, I'm scoring this down even though it was nearly perfect.
56:15
SPEAKER_10: No.
56:16
SPEAKER_10: But I do hate to see it's very sad and disheartening to see students who are not ready to execute some of these difficult and dangerous tricks and not execute them well, because then again, you're I then I have to score you down.
56:30
SPEAKER_10: I have to score them up when it's good, and I have to score you down when it's not good.
56:34
SPEAKER_10: Right.
56:34
SPEAKER_10: And and it does break my heart because I think it would be so much better for everyone, children included, to just give children things that are ready to do that they can feel 100% confident about and not potentially risk injury or heartbreak in the end.
56:50
SPEAKER_06: Yeah.
56:50
SPEAKER_06: Yeah.
56:51
SPEAKER_06: And I understand if people feel frustrated that the tricks feel like that's all that wins.
56:56
SPEAKER_06: But like Leslie said, she really explained that well as far as why those tricks win.
57:01
SPEAKER_06: And I've judged dances that have absolutely no tricks, but they have stunning technique with beautiful movement quality and an amazing stage presence that just is completely captivating.
57:14
SPEAKER_06: And sometimes you don't need the tricks to know that a dancer has all those qualities.
57:19
SPEAKER_06: We can tell.
57:20
SPEAKER_06: We can tell the moment you walk on stage what type of technique you have based on your posture, based on how you carry yourself, based on where your focus is.
57:30
SPEAKER_06: And I can also tell that when I see you about to hurdle into an aerial, if that's going to be successful or not.
57:38
SPEAKER_06: Or if your techniques, if your technique is up to par with being able to do this safely and executed properly.
57:46
SPEAKER_06: And a lot of times I feel like that it's just the pressure of maybe the kids wanting these skills in that they're working on, or maybe it's even the pressure of the parents who might go to the teacher and say, My kid needs this in their dance.
57:59
SPEAKER_06: They want this in their dance, even though the teacher's like, it's not ready yet.
58:02
SPEAKER_06: Like, come on.
58:03
SPEAKER_06: But, you know, I I I think this is an ongoing issue in our industry, and it definitely sometimes can be a studio habit because you see the same studio come out and these kids are doing things that are way beyond their level, and it's like they're just tr trying to follow the trend or please please the kid or the parent or somebody.
58:21
SPEAKER_06: Or maybe they just believe that's what wins, so they put it in.
58:25
SPEAKER_06: You know, I don't I don't know the reasoning as to why teachers would put too many tricks in a dance, but we're here to let you know that it's a we don't need all the tricks.
58:35
SPEAKER_10: We really don't.
58:36
SPEAKER_10: I mean, I I can't say it enough.
58:37
SPEAKER_10: I I just want to see you dance and like you dance.
58:41
SPEAKER_10: You have if you have a a very, very good aerial, sure.
58:44
SPEAKER_06: Once.
58:45
SPEAKER_06: Yeah, once.
58:46
SPEAKER_06: If you have a great turn sequence with a nice pull in and a finish, once.
58:51
SPEAKER_06: That's it.
58:51
SPEAKER_06: That's it.
58:52
SPEAKER_10: I don't need three.
58:53
SPEAKER_10: I don't need three.
58:53
SPEAKER_10: Do more do more.
58:54
SPEAKER_10: There's more to do.
58:55
SPEAKER_10: There's so there's a world of movement out there.
58:57
SPEAKER_10: So I agree, Tommy.
58:58
SPEAKER_10: I mean, like you said, it is it is trending.
59:00
SPEAKER_10: That is a trending thing that's happening, and it does seem to be across the board of a studio habit of, you know, let's let's put this trick in every dance, even if it's not, you know, good enough for seven of the ten of them, you know.
59:12
SPEAKER_06: Yeah.
59:13
SPEAKER_06: And I think that the word trending brings up a reminder that I do hope and think we should do a competition trends episode in season four.
59:25
SPEAKER_06: So we'll definitely do that.
59:27
SPEAKER_10: Body glitter.
59:28
SPEAKER_06: Oh my gosh.
59:29
SPEAKER_06: I miss it.
59:30
SPEAKER_06: That was a trend.
59:32
SPEAKER_06: Maybe we'll do the trends of the decades.
59:34
SPEAKER_06: Yes.
59:34
SPEAKER_06: Oh, that would be great.
59:36
SPEAKER_06: Noted.
59:36
SPEAKER_06: That would be a good one.
59:38
SPEAKER_06: And also, put everybody go listen to the tricks versus technique episode that we had in season two if you want even more scoop on this topic.
59:48
SPEAKER_06: All right, we've made it to our final, our tenth tip, our tenth habit that we are going to share with you straight from our judges.
59:57
SPEAKER_06: And we wanted to put this one last because we had the most judges.
1:00:01
SPEAKER_06: We have four judges who have the exact same habit that they shared.
1:00:06
SPEAKER_06: So I wonder, do you have an idea, listeners, do you have an idea as to what it could be?
1:00:11
SPEAKER_06: Dee dee dee dee dee dee.
1:00:15
SPEAKER_05: Let's hear what all of these judges have to say.
1:00:20
SPEAKER_02: Hi everyone, this is IDA judge Amanda Nicole DeTullio from Virginia.
1:00:24
SPEAKER_02: And if you've had me as a judge, then you can probably guess which studio habit I plan to address.
1:00:29
SPEAKER_02: Mismatched preps.
1:00:31
SPEAKER_02: It doesn't take many entries to see when a studio loves to put fute turns, particularly Alice Acone turns, in many, if not all of their routines.
1:00:38
SPEAKER_02: So first note, these turns aren't necessary in every single dance, especially considering we often see the same dancer or grouping of dancers performing them.
1:00:47
SPEAKER_02: But more importantly, make sure you're matching your preps to your turns.
1:00:51
SPEAKER_02: If it's a parallel turn, it requires a parallel preparation.
1:00:54
SPEAKER_02: Same goes for turned out.
1:00:56
SPEAKER_02: When we're talking about fute turns, I often see studios consistently prep for their fuette turns with a parallel fourth position, rotate to turned out in the turn, and then rotate back to parallel to exit out of the turn.
1:01:08
SPEAKER_02: I like to use a lock and key analogy.
1:01:10
SPEAKER_02: If you want to do a turned out turn tinkwitz of any kind, you must unlock and lock it back up with a turned out prep and a turned out pirouette.
1:01:17
SPEAKER_02: Fuette turns go from our Devant positioning to Alisicon to retroay or our Alisicon turn to stay in second.
1:01:24
SPEAKER_02: All of those positions are turned out.
1:01:27
SPEAKER_02: So make sure that you're always prepping turned out before your fouette turns.
1:01:31
SPEAKER_02: I've even seen some studios who like to prep with a turned-out back leg and a parallel front leg, and that's just simply not a position.
1:01:37
SPEAKER_02: So make sure you're not handing the judges deductions by doing a parallel prep for your pirouettes or your fuette turns that are supposed to be turned out.
1:01:45
SPEAKER_11: So as an IDA judge, what I love to see on the stage is when dancers do the proper prep for all of their turning sequences.
1:01:56
SPEAKER_11: So what I think is proper is if you are doing a parallel turn, so the working leg is in parallel, then you are allowed to take a parallel prep with the back heel pop.
1:02:06
SPEAKER_11: If you are doing a rotated turn, such as Alice at Cone turns, you have to have your prep be rotated.
1:02:15
SPEAKER_11: Because if the working leg is rotated, you are making it even more difficult on yourself while you are turning to then try to rotate it as you turn if you take it from a parallel prep.
1:02:25
SPEAKER_11: And I see a lot of preps for Alice at Cone turns a parallel when it would just be so much easier as a dancer to take it rotated.
1:02:33
SPEAKER_11: And because traditionally it's it comes from ballet technique.
1:02:37
SPEAKER_11: So the jazz prep doesn't really work to help get the proper rotation in the hip.
1:02:44
SPEAKER_18: Hi, this is IDA Judge Shelly.
1:02:46
SPEAKER_18: And one of the biggest studio habits I see while judging is that a lot of dancers start a la secone turns or or coupe turns from a parallel fourth.
1:02:57
SPEAKER_18: And this is a balletic step.
1:02:59
SPEAKER_18: So we have to make sure that our fourth positions are nice and rotated to maintain the rotation of the legs in the a la secone or the coupe position.
1:03:08
SPEAKER_12: Hey, this is IDA Judge Maddie from Florida.
1:03:11
SPEAKER_12: And one of the other studio habits that I see all the time is dancers not matching their turns with their preparations.
1:03:19
SPEAKER_12: So what I mean by that is we'll be prepping parallel for a la second turns, we'll be prepping parallel for coupe turns, we'll be prepping turns out for parallel jazz pirouettes, and so on and so forth.
1:03:29
SPEAKER_12: When we set ourselves up for success in our preparation, we set ourselves up for success in our pirouettes.
1:03:35
SPEAKER_12: So let's make sure that we're finding those nice, clear lines and positions to have our best turns possible.
1:03:41
SPEAKER_10: Y'all heard it.
1:03:42
SPEAKER_10: Y'all heard it from those four lovely IDA judges, and you're gonna hear it again.
1:03:47
SPEAKER_10: And what's so funny about this this um critique is that it's so wordy.
1:03:53
SPEAKER_10: Like there is never it's not a it's not an easy critique to give in the moment of a three-minute dance.
1:03:58
SPEAKER_10: So that's why I think sometimes in a critique, you will hear a whole minute of this critique because it you can't just say it because it is kind of complicated.
1:04:07
SPEAKER_10: Yeah.
1:04:08
SPEAKER_10: But yes, if you're doing a parallel turn, your prep needs to be parallel.
1:04:11
SPEAKER_10: If you're doing a turned out turn, your prep needs to be turned out.
1:04:14
SPEAKER_06: And there's no other way around it.
1:04:17
SPEAKER_06: Like, I love what Amanda said when she said, I've seen studios that do a parallel front leg and a turned out back leg, and that's just not a pr a position.
1:04:26
SPEAKER_10: It's not.
1:04:27
SPEAKER_10: It's so true.
1:04:28
SPEAKER_06: It's it's it's nothing.
1:04:30
SPEAKER_10: It's it's a it's a nothing position.
1:04:32
SPEAKER_10: It's like it doesn't make any sense.
1:04:34
SPEAKER_10: It does you're never gonna find that in a textbook or a pedagogical study.
1:04:39
SPEAKER_10: Is that even a word?
1:04:40
SPEAKER_10: You're not gonna find it because it doesn't exist, because it's wrong.
1:04:43
SPEAKER_06: It's yeah, honestly, I I don't know where this like flaw in the technique started, but it was so it was very, very, very clear when in my training growing up.
1:04:55
SPEAKER_06: And it seems like our generation of training, this was like a huge focus on your prep needs to match your turn.
1:05:02
SPEAKER_06: And somewhere down the line in the past 20 some years, it's kind of just gotten like a psh, it doesn't matter.
1:05:09
SPEAKER_06: I care more about how many turns you do than what your prep looks like.
1:05:13
SPEAKER_06: Right.
1:05:13
SPEAKER_06: Because I've seen exceptional turners who have the sloppiest preps.
1:05:18
SPEAKER_06: And it is true that if you're wondering why aren't your pirouettes as successful, it could be because your your prep isn't solid.
1:05:28
SPEAKER_06: Right.
1:05:28
SPEAKER_06: But at the same time, some people just have that natural center that understand how to turn properly and it just comes very easy to them.
1:05:36
SPEAKER_06: So they could have the worst prep in existence and still pull off a triple pirouette.
1:05:40
SPEAKER_06: Right.
1:05:40
SPEAKER_06: But honestly, as a judge, I'm looking for cleanliness in your technique.
1:05:46
SPEAKER_06: And some of these little habits that we're talking about are really important to really finesse and take you as a dancer to the next technical level.
1:05:55
SPEAKER_06: And if those things are being overlooked, that could set you apart from one dancer to another.
1:06:00
SPEAKER_06: Honestly.
1:06:01
SPEAKER_10: And it does.
1:06:01
SPEAKER_10: It once you get to that higher level, you just because you can do something doesn't mean you should.
1:06:07
SPEAKER_10: And just because you can execute sixteen fuetes perfectly minus that prep being proper, I mean, I I guess okay, but like no, you know, I want you to do it right.
1:06:20
SPEAKER_10: And my question is, can you still pull off those perfect fuetes with a proper prep?
1:06:25
SPEAKER_10: Right.
1:06:26
SPEAKER_10: My question is that, because I wonder, I just wonder.
1:06:30
SPEAKER_10: Yeah.
1:06:30
SPEAKER_10: If you change that one thing that you have muscle memoried incorrectly, you've figured out how to do it incorrectly, but but it happens consistently every time.
1:06:39
SPEAKER_10: Can you change it back?
1:06:40
SPEAKER_10: Because that will be the mark of an excellent dancer.
1:06:43
SPEAKER_10: Totally.
1:06:44
SPEAKER_10: If you can fix that one problem and keep doing everything else properly.
1:06:48
SPEAKER_06: Yeah, and I think I think that we primarily see this, like all of the judges said, in our turns in second.
1:06:55
SPEAKER_06: Yes.
1:06:55
SPEAKER_06: Um, leading into that.
1:06:57
SPEAKER_06: And in particular, I feel like that some people will fight this because dance team is really big, and I think dance team doesn't do a turned out prep.
1:07:05
SPEAKER_06: Correct.
1:07:05
SPEAKER_10: But they do the weird front, front parallel back turned out sometimes.
1:07:10
SPEAKER_10: And that's I was gonna mention, I think that's where it happened is that but and also kind of and listen, dance team people come at me because I don't actually know.
1:07:18
SPEAKER_10: But in my estimation, dance team technique doesn't necessarily care about the prep.
1:07:24
SPEAKER_10: They care about the synchronicity of the turns.
1:07:27
SPEAKER_10: And sort of, I th I think again, come at me if I'm wrong.
1:07:30
SPEAKER_10: The mentality might be we just need the turns to be consistent.
1:07:34
SPEAKER_10: I don't care how you get there, I need them to be consistent.
1:07:37
SPEAKER_10: Whereas ballet, jazz, more codified techniques care about everything.
1:07:43
SPEAKER_10: I care about the beginning, middle, and end of that step.
1:07:45
SPEAKER_06: Yeah.
1:07:46
SPEAKER_10: Whereas I think dance team really does just want the sixteen allys a cones together, period.
1:07:50
SPEAKER_10: Right.
1:07:51
SPEAKER_06: Yeah, so it is.
1:07:52
SPEAKER_06: And then if there are teachers who came from a dance team background or were studio kids that went to uh college and danced on the dance team and then learned this habit, and then you know, the dance team said it was okay, then they're probably translating that into the studio world saying this is okay.
1:08:09
SPEAKER_06: But I think it's important to remember that turns in Alisakan are supposed to be in a rotated, turned out position.
1:08:15
SPEAKER_06: The the working leg is turned out, and every plie that you you that you plie while you're doing your rotations should be turned out, not parallel.
1:08:23
SPEAKER_06: So you actually have to have rotation from the hip to do turns in Alisakan and Fuette turns.
1:08:29
SPEAKER_06: You have to.
1:08:30
SPEAKER_10: Right.
1:08:30
SPEAKER_10: So I and the men, I mean, we talked about like these turns, at least all second turns and fouetes also, but like all secone turns, even though they live in the jazz world now, in the contemporary world, they come from the ballet world and they come from men's ballet.
1:08:45
SPEAKER_10: Even the men in ballet are turned out.
1:08:46
SPEAKER_10: Right.
1:08:47
SPEAKER_10: You're not gonna see a ballet dancer, a ballet master starting his all secone turns in a parallel position.
1:08:53
SPEAKER_10: Right.
1:08:54
SPEAKER_10: So, like not only do they live in the wrong world now, like you're doing them wrong too.
1:08:58
SPEAKER_10: So you're doing the original, you know, iteration of this step a disservice by putting them elsewhere and doing them incorrectly.
1:09:05
SPEAKER_10: Right, right, right.
1:09:06
SPEAKER_06: Yeah, and I I think that the reason that we we see such improper preparations often is due to the fact that rotation is not being looked at and not being focused on in ballet class and translating over into our other genres properly, the same thing with like Maddie's uh feedback before about the standing leg being parallel.
1:09:29
SPEAKER_06: So I think that when we are doing lyrical dance and we're meant to do a coupe pirouette, the coupe position has to be turned out.
1:09:35
SPEAKER_06: Your hips cannot be tilted forward.
1:09:38
SPEAKER_06: You have to make sure that we're understanding how to open those hips and find that coupe position during the rotation.
1:09:43
SPEAKER_06: But then why would you prep parallel because you're making it harder?
1:09:48
SPEAKER_06: The prep is there to help you find that proper alignment, find that rotation and set yourself up in the proper position ahead of time before you start.
1:10:00
SPEAKER_06: Right.
1:10:00
SPEAKER_06: And I think that's why we get so upset about it because we know that you're a great turner.
1:10:05
SPEAKER_06: We can see that your rotations are good, but like you said, Leslie, it's the beginning and the end that's just as important.
1:10:12
SPEAKER_06: And that is just somehow getting thrown out the window in so many studios training across the board.
1:10:17
SPEAKER_06: And it is a studio habit.
1:10:19
SPEAKER_06: It's it's a hundred percent a studio habit, and we will catch it and we will say it every single time.
1:10:23
SPEAKER_06: So if you heard that on your critiques, we have to go back to basics and really drill that and make that something as a studio.
1:10:31
SPEAKER_06: Make that something that that's our goal for next season is across the board in all levels of class, we're gonna focus on our preps and we're gonna make sure we don't hear that on our critiques.
1:10:41
SPEAKER_06: Because I will actually tell a dancer if I see a turned-out preparation for a turned out pirouette, I will thank the dancer every single time I see it.
1:10:49
SPEAKER_06: And that's what you want from your judge's critiques.
1:10:51
SPEAKER_06: You don't want to hear, make sure your t your prep is turned out for coupe, make sure your prep your backyus popped for your pirouette for you know what I mean?
1:10:58
SPEAKER_10: Yeah, you you want to be, you want to hear, like aim for hearing thank you for X, Y, and Z.
1:11:03
SPEAKER_10: I want to say thank you.
1:11:04
SPEAKER_10: If I get to say thank you, I'm so excited as a judge.
1:11:07
SPEAKER_10: Because then I then it means you're doing something right, you know?
1:11:10
SPEAKER_10: Absolutely.
1:11:11
SPEAKER_06: Well, Leslie, we covered a lot this episode.
1:11:15
SPEAKER_06: A lot of habits.
1:11:16
SPEAKER_10: A lot of habits.
1:11:17
SPEAKER_10: And you know, I Good and bad.
1:11:19
SPEAKER_10: Good and bad, and I think that's as we're nearing the end of season three, that means we're nearing the end of this competition season.
1:11:25
SPEAKER_10: Uh, so hopefully these can sort of, like you said, be goals to take into next season as as a studio, because most of these critiques uh and habits really are across the board.
1:11:37
SPEAKER_10: It's not just one kid from one studio that we see these things from.
1:11:40
SPEAKER_10: It's it's from everybody at a studio.
1:11:42
SPEAKER_10: So maybe take the summer, you know, to collectively get with your staff or get with your students and decide, hey, what what do we want to do?
1:11:50
SPEAKER_10: What do we want to create as a good habit as a studio to move forward into next season?
1:11:55
SPEAKER_10: And that could be, you know, I would I would love to see studios pick a technical thing and then a behavior thing, because I think both, you know, really go into creating well-rounded dancers and humans.
1:12:06
SPEAKER_05: We'd like to give a huge shout out to all of the IDA judges who helped contribute to this episode.
1:12:12
SPEAKER_05: We love you and thank you so much for all that you do.
1:12:15
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1:12:23
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1:12:32
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1:12:37
SPEAKER_04: Spirit of Dance Awards has competition events throughout New England and the Tri-State area.
1:12:42
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1:12:50
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1:13:04
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1:13:13
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1:13:23
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1:13:28
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1:13:38
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1:13:45
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1:13:48
SPEAKER_10: Season three is coming to an end, but stay tuned for our last few episodes.
1:13:52
SPEAKER_10: Coming up, we've got Dancing with Disabilities and Special Needs, Creating Inclusivity and Dance, a very special Mother's Day episode, and the final studio spotlight of season three featuring club dance.
1:14:04
SPEAKER_07: We'll see you next week.
1:14:05
SPEAKER_07: Until then, keep dancing.