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

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

• 0:08
  SPEAKER_02: Everyone! Oh my god! Welcome to Making the Impact, a dance competition podcast, and this month, QA with Courtney, a live episode.
• 0:21
  SPEAKER_02: Thank you so much for so many people already here and joining us today.
• 0:26
  SPEAKER_02: I'm super excited to be here with you.
• 0:29
  SPEAKER_02: And I'd like to let you know that this is actually our very last live Facebook event of season two of the podcast.
• 0:39
  SPEAKER_02: I can't believe it.
• 0:40
  SPEAKER_02: It's already here.
• 0:41
  SPEAKER_02: We've had so much fun going live this season, which has been a new feature that we introduced for season two of the podcast.
• 0:48
  SPEAKER_02: So thank you so much for continuing to tune in every time we go live on Facebook.
• 0:54
  SPEAKER_02: All right, y'all.
• 0:55
  SPEAKER_02: So just to give you an idea of what you're getting yourself into today, if you've never been a part of our QA with Courtney Live, this is your chance to ask us any question you'd like.
• 1:07
  SPEAKER_02: It can be about the professional dance world, it can be about studio training, it can be about the competitive dance world, it can be really about whatever you whatever you want.
• 1:16
  SPEAKER_02: And we have a great panel today.
• 1:18
  SPEAKER_02: So we are gonna go into those questions, but get them prepped.
• 1:21
  SPEAKER_02: And when you're ready to ask a question, just type it right into the comments.
• 1:25
  SPEAKER_02: If you would like to remain anonymous and not have your name shared with your question, then you can shoot us a Facebook message at Impact Dance Adjudicators.
• 1:35
  SPEAKER_02: We'll get your question and we'll make sure that we read it anonymously to answer that privately for you.
• 1:41
  SPEAKER_02: But we would love to hear questions and uh we love interacting with you also.
• 1:45
  SPEAKER_02: Get those prepped and add them to the comments whenever you are ready.
• 1:50
  SPEAKER_02: So we have some sponsors on Making the Impact a Dance Competition podcast.
• 1:56
  SPEAKER_02: I'm sure you've heard us talk about them this season, and we absolutely couldn't do it without them.
• 2:02
  SPEAKER_02: They support us, we support them, and we believe in their businesses.
• 2:06
  SPEAKER_02: It's been such a blast to be able to bring on so many fantastic dance brands onto the podcast and bring them to you and share them with you all, all of the listeners and all of the fans.
• 2:18
  SPEAKER_02: So the first sponsor of today's episode is Dance Costumes by Urzua, and they've been a season sponsor since the top of season two.
• 2:26
  SPEAKER_02: Dance Costumes by Urzua provides custom costumes and dance wear for everybody.
• 2:32
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• 2:42
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• 2:48
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• 2:56
  SPEAKER_02: Be sure to check them out now on Instagram and view their entire line at dancecostumes by Erzua.com.
• 3:03
  SPEAKER_02: And our next sponsor that is sponsoring this episode is Thrive Dance Experience.
• 3:09
  SPEAKER_02: Thrive Dance Experience is an education-first dance convention providing workshops and specialized training for dancers and dance educators.
• 3:17
  SPEAKER_02: In addition to their conventions, Thrive Dance Experience is launching their Academy program this summer.
• 3:22
  SPEAKER_02: The Academy is a new virtual mentorship and career development program for ages 15 to 18.
• 3:28
  SPEAKER_02: If you love to dance, then why not do a career doing what you love to do?
• 3:32
  SPEAKER_02: The Academy is a great opportunity for dancers to learn about the industry by engaging in exclusive classes, meet and greets with industry professionals, one-on-one mentorship sessions, virtual college tours, and so much more.
• 3:44
  SPEAKER_02: To sign up or learn more about the Academy, visit their website now at thrive danceexperience.com.
• 3:51
  SPEAKER_02: Thank you so much for both of our sponsors today for today's episode.
• 3:54
  SPEAKER_02: We love you so much.
• 3:56
  SPEAKER_02: All right, y'all.
• 3:57
  SPEAKER_02: It's finally time to meet our guests.
• 3:59
  SPEAKER_02: And I, like I mentioned earlier, we have two IDA judges joining us today for this final episode of Cube of Courtney Live in season two, our April edition.
• 4:09
  SPEAKER_02: They have been on our roster for the past few years.
• 4:11
  SPEAKER_02: They are both wonderful educators and teachers full-time.
• 4:16
  SPEAKER_02: And I can't wait for you all to meet them.
• 4:19
  SPEAKER_02: So without further ado, I would love to welcome IDA judges Michael and Dion to the podcast.
• 4:29
  SPEAKER_02: Welcome, y'all.
• 4:30
  SPEAKER_02: Hello, everybody.
• 4:32
  SPEAKER_02: Hi.
• 4:33
  SPEAKER_02: Yay! Welcome to the podcast.
• 4:36
  SPEAKER_02: Oh my gosh, Dion, I know you've been on the pod before, so welcome back to the pod.
• 4:41
  SPEAKER_02: Thank you.
• 4:41
  SPEAKER_02: Welcome to the live.
• 4:43
  SPEAKER_02: And Michael, you're a brand new guest on To the Pod.
• 4:46
  SPEAKER_00: Thank you.
• 4:46
  SPEAKER_00: I'm super excited to be here.
• 4:48
  SPEAKER_02: Yay! I'm so excited to have you both.
• 4:51
  SPEAKER_02: So thank you for joining us this afternoon.
• 4:54
  SPEAKER_02: And I would love for you to share with the viewers and our listeners on the podcast a little bit about you.
• 5:02
  SPEAKER_02: So how about Dion?
• 5:03
  SPEAKER_02: Take it away.
• 5:04
  SPEAKER_02: Kick us off.
• 5:05
  SPEAKER_03: Hi, everybody.
• 5:06
  SPEAKER_03: I am based out of Manharrison Township, Michigan, which is in the Metro Detroit area.
• 5:12
  SPEAKER_03: I've been teaching for probably like 20 years, which I love saying because I'm proud of it, but I'm also like it's age determinator.
• 5:19
  SPEAKER_03: I like to not say that as well.
• 5:21
  SPEAKER_03: I've I've done everything.
• 5:22
  SPEAKER_03: I've done performing, I've done college dance with um college dance team.
• 5:26
  SPEAKER_03: I've toured as a judge.
• 5:28
  SPEAKER_03: Um I'm also a part of Dance Masters, which I love because I think continuing your education is number one.
• 5:34
  SPEAKER_03: You know, even though I'm an educator, I feel like continuing your education as an educator makes you a better teacher.
• 5:40
  SPEAKER_02: So hello there.
• 5:41
  SPEAKER_02: Yes.
• 5:42
  SPEAKER_02: Absolutely.
• 5:43
  SPEAKER_02: Well, thank you so much, Deanne, for joining us again on the pod.
• 5:46
  SPEAKER_02: And Michael, next, you are up next, so feel free to share with the viewers and listeners a little bit about you.
• 5:53
  SPEAKER_00: Hi everyone.
• 5:54
  SPEAKER_00: I'm Michael.
• 5:54
  SPEAKER_00: Um, so I'm a dance educator from Worcester, Massachusetts.
• 5:58
  SPEAKER_00: I have my Bachelor of Performing Arts degree from Oklahoma City University, shh, Go Stars.
• 6:02
  SPEAKER_00: I'm currently studying my Master of Fine Arts and Dance from Montclair State University in a low residency program.
• 6:09
  SPEAKER_00: Full-time dance teacher.
• 6:10
  SPEAKER_00: I was once dance captain and an aerialist with Royal Caribbean for a couple of years.
• 6:15
  SPEAKER_00: And then ever since I've been home, I've continued my education before I started school again.
• 6:21
  SPEAKER_00: I did a couple ABT certifications, acrobatic arts.
• 6:25
  SPEAKER_00: My new project is currently getting certified in uh the Nan Giordano Technique Program, which has been super awesome, and I'm super excited to be here, ready to go.
• 6:34
  SPEAKER_02: Yeah.
• 6:35
  SPEAKER_02: Awesome.
• 6:36
  SPEAKER_02: Well, thank you both so much, and I can't wait to dive into some questions, which I see that we have a question already from one of our viewers, so that's exciting.
• 6:48
  SPEAKER_02: But FYI to everyone else who is tuning in so far.
• 6:52
  SPEAKER_02: If you have a question that you would love for us to answer in the next 45 minutes while we're going live on Facebook, feel free to type it right into the comments.
• 7:02
  SPEAKER_02: We would love to hear your question and we would love to answer it.
• 7:06
  SPEAKER_02: And like I mentioned before, if you would prefer to remain anonymous, then you definitely can shoot us a message on Facebook and we will read your question privately without disclosing your name or who you are.
• 7:17
  SPEAKER_02: So let's do it.
• 7:19
  SPEAKER_02: Let's jump in.
• 7:20
  SPEAKER_02: I think we have a few questions that were previously sent in ahead of time on my end.
• 7:26
  SPEAKER_02: But I would love, I love Lottie's question that she's already asked.
• 7:30
  SPEAKER_02: So I would love to jump right into this one from one of our viewers.
• 7:34
  SPEAKER_02: So let's see what it says.
• 7:36
  SPEAKER_02: And let's see what happens when I pop this up onto the screen.
• 7:39
  SPEAKER_02: Oh, perfect.
• 7:40
  SPEAKER_02: Alright, so it says from Lottie.
• 7:43
  SPEAKER_02: We've been hearing judges talk about artistry a lot lately.
• 7:48
  SPEAKER_02: Can you explain in a practical way what artistry means, please?
• 7:51
  SPEAKER_02: And how can a teen senior dancer improve their artistry?
• 7:56
  SPEAKER_02: So really, really great question to open this up.
• 8:00
  SPEAKER_02: Do either of you have any initial thoughts on this one?
• 8:02
  SPEAKER_03: I think a lot of that comes from a lot that I see, like especially with a soloist, I would like to say, is like sometimes teachers tend to put every trick that they have that the dancer has in the book in the dance versus paying attention to the music and paying attention to what the feeling is behind it.
• 8:20
  SPEAKER_03: That's to me what artistry is, because everybody takes that's the beauty of dance, is everybody takes one song and no matter what, you're never gonna have the same routine.
• 8:27
  SPEAKER_03: You're gonna have something completely different on whoever choreographs it.
• 8:31
  SPEAKER_03: So I think instead of focusing more on tricks, even though the dance could call for it, focus on like the feeling behind it and letting the dancer connect to the feeling of the music and for them to fully understand it.
• 8:45
  SPEAKER_03: If they don't fully understand it, that might have not been a good song to choose for them.
• 8:49
  SPEAKER_03: And once they fully understand it, they're able to give their all to it.
• 8:53
  SPEAKER_03: So that's that's basically what that would mean to me.
• 8:55
  SPEAKER_00: Yeah, I would agree.
• 8:56
  SPEAKER_00: I think the word that stands out most to me is connection.
• 8:59
  SPEAKER_00: I talk about it a lot when I'm judging, is regardless of your age, whatever dance you're doing, whether it's lyrical, contemporary, jazz, how are you connecting to the music and how are you connecting to the message that you're trying to portray to us?
• 9:12
  SPEAKER_00: I agree.
• 9:13
  SPEAKER_00: It's not necessarily about like throwing the whole kitchen zinc in.
• 9:16
  SPEAKER_00: I don't need to see that you can do a laundry list of all of these skills, as even though you might be able to do them wonderfully.
• 9:23
  SPEAKER_00: It's that thing that I think my dance teacher always used to say is that it's about the steps in between.
• 9:27
  SPEAKER_00: It's about your ball changes and your pot of arrays, and not necessarily about how high of a leap you get.
• 9:34
  SPEAKER_00: It's all about what you're feeling and letting us receive your energy.
• 9:40
  SPEAKER_00: I think I'll say it that way.
• 9:41
  SPEAKER_03: I I love that term.
• 9:42
  SPEAKER_03: The I talk about energy all the time when I'm judging, because if like a dancer feels it, the whole audience will feel it if the dancer feels it.
• 9:49
  SPEAKER_03: You can tell 100% when it's a kid's on stage, when they're all in and completely connect to the song, you can see it.
• 9:55
  SPEAKER_03: Absolutely.
• 9:55
  SPEAKER_03: Yeah.
• 9:56
  SPEAKER_02: Yeah, I I completely agree with you both.
• 9:58
  SPEAKER_02: You know, I think I think that artistry does develop once we hit that teen senior age division.
• 10:05
  SPEAKER_02: And I feel like we talked about this on a recent episode.
• 10:09
  SPEAKER_02: Maybe it was today's episode that launched today.
• 10:13
  SPEAKER_02: We have a lot of episodes that are all jumbled in my head.
• 10:16
  SPEAKER_02: I can't reference which one that I spoke about this in.
• 10:20
  SPEAKER_02: But I feel like that I definitely said on an episode at a point in time that once we hit the senior division, I'm looking for that artistry.
• 10:29
  SPEAKER_02: You know, I think that's what's really gonna separate a dancer alongside another.
• 10:33
  SPEAKER_02: And like what you said, Michael, I I agree.
• 10:36
  SPEAKER_02: I think transitions are such a big thing.
• 10:40
  SPEAKER_02: I I feel like a lot of times right now, because you know, Dion, you talked about the tricks.
• 10:44
  SPEAKER_02: Like, do we need every trick in the book?
• 10:46
  SPEAKER_02: I don't hate a trick.
• 10:48
  SPEAKER_02: I love a trick, but do we have the connecting steps in between?
• 10:51
  SPEAKER_02: And how are you how are you, you know, making that run-on sentence connect the dots all the way?
• 10:57
  SPEAKER_02: Because I feel like if it's just a trick and a pose and a trick and a pose, then there's really no artistry behind that.
• 11:04
  SPEAKER_02: But if it, if it has the connection steps, but then also has that that love and feeling, like you mentioned, Dionne, from like the passion of the song and understanding what you're dancing about and what the song means to you and that story, I think that's how we become an artist.
• 11:20
  SPEAKER_02: Because by the time we're teen senior, we should have the technical foundation and we shouldn't even really be like think overthinking that.
• 11:28
  SPEAKER_02: It should just naturally be happening at that point, and then we just let those, you know, the beautiful movement quality and that performance and that focus, you know, take us to that next level for sure.
• 11:39
  SPEAKER_03: I agree.
• 11:39
  SPEAKER_03: I think sometimes the kids kind of it's funny that you say that because like once you're at that level and at that age, like when a kid is technically trained, like it's gonna come out of them.
• 11:48
  SPEAKER_03: Like they're always gonna point their foot, they're always gonna link them behind their knee.
• 11:51
  SPEAKER_03: It's it's the connection in between, it's the connection to the song, it's all of that combined.
• 11:58
  SPEAKER_03: Like if they just let go and be vulnerable sometimes.
• 12:01
  SPEAKER_03: There's times where I've like where you're behind the judge's table where I try not to like growl, but you know when you like want to hit this, like because the dancer's like technically beautiful, but you're looking at them and you just want to be like, come on, like you want to like scream at them because you know that they have it behind them, but it they're just not giving it and letting go.
• 12:19
  SPEAKER_00: So I will attest to that because when I was growing up, I I will, because I remember going to a competition and I remember not winning my category and being very upset about it.
• 12:29
  SPEAKER_00: And my teacher went, Why do you think you didn't win?
• 12:31
  SPEAKER_00: And I said, I don't know.
• 12:32
  SPEAKER_00: And she's like, I don't feel anything.
• 12:35
  SPEAKER_00: You're focusing so much on the technique, you're losing why you're dancing in the first place.
• 12:40
  SPEAKER_00: And I was like, Oh, ding.
• 12:43
  SPEAKER_00: And then it kind of made sense after that.
• 12:46
  SPEAKER_02: I'm so I love that, like, I love that you shared that story.
• 12:50
  SPEAKER_02: I think it's really important for people to hear that like we've we've struggled with these things too, and we've learned through the process growing up as dancers or maybe even competitive dancers.
• 13:00
  SPEAKER_02: And yeah, I mean, it's true.
• 13:02
  SPEAKER_02: I I I feel the exact same way.
• 13:04
  SPEAKER_02: I've seen stunning technicians, stunning picture perfect technicians hit the stage in the senior division, and you would think that because their technique is so flawless that they're gonna win, and then there's someone that comes right behind them that has that movement quality, that is nailing the transitions fluidly, that's connected to the music with musicality, and that is performing from their heart.
• 13:26
  SPEAKER_02: And they might not have the perfected technique as the person before them, but that second dancer probably is gonna win because if we don't feel it from you when you're performing, no matter how great your technique is, at least when we get to that senior level, then you know that's that final layer that we need to add for sure.
• 13:47
  SPEAKER_02: Well, Lottie, I hope that that helped answer your question for your dancer, and thank you so much for asking it.
• 13:56
  SPEAKER_02: And I do see we do have another question coming from a viewer that I would love to pop up onto the screen.
• 14:02
  SPEAKER_02: This one's coming from Carmen.
• 14:04
  SPEAKER_02: Okay, it's a long one.
• 14:05
  SPEAKER_02: The question is in the upcoming Olympics, breakdancing will be a new event.
• 14:12
  SPEAKER_02: What do the panelists think of this?
• 14:14
  SPEAKER_02: Could this lead to competitive dance becoming a more recognized international sport?
• 14:19
  SPEAKER_02: Can either of you foresee a future for dance that would meet the Olympic standards example, some kind of national governing body?
• 14:27
  SPEAKER_02: Ooh, this is an interesting question.
• 14:29
  SPEAKER_02: That is interesting.
• 14:31
  SPEAKER_00: Yeah.
• 14:31
  SPEAKER_02: Any thoughts?
• 14:33
  SPEAKER_00: I'll go first.
• 14:34
  SPEAKER_00: I'll be the first to say that I will say I'm surprised it's taken this long for any dancing to get into the Olympics because of how athletic it is.
• 14:43
  SPEAKER_00: Even though competition dance has been around a long time and we often associate dance with art, which it is, but it's also incredibly athletic.
• 14:52
  SPEAKER_00: Same thing with ice dancing, same thing with with cum with figure skating.
• 14:56
  SPEAKER_00: There's artistry in it, but there's a level of athleticism.
• 15:00
  SPEAKER_00: Interestingly, I think there could be a national governing body, for better or for worse.
• 15:06
  SPEAKER_00: Some competitions may form that are tied to an Olympic event, and they may have very strict standards, because I will be honest, I don't know a lot about ice skating in terms of judging, but I know at certain levels they're expecting to for you to technically perform certain skills and certain tricks.
• 15:26
  SPEAKER_01: Right.
• 15:26
  SPEAKER_00: It may end up developing into that.
• 15:28
  SPEAKER_00: I mean, who's to say?
• 15:29
  SPEAKER_00: That's my best guess.
• 15:31
  SPEAKER_03: Mm-hmm.
• 15:31
  SPEAKER_03: Yeah, I agree.
• 15:32
  SPEAKER_03: I feel like I would love to see it just to kind of put it like on a national platform, but it would have to have a lot more stricter guidelines.
• 15:40
  SPEAKER_03: I mean, how many times have we gone to a competition where you have an intermediate dancer that's pulling off eight turns and you're like, mm, money?
• 15:46
  SPEAKER_03: Like you you can't pull off eight turns as an intermediate dancer, you know?
• 15:49
  SPEAKER_03: So I think with that, like it would have to be like, okay, what are we gonna include?
• 15:55
  SPEAKER_03: Like, what styles are we gonna include?
• 15:57
  SPEAKER_03: Because you would have to, are you gonna have all different styles?
• 16:00
  SPEAKER_03: Because breakdancing is a form of hip-hop, but it's a small, small like portion of hip-hop.
• 16:06
  SPEAKER_03: So breakdancing does have certain things that you can do and can incorporate, and you can base their technique if you have breakdancing experts with it, you know.
• 16:16
  SPEAKER_03: So are you gonna open a jazz category and just jazz, and then are you gonna include, like you were saying, with ice skating, what are you gonna include in those?
• 16:24
  SPEAKER_03: You know, I think that would kind of be cool.
• 16:26
  SPEAKER_03: Same thing with tap.
• 16:27
  SPEAKER_03: I mean, like you can incorporate certain things as a tap level, like what grade level?
• 16:31
  SPEAKER_03: I mean, I grew up on Al Gilbert where you got to grade eight and it's it's complex, you know.
• 16:36
  SPEAKER_03: Once you have that foundation, you can add everything else into it.
• 16:40
  SPEAKER_03: So I think that that would be really interesting to see.
• 16:42
  SPEAKER_03: I'm kind of seeing how it would evolve.
• 16:43
  SPEAKER_03: I think it would also change the competition world, like the more that I think about it, because there are standards, but there's there's very few and far between on that fine line between categories.
• 16:54
  SPEAKER_03: If you go to a competition that has like an elite, a middle, and a beginning level.
• 16:59
  SPEAKER_03: There you we can't do anything as judges.
• 17:01
  SPEAKER_03: Like every time you see somebody that wins in a mid-level cap category that you think should be in an upper level category.
• 17:07
  SPEAKER_03: I know competitions I've worked for has said, hey, like you can suggest it, but unless the dance teacher wants to move them, it is what it is.
• 17:14
  SPEAKER_03: So it'd be fun to kind of see that evolve.
• 17:17
  SPEAKER_02: Yeah, I mean, I'm pumped for it.
• 17:19
  SPEAKER_02: I'm not gonna lie.
• 17:20
  SPEAKER_02: I love watching break dancers.
• 17:22
  SPEAKER_02: I think this is like huge for our dance world, you know, just dance being an Olympic sport.
• 17:28
  SPEAKER_02: I mean, it's like you said, Michael, like I I am surprised that it's taken this long.
• 17:32
  SPEAKER_02: And I think the reason it it has is because it's an considered more of an art form than a sport.
• 17:39
  SPEAKER_02: And I do believe we are athletes as well.
• 17:42
  SPEAKER_02: We train just as hard, some of us and some of the professionals, and some of even the competitive children, as much as those like rhythmic gymnastics dance like they train like crazy.
• 17:54
  SPEAKER_02: Some of our dancers are training 20 plus hours a week at the same level, but because it's art, we can't win an Olympic gold medal.
• 18:02
  SPEAKER_02: I just think that it's also tricky because how are we going to really structure that dance category and what style would be allowed?
• 18:09
  SPEAKER_02: And I don't even I don't know where where to begin with it.
• 18:13
  SPEAKER_02: Uh, I think it will take some time if it was going to eventually hit the Olympic floor, but I I support it.
• 18:20
  SPEAKER_02: I think that dance needs that recognition and you know, something to work towards.
• 18:25
  SPEAKER_02: Not that like a dance competition isn't something to work towards, but like the Olympics, I mean, come on, that would be epic for dance to be like this is like instead of like so you think you can dance or world of dance winner, like you are an Olympic gold medalist in dance.
• 18:40
  SPEAKER_02: Like, how cool is that?
• 18:41
  SPEAKER_02: I just think that would be really I hope I hope it does, you know, continue to evolve through the years and we'll test out this breakdancing this in the upcoming Olympic Seattle.
• 18:51
  SPEAKER_02: See, you know, how they structured it and see what happens after that.
• 18:56
  SPEAKER_02: Really fun question.
• 18:57
  SPEAKER_02: Thanks so much for asking that one.
• 19:00
  SPEAKER_02: I can't wait to watch some Olympics, missed it last year.
• 19:04
  SPEAKER_02: I do have some uh previously submitted questions that I'd love to uh jump over to.
• 19:09
  SPEAKER_02: So I'm gonna read them.
• 19:10
  SPEAKER_02: I can't pop it up onto the screen, so feel free to give a listen, everyone.
• 19:15
  SPEAKER_02: And this one is coming from an anonymous dance teacher in Indiana, and they say, when choreographing for a small group of dancers with a really wide range of skill levels and abilities, which level would you aim for?
• 19:31
  SPEAKER_02: I'm finding it difficult to camouflage the lower level dancers while keeping the more advanced dancers challenged.
• 19:37
  SPEAKER_02: I don't want the routine to end up with only two or three dancers dancing with the rest of the group posing and shaking in the back.
• 19:44
  SPEAKER_02: Age range is nine to eleven, and the skill range is from a pivot turn to a la seconds.
• 19:49
  SPEAKER_02: So great question from our anonymous dance teacher.
• 19:52
  SPEAKER_02: I'm sure that as teachers and choreographers ourselves, we've experienced and you know how to kind of navigate this in the classroom.
• 20:00
  SPEAKER_02: So do you have any initial any experiences yourself or any helpful tips for this teacher?
• 20:05
  SPEAKER_03: I would say number one, focus on what are they all good at?
• 20:09
  SPEAKER_03: What if what's the one main thing that they're all good at if it's performance level, like they give a great performance?
• 20:15
  SPEAKER_03: Because I've had some dancers that, you know, are not technically there, but their performance is like they shine when they're on stage.
• 20:20
  SPEAKER_03: So if that's something, um focus on that.
• 20:22
  SPEAKER_03: Um another thing would be visuals, you know, like just because somebody, you don't always want to center your best dancers, like use the stage, use transitions, use levels.
• 20:32
  SPEAKER_03: That in itself, I love seeing a well-choreographed piece.
• 20:36
  SPEAKER_03: It doesn't have to have Alice Acone turns for it to win.
• 20:39
  SPEAKER_03: It just has to, whatever story, it doesn't have to even have a storyline.
• 20:43
  SPEAKER_03: It can be a happy jazz, but if they're all ecstatic and happy, I'm happy with them, you know.
• 20:48
  SPEAKER_03: But I would I would focus on the things that they're good at and the things that you can make them look good.
• 20:53
  SPEAKER_03: Because if you put things that they're just working on in the classroom, like that's what your judge is gonna find.
• 20:59
  SPEAKER_03: So your judge is going to critique that technique.
• 21:02
  SPEAKER_03: So do things that are appropriate for them, age appropriate always, and then just yeah, focus on the different levels and transitions.
• 21:08
  SPEAKER_03: Like I my kids laugh because like my my notebook when I like come to class looks like a football playbook.
• 21:15
  SPEAKER_03: I have X's everywhere in the transition that they're gonna go.
• 21:18
  SPEAKER_03: And then I also a lot of times when I'm cleaning dances, I don't even have them do the choreography.
• 21:23
  SPEAKER_03: I have them do the transitions of how they're gonna get there and to see how that's gonna look because I'm really big on it needs to like happen without me seeing it happen, if that hopefully that makes sense.
• 21:35
  unknown: Yeah.
• 21:35
  SPEAKER_03: So that's some things I would focus on.
• 21:37
  SPEAKER_00: I think for me, because I've I've done this before, one of the studios that I work for, we put a huge production number together every year.
• 21:45
  SPEAKER_00: And you know, you have 20, 25, sometimes 30 kids on stage from nine year olds all the way up to 18 year olds.
• 21:52
  SPEAKER_00: I think there's a way that dances can be structured so that way everybody is doing let's call it a your base.
• 22:00
  SPEAKER_00: Line step, and then so you know, you have three levels of dancers, you can have them all doing the same step, but then now your intermediate dancers will now they can add a little bit of this embellishment, and then your advanced dancers can add a little bit of this embellishment.
• 22:13
  SPEAKER_00: So they're doing the same thing, but slightly differently, and they're all working in conjunction.
• 22:18
  SPEAKER_00: And I will say when I choreograph, I'm also super visual.
• 22:22
  SPEAKER_00: All my dancers know I like hate end poses because I think they're the hardest thing to come up with.
• 22:27
  SPEAKER_00: Um They are.
• 22:29
  SPEAKER_00: They are.
• 22:31
  SPEAKER_02: You pick a pose because I can't figure it out.
• 22:33
  SPEAKER_00: Yeah.
• 22:34
  SPEAKER_00: I've tried that, it doesn't always work.
• 22:37
  SPEAKER_00: But but even if, you know, depending on the size of a group, a small group goes anywhere from I think most competitions goes anywhere from four to nine.
• 22:46
  SPEAKER_00: So you can add different layers of having some on the floor and doing something, and some standing, some doing a jump in the back and then bringing a step to bring them all back together.
• 22:56
  SPEAKER_00: So they don't necessarily need to be from zero seconds in to wherever your dance is finished.
• 23:01
  SPEAKER_00: They don't have to be all dancing together.
• 23:03
  SPEAKER_00: They can all be doing, they can all break apart for a little bit and come back.
• 23:07
  SPEAKER_00: I do like to see that when that we're not all dancing the same exact choreography the whole time.
• 23:13
  SPEAKER_00: We find ways of we're together.
• 23:16
  SPEAKER_00: Now let's do our own thing that we're great at, and now we come back together again.
• 23:19
  SPEAKER_03: Yeah.
• 23:20
  SPEAKER_03: Yeah, I I do the same thing with that.
• 23:23
  SPEAKER_03: Like a lot of times, like I'll listen to music and I break down the music in sections before I even start to choreograph.
• 23:29
  SPEAKER_03: Like, okay, this is my usually my I don't start like with the inner like introduction.
• 23:33
  SPEAKER_03: Like I'll be like, okay, this is like the chorus where there's a big thing here.
• 23:36
  SPEAKER_03: So they're all gonna be together because that's what I see at that point.
• 23:40
  SPEAKER_03: This part there, they're gonna break off into small little groups.
• 23:44
  SPEAKER_03: This part I see like the dynamics change in the music, so they're all gonna be doing something big, and I would like it in this tight formation so that it's visual.
• 23:51
  SPEAKER_03: So I try to imagine the song and like being able to see what I see to it before I start to choreograph because then it might be easier when it comes to transitions, when it comes to formations, because you want like you have those three that do the turns in second.
• 24:05
  SPEAKER_03: Well, where do you want them to be?
• 24:06
  SPEAKER_03: Do you want them to be like in a large triangle and a small triangle in the center off to the side?
• 24:11
  SPEAKER_03: It it starts to piece together a lot more if you break down the music first, for me at least, to see what you see to it.
• 24:18
  SPEAKER_03: So kind of taking from you, Michael.
• 24:20
  SPEAKER_02: Yeah.
• 24:21
  SPEAKER_02: Yeah, I I totally agree.
• 24:23
  SPEAKER_02: I think all of the everything that you both said is is super helpful for teachers while they're navigating, you know, choreography.
• 24:29
  SPEAKER_02: And I know that probably a lot of teachers have completed choreography by this point in the season, or maybe they're prepping for a recital, but everything that you both said is totally spot on.
• 24:38
  SPEAKER_02: I'm I'm just thinking like of things that I've seen at competition, and like I will as a judge, I do notice if a studio is trying to if a studio only does utilize their strongest dancers in the group instead of incorporating everyone that's in the dance.
• 24:56
  SPEAKER_02: And I don't love it, you know.
• 24:57
  SPEAKER_02: As as a judge, like I want everyone to have a spot in the front.
• 25:01
  SPEAKER_02: Is there a way we can transition this and have this more simplified section still be nice and clean, doesn't have to have the turn sequences.
• 25:08
  SPEAKER_02: Like you said, Xion, we don't need turns in Alsacant to have a winning piece.
• 25:12
  SPEAKER_02: We want a clean piece.
• 25:13
  SPEAKER_02: That's what we're looking for at the end of the day.
• 25:15
  SPEAKER_02: Based on the age and the skill, the level that you are entering it in, we just want a clean routine.
• 25:19
  SPEAKER_02: So if that means that we have certain dancers do a different skill, if you really need that turn sequence, that's great.
• 25:24
  SPEAKER_02: But like if those dancers were featured for that moment, then we need to have the other dancers featured at another time that they're great at and have or at least have them come to the front.
• 25:32
  SPEAKER_02: And there are so many formula dances I've seen at competitions where it's the same dancers doing the same turn sequence or the same trick because that's their go-to.
• 25:41
  SPEAKER_02: And it's like, well, this is their jazz version of it, and here's their lyrical version of it, and here's their contemporary version of it, and it's really predictable, you know.
• 25:49
  SPEAKER_02: I I don't really love that as a judge.
• 25:51
  SPEAKER_02: And I feel like that I really appreciate this question because it could vary.
• 25:55
  SPEAKER_02: There are teachers that could very not even think about this question at all and just be like, Well, these are my three best dancers, so I'm gonna make I'm gonna challenge them.
• 26:03
  SPEAKER_02: Everybody else will just like shake in the back and we're gonna win because they had really great turns in second.
• 26:09
  SPEAKER_02: And I really appreciate that this teacher is asking this question and trying to make sure that all dancers are, you know, being seen, all dancers are dancing at their best ability, and also providing what the judges want for competitive dance, which is you know, making sure it's clean.
• 26:24
  SPEAKER_02: So it's tricky when when you have a variety of ages, when you have a variety of skills, but I think it's definitely possible.
• 26:30
  SPEAKER_02: Takes a little bit more effort, obviously.
• 26:32
  SPEAKER_02: But I think with all of these tips that you guys both share, Dion and Michael, that it's it's definitely doable.
• 26:42
  SPEAKER_02: Diving into the professional dance industry isn't easy.
• 26:45
  SPEAKER_02: And I can definitely say that's true from experience.
• 26:48
  SPEAKER_02: In addition to years of training, you will then have to walk in, apply the program, and do so much more to give you one step closer to your first professional career.
• 26:58
  SPEAKER_02: Well, thrive and experience and your development.
• 27:01
  SPEAKER_02: This summer thrive is five care academy programs, and academy is a mentoring and career development program and dancers' opportunities at one of the best professions.
• 27:16
  SPEAKER_02: Group seminars of industry professionals, virtual college stores, and more.
• 27:21
  SPEAKER_02: It's all virtual.
• 27:22
  SPEAKER_02: So dancers can participate from anywhere and everywhere.
• 27:25
  SPEAKER_02: To learn more or to sign up for the Academy, visit ThriveDanceExperience.com.
• 27:32
  SPEAKER_02: All right, we have another question that came in from a viewer.
• 27:37
  SPEAKER_02: And I also have a question that was sent in ahead of time that kind of goes hand in hand with this.
• 27:42
  SPEAKER_02: So we'll first start with our viewer's question.
• 27:46
  SPEAKER_02: And I do not want to say your name wrong.
• 27:49
  SPEAKER_02: So I'm not gonna say your name, viewer, but I'm gonna I'm gonna pop it up because I don't want to say it wrong.
• 27:54
  SPEAKER_02: But the question for everyone from our viewer is I would like to know what you think makes a contemporary routine strong.
• 28:03
  SPEAKER_02: So Contemporary.
• 28:06
  SPEAKER_02: We'll answer this question and then I'll add I'll tack on the previously submitted question afterwards.
• 28:11
  SPEAKER_02: So to both of you as judges, what makes a contemporary piece strong to you?
• 28:16
  SPEAKER_00: So for me, because I've had discussions with this, because and I know I feel like we've there's already been an episode on the podcast too, Courtney, about contemporary versus lyrical or teams, correct?
• 28:25
  SPEAKER_02: Oh yeah.
• 28:26
  SPEAKER_00: Yeah.
• 28:26
  SPEAKER_02: Yes.
• 28:27
  SPEAKER_00: So okay, so for me, so I think you have to go down to the basis of what's the difference between those two, and especially now you can sort of group in jazz because I feel like everything is slowly like our the gaps that are separating all of our genres are slowly just melding together.
• 28:44
  SPEAKER_00: Totally.
• 28:45
  SPEAKER_00: And I think the easiest way that I like to think about it is this way it's a lyrical dance.
• 28:49
  SPEAKER_00: I tend to think of it in terms of its jazz and ballet technique, and because it's lyrical, it also has to have a reflection of if there are words, what are the words telling us to do in some way, shape, or form.
• 29:04
  SPEAKER_00: It doesn't necessarily mean taking it literally, it could just be something metaphorical or that kind of thing.
• 29:10
  SPEAKER_00: Contemporary for me, I do look for some of the modern tech in technique in there, which is strange because I think a lot of studios don't teach modern anymore.
• 29:21
  SPEAKER_00: I think because it's not cool.
• 29:24
  SPEAKER_00: Right.
• 29:24
  SPEAKER_00: Uh for lack of a better word.
• 29:25
  SPEAKER_00: And modern, and I think if I think if if our students knew how much contemporary was based in modern, your Horton technique, your Graham technique, all of that kind of stuff, I think they would appreciate it more.
• 29:37
  SPEAKER_00: But as a baseline, what makes a strong contemporary routine for me is musicality.
• 29:42
  SPEAKER_00: Because usually when I'm seeing contemporary routines, they tend to be very dynamic, dynamic musically.
• 29:51
  SPEAKER_00: So I'm always looking to see that we're hitting all those accents, working to uh you know, like any group routine too, working well together as a group, if there's a story conveying the story.
• 30:01
  SPEAKER_00: But for me, it's about the base technique.
• 30:05
  SPEAKER_00: I want to see some of that modern built in there.
• 30:08
  SPEAKER_00: I miss it.
• 30:09
  SPEAKER_00: I crave more of it every time.
• 30:11
  SPEAKER_03: I'm so with you.
• 30:12
  SPEAKER_03: I everything that Michael just said, like I'm shaking my head because I agree.
• 30:17
  SPEAKER_03: I think it has to do a lot with with that.
• 30:20
  SPEAKER_03: It's it's the lines, it's the lines for me and incorporating the modern technique in it and just understanding the difference, you know.
• 30:27
  SPEAKER_03: That I mean that's a that's every piece, like your transitions, your lines, your technique, and your attention to detail when it comes to the musicality.
• 30:34
  SPEAKER_03: You know, if you sometimes, you know, you see like a contemporary routine where they just flex their foot, but it's not really flexed, it's in between like I'm not pointed, I'm not flexed, like that's not contemporary.
• 30:44
  SPEAKER_03: Like you it's not contemporary.
• 30:47
  SPEAKER_03: You need to understand like how to fully point your foot before you can fully flex or do the dummy point, you know, just just understanding the technique behind it is what's gonna make you strong and then paying attention to your music.
• 30:59
  SPEAKER_02: Yep.
• 31:00
  SPEAKER_02: Yeah, I I completely agree.
• 31:02
  SPEAKER_02: And as you were saying that, Dion, I saw that on the back end Leslie is chatting with everyone in the group, and she put the famous quote from Maddie Kurtz from our Contemporary versus Lyrical episode, and it says, You can't break the rules till you know the rules.
• 31:21
  SPEAKER_02: That is how this works, y'all.
• 31:23
  SPEAKER_02: And I feel like in contemporary, we're breaking a lot of rules, and that's okay, but you have to know them before you can break them.
• 31:32
  SPEAKER_02: And I think that is a perfect example, Dion, of if your foot isn't flexed, you haven't learned yet how to fully flex your foot all the way or point your foot all the way.
• 31:43
  SPEAKER_02: So we can't have this in between.
• 31:45
  SPEAKER_02: You are not allowed to break those rules yet because you haven't shown me the different point and the difference of flex.
• 31:53
  SPEAKER_02: And that I think then I'm gonna go right in and talk about the Barbie foot because that's what I also was thinking about as you were saying that, Dion is the Barbie foot.
• 32:01
  SPEAKER_02: If you don't know what it is, I mean I can try to show it to you if you want.
• 32:05
  SPEAKER_02: I don't know if I want to put my foot up into the camera.
• 32:07
  SPEAKER_02: You want Leslie wants me to?
• 32:09
  SPEAKER_02: All right, I'll try to show that.
• 32:12
  SPEAKER_02: That's a Barbie foot, y'all.
• 32:13
  SPEAKER_02: I need to know.
• 32:15
  SPEAKER_02: Now, usually we get like a sickled Barbie foot, and that's the problem.
• 32:20
  SPEAKER_02: The sickled Barbie foot is a problem because you don't understand how to articulate and wing your ankle properly, and then now you're trying to flex your toes, and you just don't have the ankle strength or flex or understanding of the articulation of your foot.
• 32:35
  SPEAKER_02: So now I'm judging you for a sickled Barbie foot, and I don't know in in contemporary if it's a choice, a stylistic choice, or if it's just poor technique.
• 32:45
  SPEAKER_02: And I think that's that's what's really tricky about the contemporary category is there is a lot of rule breaking and it's artistic and that's exciting, but it also makes our judge, our job as a judge kind of tricky and hard because I need to know that you understand that you're doing this intentionally.
• 33:00
  SPEAKER_02: You know what I mean?
• 33:01
  SPEAKER_03: And I would love I would love to see a syllabus for contemporary because we have a syllabus for jazz, we have a syllabus for ballet, we have a syllabus for green.
• 33:10
  SPEAKER_03: You know, like I think the best of the best need to come together and teach proper technique of how to execute a lot of this movement, which I think would teachers will be able to connect to their students more of like, okay, this is the basics of it, because like in jazz, like you better believe I'm teaching a chasse on how to properly do that with a lead with the ball of your foot, not your heel length and through your legs as you're going into the floor.
• 33:34
  SPEAKER_03: You know what I mean?
• 33:34
  SPEAKER_03: Um, so that would be phenomenal if that, yeah, if that came out, because then I think that would be able to introduce modern without I feel like when you say modern in dance, like nobody's gonna sign up for class because they don't want to do modern, they want to do contemporary when they don't realize that it is modern.
• 33:51
  SPEAKER_03: Right.
• 33:52
  SPEAKER_03: So if we were able to put a contemporary syllabus together, that would be phenomenal because then you could have your basis being taught in class.
• 34:00
  SPEAKER_00: I agree.
• 34:01
  SPEAKER_00: It doesn't even necessarily have to be like one syllabus because there's different ways to teach.
• 34:05
  SPEAKER_00: It's just like if you take jazz technique, you have Giordano, you have Luigi.
• 34:10
  SPEAKER_00: So like there's still jazz, they're just not exactly the same.
• 34:14
  SPEAKER_00: Same.
• 34:14
  SPEAKER_00: It's a it's a million dollar idea, people.
• 34:17
  SPEAKER_03: I'm not the person to do it, somebody else needs to do it and putting it out there.
• 34:21
  SPEAKER_01: Yes.
• 34:22
  SPEAKER_02: And I agree because it's it's contemporary has taken off in in specifically the competitive dance world.
• 34:29
  SPEAKER_02: I mean, contemporary's been around for a very long time prior to it hitting the comp world.
• 34:34
  SPEAKER_02: But, you know, back when I was competing over 15 years ago, contemporary was not a category and it didn't exist, and you put that into the open category if you were doing something that seemed a little bit a little bit different than lyrical, but different than jazz, but not modern either.
• 34:52
  SPEAKER_02: It's like, where do we put this?
• 34:53
  SPEAKER_02: You know, so now contemporary is dominating our industry, and I think a syllabus is a great suggestion for all the teachers out there because not every teacher trains in in contemporary, not every teacher has had the opportunity to train in modern or learn that at their university, which, like, like you said, Michael, I mean, I don't really know of many.
• 35:13
  SPEAKER_02: There are definitely studios that train in modern, but I don't know of many.
• 35:16
  SPEAKER_02: And we like you both said, we don't realize that we're doing modern technique in our contemporary movement, in our contemporary classes.
• 35:23
  SPEAKER_02: Like I want to see the swings on the floor, I want to see the tabletops, I want to see the hinges and understanding what a contraction is and use of our plie and staying grounded and connected.
• 35:32
  SPEAKER_02: Like all of those things stem from modern and they're also being utilized in contemporary as well.
• 35:40
  SPEAKER_02: So those are things that I'm definitely looking for, like in a contemporary routine.
• 35:44
  SPEAKER_02: What I'm not looking for is like flexibility 24-7 with no connecting steps.
• 35:50
  SPEAKER_02: Because I feel like that's what a lot of contemporary is turning into right now, is like a stretching show instead of actually dancing.
• 35:59
  SPEAKER_02: You know, like let me show you how flexible I am and hold this position, and then I'm gonna do something like fluid and pretty, and then I'm gonna move into my next picture.
• 36:09
  SPEAKER_02: And I think that we just really I need more movement.
• 36:12
  SPEAKER_02: I need I need taking up space and using your levels and things like that that I feel like I'm I'm seeing less of these days.
• 36:19
  SPEAKER_02: Like, if you are flexible and you have that skill, and you can incorporate it in, but not have that be the dominating feature of your contemporary dance.
• 36:28
  SPEAKER_02: And it makes it hard for us too, because if that's what you presented and you entered in a contemporary, then I have to judge it for what it is and you did that really well.
• 36:35
  SPEAKER_02: But am I really happy with that as a contemporary routine?
• 36:39
  SPEAKER_02: Not really.
• 36:40
  SPEAKER_02: So I guess like to answer this question, I'm glad this is asked because like we as judges are telling you straight from us that we want more than just that in a contemporary routine.
• 36:50
  SPEAKER_02: We there's a lot more elements that we are looking for as a judge, I think.
• 36:56
  SPEAKER_02: We do have a question, but I did have this other question about contemporary that was previously submitted, and this is coming from an anonymous dance parent from Alaska, and this question goes hand in hand.
• 37:09
  SPEAKER_02: Why do contemporary dances usually win at dance competitions?
• 37:13
  SPEAKER_02: Is the question.
• 37:15
  SPEAKER_02: And it's a fair question.
• 37:16
  SPEAKER_03: Well, one reason, and this has nothing particular to dance, like when there's 90 contemporary solos that you're judging and two tap, three jazz, 50 lyrical, it's the it's the luck of the draw.
• 37:29
  SPEAKER_03: Like it's what you it's what you're being presented because majority of solos every level, and I think it depends on the city that you're in too.
• 37:37
  SPEAKER_03: You know, like I went to um the city a city on the West Coast where 50% of the competition was hip-hop.
• 37:41
  SPEAKER_03: Top five solos were hip-hop winners.
• 37:43
  SPEAKER_03: Like, I very rarely do you ever see hip-hop win, and it was phenomenal to see.
• 37:47
  SPEAKER_03: So I think it could be where you're located as well in the studios and what they represent.
• 37:51
  SPEAKER_03: That could be why they always win.
• 37:53
  SPEAKER_03: And I think like if okay, so take like tap and contemporary, two totally different separate things.
• 37:58
  SPEAKER_03: A lot of times with tap, like what I miss is the performance element because people are so focused on their feet that sometimes they forget to perform.
• 38:04
  SPEAKER_03: So they might be great tappers, but they haven't had the performance quality yet.
• 38:08
  SPEAKER_03: Where um a contemporary piece may win because they have all of that.
• 38:12
  SPEAKER_03: They have the performance factor, they have the technique, they have everything behind them.
• 38:15
  SPEAKER_03: So I think it's it's location as well as like all those other factors.
• 38:20
  SPEAKER_00: So I think I agree, but I also think it ties into, you know, talking about kids want to do contemporary.
• 38:28
  SPEAKER_00: So I think when kids go on stage and dance their contemporary dances, that's the most you're getting out of them.
• 38:34
  SPEAKER_00: Not that they don't like doing their jazz routines or their tap routines, but like if they're all living for contemporary, they're gonna do their darndest out on that stage to make that contemporary dance the best dance that they can do.
• 38:46
  SPEAKER_00: That's what I think.
• 38:48
  SPEAKER_03: I I can totally agree with that.
• 38:49
  SPEAKER_03: And you can definitely see a block scheduling studios are doing.
• 38:53
  SPEAKER_03: You can tell when like dancers come out and they love that routine.
• 38:56
  SPEAKER_03: You're like, okay, where was this like five numbers ago when you did that routine?
• 39:00
  SPEAKER_03: Like you didn't love that one as much as you love this one.
• 39:02
  SPEAKER_03: Like You try not to say that because you try not to compare the two, but like when they were just in front of your face and they're giving you everything that you just critiqued them on before, and now they're doing it, you're like, okay, I know you didn't hear this critique in between those five numbers, so we we really like this one.
• 39:18
  SPEAKER_00: Yeah.
• 39:18
  SPEAKER_00: And I also think it's on the teacher end a little bit too, because I think when we think of contemporary, I think a lot of teachers think, oh, this can be an outside the box dance.
• 39:29
  SPEAKER_00: It doesn't have to be a by the numbers dance.
• 39:31
  SPEAKER_00: I know for me, like when I choreograph contemporary, I'm just thinking, like, okay, how can I make this different?
• 39:37
  SPEAKER_00: Even though we're not supposed to.
• 39:39
  SPEAKER_00: You know, not that you you know what I mean.
• 39:41
  SPEAKER_00: Or even with jazz, how o I mean, I don't know the last time that I saw a jazz number where I went, that was a really different take.
• 39:49
  SPEAKER_00: I've seen really great, clean, high-energy, focused jazz numbers, but nothing that I not recently at least, where I've gone, that was a really interesting take on that song.
• 40:02
  SPEAKER_00: And so I think teachers just think of contemporary and they're like they give their best choreography to that, and then sometimes the other one, it can feel sort of like, okay, there's a botma there because of that accent, and there's a leaf there because of that accent.
• 40:14
  SPEAKER_00: That's what I think.
• 40:15
  SPEAKER_03: That's a great take on it.
• 40:16
  SPEAKER_03: Because I did a I did a piece this year where it was jazz, and depending on the well, depending on the competition, because um some of them you couldn't enter like the same kids in the same jazz category.
• 40:27
  SPEAKER_03: Mine, because it was more outside the box, we ended up entering it in open.
• 40:30
  SPEAKER_03: So I think if it's like on the cusp of it could go as contemporary, that could be where you know it's a jazz piece, but they put it in the contemporary category and it ends up winning because it's great versus something else.
• 40:42
  SPEAKER_03: So that that's an interesting take on it.
• 40:44
  SPEAKER_02: Yeah.
• 40:44
  SPEAKER_02: Yeah, I I completely agree with both of you with all of those points as far as why does contemporary win.
• 40:50
  SPEAKER_02: And I think I I kind of go back to what we talked about at the earlier part of this question, the previous question, is that you can kind of get away with more in contemporary.
• 41:01
  SPEAKER_02: You can there's not a syllabus like we talked about, really, that we're guiding off of.
• 41:06
  SPEAKER_02: So you can break more rules than you can in jazz, where like it can be a stylistic choice, like the Barbie foot.
• 41:14
  SPEAKER_02: It can be a stylistic choice, and that's contemporary.
• 41:18
  SPEAKER_02: And because you did that well, then you're automatically gonna score higher.
• 41:23
  SPEAKER_02: So I also I think that teachers know that.
• 41:25
  SPEAKER_02: I think that dancers know that.
• 41:27
  SPEAKER_02: I think they know that they don't have to be like as perfect in this category as other categories that we're gonna be judging you harder.
• 41:35
  SPEAKER_02: Like, I mean, in ballet it's right or wrong.
• 41:37
  SPEAKER_02: That's the end of the day.
• 41:39
  SPEAKER_02: You're either right or you're wrong.
• 41:40
  SPEAKER_02: And ballet is one of the hardest genres that we judge at competition.
• 41:44
  SPEAKER_02: And why do you think that we don't see any ballet dances at competition?
• 41:48
  SPEAKER_02: We do.
• 41:48
  SPEAKER_02: I'm not saying that they don't exist.
• 41:50
  SPEAKER_02: And it is always a breath of fresh air when I see them.
• 41:53
  SPEAKER_02: And I thank the teacher and the studio for entering ballet every time I see it because they know that they're gonna get judged hard, but they're willing to accept that.
• 42:02
  SPEAKER_02: And they're and I love it as a as a judge because I get to see their foundation and you know what they look like in ballet class and and where it's all stemming for their other styles as well.
• 42:11
  SPEAKER_02: So I always appreciate that.
• 42:12
  SPEAKER_02: But as far as contemporary winning, I think that's a valid point that you said, Deanna, as well.
• 42:17
  SPEAKER_02: It's the majority.
• 42:18
  SPEAKER_02: I mean, every kid wants a contemporary dance these days.
• 42:21
  SPEAKER_02: So if they are the ones that are dominating the competition, that's probably what is gonna have more of a chance.
• 42:26
  SPEAKER_02: That genre has more of a chance to hit the higher ranks, most likely.
• 42:30
  SPEAKER_02: So really great, great feedback.
• 42:32
  SPEAKER_02: We have a handful more questions.
• 42:34
  SPEAKER_02: We might as well ask I didn't mean to press that, but here we are.
• 42:37
  SPEAKER_02: Lottie's back, and we're asking this question.
• 42:40
  SPEAKER_02: So we are at the point where my 13-year-old daughter's schedule and ballet training is forcing her to choose between dropping either tap or acro.
• 42:52
  SPEAKER_02: Which one would you advise her is more most important to keep training in?
• 42:56
  SPEAKER_02: So that's a good question.
• 42:57
  SPEAKER_02: Isn't it?
• 42:59
  SPEAKER_03: 100% tap.
• 43:00
  SPEAKER_03: Um, musicality, you can tell the kids that do not tap.
• 43:03
  SPEAKER_03: I'm telling you 100%.
• 43:04
  SPEAKER_03: That's true.
• 43:05
  SPEAKER_03: Acro, you can go, I uh not to take away from the studio that you're at, but you can go, you can do individual privates, you can do open gym time, you can work on different things.
• 43:14
  SPEAKER_03: But I really, really wish that more studios required you to take tap for music reasons.
• 43:22
  SPEAKER_00: Yeah, I agree.
• 43:23
  SPEAKER_00: And acro is we know is great for strength as well.
• 43:27
  SPEAKER_00: It builds a lot of strength and your flexibility, but you can also get strength and flexibility in ballet and in jazz and in your other classes.
• 43:35
  SPEAKER_00: I'm not taking away from acro.
• 43:36
  SPEAKER_00: Like some what our students today are doing is so incredibly impressive that when I was their age, not a chance.
• 43:44
  SPEAKER_00: But for the same but tap, absolutely.
• 43:46
  SPEAKER_00: Musicality.
• 43:47
  SPEAKER_00: It's uh to me is way more important and understanding of your music and listening to rhythms.
• 43:54
  SPEAKER_02: Yeah, I'm I'm so glad that that was your like initial reaction, like both of you was like That's what it is.
• 44:02
  SPEAKER_02: Um, I love that so much.
• 44:04
  SPEAKER_02: If if you are new to the podcast or if you've listened to lots of episodes of the podcast, I'm sure you've heard me talk about how much I love tap and I think that tap is extremely important for dancers.
• 44:17
  SPEAKER_02: I wouldn't be the dancer or the choreographer or the educator that I am today if I didn't take tap.
• 44:22
  SPEAKER_02: I hear music completely differently.
• 44:24
  SPEAKER_02: I count every single song.
• 44:26
  SPEAKER_02: I love that I love trying to figure out the counts of a song.
• 44:30
  SPEAKER_02: Like that's like if there's like a weird like catch in the music, or if there's a six and then goes into an eight.
• 44:36
  SPEAKER_02: Like people that took that never have taken tap don't even know what I'm talking about because they would have never learned this before.
• 44:42
  SPEAKER_02: Almost like music theory.
• 44:44
  SPEAKER_02: I mean, you become a musician when you take tap, and it's going to only enhance, like both of you said, enhance your musicality and your timing and your understanding of music in every other style.
• 44:58
  SPEAKER_02: And like you said, Dean, you can tell immediately when a dancer doesn't take tap in when they're in another style of dance because you can just see their their lack of connection to the song and knowing where the downbeat is and and things like that.
• 45:11
  SPEAKER_02: So, like I agree, I think tap is probably the more important one.
• 45:15
  SPEAKER_02: Even thinking uh down the road, I think that being able to tap versus acro is going to get you further in your professional career.
• 45:23
  SPEAKER_02: I think that having a few acro elements and tricks under your belt that you can pop out here and there, you're but you're never gonna be in a professional job unless it's like really hired that way, where everyone's expected to do an aerial in the routine, you know, like that's probably not gonna happen.
• 45:38
  SPEAKER_02: But there might be a tap section in the show, and if you can't do the tap section, then you're not getting hired.
• 45:43
  SPEAKER_02: So, you know, have a few acro tricks here and there.
• 45:47
  SPEAKER_02: Like we we mentioned, you can do the strength training at home, you can incorporate that into your other classes, and that is a great skill to add on to our other elements.
• 45:57
  SPEAKER_02: But I think that tap is is the one.
• 46:00
  SPEAKER_02: Lottie.
• 46:01
  SPEAKER_02: I think it's it's to tap.
• 46:02
  SPEAKER_02: We all said it.
• 46:03
  SPEAKER_02: I hope they keep taking tap.
• 46:07
  SPEAKER_02: That was a great one.
• 46:08
  SPEAKER_02: All right, so we do have a few, and I don't want to keep this going for too long because I know that my guests have places to be and things to do.
• 46:16
  SPEAKER_02: But here's an interesting one, and I feel like that this is worth mentioning.
• 46:20
  SPEAKER_02: This is coming from Erica, and she says, Can you guys shed some light on why a lot of competitions don't have a title for novice mini age group five and up?
• 46:33
  SPEAKER_02: The title.
• 46:34
  SPEAKER_02: There's also another title question that that came up down here that I can pop up as well, and that was what are you looking for when you're judging title dancers in title?
• 46:46
  SPEAKER_02: So this is a title chat.
• 46:47
  SPEAKER_02: What does the title division mean to y'all?
• 46:49
  SPEAKER_02: And why is there not a title division for some competitions in the novice mini category?
• 46:56
  SPEAKER_03: I mean, for me, like novice is like you're just getting your feet wet in the competition world.
• 47:00
  SPEAKER_03: I don't think it's really needed.
• 47:02
  SPEAKER_03: You know, focus on them just getting familiar with the stage.
• 47:05
  SPEAKER_03: Like that's what it's about.
• 47:06
  SPEAKER_03: You know, like you should only be doing one or two dances at that age, for me personally, anyways, because too much.
• 47:12
  SPEAKER_03: And you see the kid forget their dance and stare at each other and they're like more stressed than it is fun.
• 47:17
  SPEAKER_03: And then for title, 99% of the I don't think I've ever been in a competition where it's differed.
• 47:22
  SPEAKER_03: It's always performance.
• 47:24
  SPEAKER_03: So you can not win first place in your solo division, or you could even like somebody that wins first place in the solo division, you can beat them in title because of just your performance quality.
• 47:35
  SPEAKER_03: That's what we are looking for a hundred percent when it comes to judging title.
• 47:39
  SPEAKER_03: So I don't know if you agree or not.
• 47:41
  SPEAKER_00: I was gonna say, I agree.
• 47:42
  SPEAKER_00: In terms of title for novice, again, I it's they should get the the goal is for them to get used to being on stage.
• 47:50
  SPEAKER_00: Like, I know as a teacher, you just watch and you just go like clench your hands together and you're like, please just make it through these two minutes with a smile, and like we'll be so good.
• 48:00
  SPEAKER_00: Like, it's lit like it's sort of baby steps.
• 48:03
  SPEAKER_00: It's like in terms of technique, you don't teach someone how to bot mop before you teach them how to point their foot in in a tondu, that kind of thing.
• 48:10
  SPEAKER_00: There's a there's a progression, there's plenty of time for titles later.
• 48:15
  SPEAKER_00: But in terms of title, for me, I mean I agree, performance.
• 48:18
  SPEAKER_00: I judge at a few competitions too where there's an interview portion, and then some competitions have you submit like a headshot.
• 48:26
  SPEAKER_00: So those things do come into effect too, and they have absolutely swayed which way the winner goes.
• 48:32
  SPEAKER_02: Totally.
• 48:33
  SPEAKER_00: And then I've also judged in nationals before where there are convention classes and the titleists have to take convention classes, and it's those are super interesting because then you get to see what their demeanor is like in class and how they take feedback, all that kind of stuff.
• 48:48
  SPEAKER_00: So, I mean, it's very complex.
• 48:50
  SPEAKER_00: If I was so if I was going just based off of for title and just seeing you dance and nothing else, I agree.
• 48:56
  SPEAKER_00: It's performance.
• 48:57
  SPEAKER_00: I wanna see it's that personality and that charisma that that I look for, whether it's tap or jazz or contemporary lyrical, whatever you're doing.
• 49:06
  SPEAKER_02: Yep.
• 49:06
  SPEAKER_02: Yeah, I completely agree.
• 49:08
  SPEAKER_02: I'm gonna try to keep this short, but I feel like title as far as our novice division, I don't necessarily personally think that there needs to be a title category for novice, like Dionne mentioned.
• 49:20
  SPEAKER_02: They're just getting started.
• 49:21
  SPEAKER_02: You know, they're beginners at this, regardless of their age.
• 49:24
  SPEAKER_02: And this is an opportunity for them to get on stage and do a great job and show us their best and what they're working on, and you know, getting feedback from from a judge.
• 49:33
  SPEAKER_02: So I don't I don't think that we need to worry about the the whole title and first place and things like that when we're just in the novice category.
• 49:41
  SPEAKER_02: It's it's about the fun, it's about the experience.
• 49:43
  SPEAKER_02: So that's what I'm you know, that's why I think that maybe title doesn't exist in a lot of the novice categories.
• 49:48
  SPEAKER_02: And I think that that is also going to be used as as a way to help motivate dancers to want to go into the next highest level.
• 49:56
  SPEAKER_02: You know, if if you don't have title and novice, then well, maybe, maybe you should enter an intermediate and then you can actually be considered for title if that's really what you want.
• 50:05
  SPEAKER_02: So I think we need to use it as a motivator instead of saying, well, why isn't this there?
• 50:09
  SPEAKER_02: Because, you know, if the competition chooses to not have it there, then they don't have it there.
• 50:13
  SPEAKER_02: And then as a as a customer and as a teacher, as a parent, you decide, well, if this is what you really want, are you willing to go up into the next level to be considered for it?
• 50:21
  SPEAKER_02: So I think that's an important point.
• 50:23
  SPEAKER_02: And everything that both of you said about what we look for inside is is exactly it.
• 50:27
  SPEAKER_02: I love when they have the extra elements and it's not just based off your score.
• 50:31
  SPEAKER_02: You know, I love there has to be something else that makes it different because if not, then it to me it just feels like the same thing as first place overall.
• 50:37
  SPEAKER_02: So what how do we make title different?
• 50:39
  SPEAKER_02: Add the headshot.
• 50:40
  SPEAKER_02: I've seen like interview questions, I've seen modeling, I've seen so many different ways that competitions have incorporated that.
• 50:46
  SPEAKER_02: I love the idea of like watching it on class, seeing how they do, having an audition, teaching them a combo.
• 50:51
  SPEAKER_02: I mean, those things can can to me make sense for the extra entry fee if that's what it is, because most of them is an extra entry fee.
• 50:57
  SPEAKER_02: So I think there needs to be an an added element to the title competition if there's if people are entering into title instead of just like a throwaway here, you've won title type of thing.
• 51:07
  SPEAKER_02: It needs to be like an accumulative overall.
• 51:09
  SPEAKER_02: We have a couple more questions, and I do have an anonymous question that I'd like to answer, and I feel like that this can be extremely relatable to a lot of dancers right now, so I want to get to this one, and then I think that I'm gonna have to just do one final one at that point.
• 51:22
  SPEAKER_02: So I'm sorry if I don't get to your questions, but thanks for sending them.
• 51:26
  SPEAKER_02: All right, so this is an anonymous question coming in, and it says, We are a small studio and blocks with block scheduling, and it's been really hard on my two dancers.
• 51:36
  SPEAKER_02: We enter 18 dances, and my daughter is in 10 of those.
• 51:40
  SPEAKER_02: At our last competition, I noticed that my daughter had lost a lot of her energy by the last few dances, and this was definitely reflected in the comments she received.
• 51:49
  SPEAKER_02: Her leaps were lower, and you could see the mask moving in and out as she struggled to catch her breath.
• 51:54
  SPEAKER_02: Do you have any suggestions to help her through the rest of the season?
• 51:58
  SPEAKER_02: We are already doing conditioning, cutting down on costume details to make changes easier, and trying to hydrate between each dance.
• 52:05
  SPEAKER_02: So I feel like this is probably a very relatable question for a lot of dancers who are dealing with block scheduling this season, which so many are also dancing in masks.
• 52:14
  SPEAKER_02: Do you have any uh advice for this dancer?
• 52:17
  SPEAKER_00: I would say for me, the number one thing, because I say it to my dancers all the time, is please eat before competition.
• 52:24
  SPEAKER_00: Please.
• 52:24
  SPEAKER_00: Because I know a lot of kids are like, I know when I was competing, I was like, I can't eat.
• 52:29
  SPEAKER_00: I need to focus.
• 52:30
  SPEAKER_00: And I always felt like that if I had like a full stomach, it was like too much.
• 52:35
  SPEAKER_00: But I think we overestimate how much energy we actually get from eating.
• 52:40
  SPEAKER_00: So you have to make sure you're eating a good meal.
• 52:43
  SPEAKER_00: And I when I say a good meal, I mean like lots of stuff with lots of nutrition in it before.
• 52:49
  SPEAKER_00: You would be surprised at how much more energy you'll have by having something very balanced and substantial, like an hour, hour and a half before you have to dance.
• 53:00
  SPEAKER_00: I think it makes a huge difference.
• 53:01
  SPEAKER_03: I I agree with that totally.
• 53:03
  SPEAKER_03: I'm dealing with it with my own kids when they go to competition.
• 53:07
  SPEAKER_03: Like the last competition we went to, unfortunately, some of the kids had to quarantine, so we weren't able to compete all the dances.
• 53:13
  SPEAKER_03: So some of the dances got pulled, some of the dances we still did without the spacing, and some of the critiques that we got back from the judges were like, I think something's off here, not sure, you know.
• 53:23
  SPEAKER_03: And I unfortunately I think that's just kind of what's gonna happen this year.
• 53:27
  SPEAKER_03: And then my jazz piece was the last one to go, and they didn't have the time in between because those dan other dances got pulled.
• 53:35
  SPEAKER_03: They weren't able to do the makeup that they needed that for that dance, and they didn't perform at their best.
• 53:40
  SPEAKER_03: Um, and that reflected in the critique and it sucks.
• 53:44
  SPEAKER_03: I wish I had a better answer.
• 53:46
  SPEAKER_03: I think it's just competitions are seen as well.
• 53:49
  SPEAKER_03: I think because everything is new this year with block scheduling, they're gonna have to figure out something better.
• 53:54
  SPEAKER_03: It's great for parents and teachers because they're there for four hours and they're out.
• 53:58
  SPEAKER_03: But I think the parents are starting to realize like my kid's dead after four hours of straight dancing back to back because there is no break in between when you have that many dances and that many, because most kids are in majority of the dances, especially at an elite level.
• 54:12
  SPEAKER_03: So I would say kind of pick the pros and cons and reflect that back to the competition as well as your studio director, and just tell them, hey, like, you know, we like this portion of it, but this portion can we figure out a better way because we're all on a learning curve this year, and just be positive for your dancer and tell them, you know, it's an experience, it's getting out there.
• 54:32
  SPEAKER_03: If especially if you're in like a professional show.
• 54:34
  SPEAKER_03: I mean, you guys have rehearsals um teen hours a day, and then you're performing two, three shows, you know, that same day, you know.
• 54:40
  SPEAKER_03: So if this is something you really truly want to do, suck it up.
• 54:44
  SPEAKER_03: I know that sounds like it sounds hard, but just do it.
• 54:48
  SPEAKER_03: This is what you opted to do, and this is what we're doing right now.
• 54:50
  SPEAKER_03: So do the best that you can and we'll grow on each one.
• 54:53
  SPEAKER_03: I wish I had a better answer, but that's kind of kind of how I feel right now.
• 54:58
  SPEAKER_03: Yeah.
• 54:58
  SPEAKER_00: For both ends.
• 54:59
  SPEAKER_00: To backpack off of that.
• 55:00
  SPEAKER_00: I mean, if you have any students who want to be a professional dancer, that kind of goes with the gig at a certain point.
• 55:06
  SPEAKER_00: I mean, I think Court I think Courtney can relate to this, but when you know when you dance for Royal, you do a tech run in the morning that's considered to be full out, you have a couple hours off, and then you have to do two full shows back to back.
• 55:19
  SPEAKER_00: So is it the same sort of endurance for a dance competition?
• 55:24
  SPEAKER_01: Hmm.
• 55:24
  SPEAKER_00: Comparatively, sure.
• 55:26
  SPEAKER_00: But it's great training and it's and it's a look forward to see what it's like.
• 55:30
  SPEAKER_00: I mean, you know, you go to a Broadway show, you have to take you have to do completely change your costume in 30 seconds and get back out on stage.
• 55:38
  SPEAKER_02: Yep, yeah.
• 55:38
  SPEAKER_02: Yeah, and that I mean, I I actually have been thinking about people struggling through the block scheduling format and then also kind of flipping back and relating it to like, well, you know, think about what you do in a professional show.
• 55:51
  SPEAKER_02: I mean, yes, I it's hard to compare professionals to children, of course, but like these kids have all the energy and they are way more in shape than I am sometimes when I'm working on a professional gig.
• 56:04
  SPEAKER_02: And if I can do it, they can do it.
• 56:06
  SPEAKER_02: I'm telling you, like it is part of the gig.
• 56:09
  SPEAKER_02: It is hard.
• 56:10
  SPEAKER_02: It's just something that we've never had to really navigate before.
• 56:13
  SPEAKER_02: It's sort of like a mini recital.
• 56:15
  SPEAKER_02: You know, block scheduling is like a mini recital, and maybe in our regular recitals, we have some other filler in there, and maybe for block scheduling, this is just the competition team.
• 56:23
  SPEAKER_02: And if you're a smaller studio, then it does make it harder.
• 56:27
  SPEAKER_02: But we're building the stamina, we're learning how to use our breath in a different way this year, and we're learning how to quick change like a pro.
• 56:34
  SPEAKER_02: That is an important skill to learn how to do too.
• 56:37
  SPEAKER_02: We don't have time to change the hair and the makeup and the everything.
• 56:41
  SPEAKER_02: Learn how to underdress if we have to.
• 56:43
  SPEAKER_02: That's a trick of the trade in the professional world.
• 56:46
  SPEAKER_02: If you know that you have to wear your tan bloomers underneath your next costume, wear them underneath the costume that you're currently wearing if you can, you know.
• 56:55
  SPEAKER_02: Underdressing is huge to be able to make that change and like running back and forth and catching your breath and all the things.
• 57:02
  SPEAKER_02: I mean, is there a way that we could like have a pop-up tent closer to backstage so we don't have to run all the way to the dressing room?
• 57:08
  SPEAKER_02: You know, are there things that we can incorporate like that to help the dancers?
• 57:12
  SPEAKER_02: Because I've I've heard recently that there was a dressing room that was on the opposite side of where the stage was, and the dancers were like running football fields length back and forth during block scheduling to change their costume, and it's just like that's not realistic either.
• 57:25
  SPEAKER_02: I mean, we have to also make sure that as for the dancers, like that we're we're providing them a realistic situation too, from from the competition's end.
• 57:34
  SPEAKER_02: And like in those scenarios, like you mentioned, Michael, when we have to quick change for a professional show in 30 seconds, we have a dresser and we're doing it right off the side of the stage.
• 57:43
  SPEAKER_02: Like, not that children should be in dressing off the side of the stage, but like pop up a tent in the hallway and like do your quick change, girl.
• 57:50
  SPEAKER_02: Like, figure it out.
• 57:51
  SPEAKER_02: Grab that water, take a breath, and you're back on stage.
• 57:54
  SPEAKER_02: You know, you don't even have time to think about what's coming next and have those snacks on hands, you know, things that you that are easily easy to access.
• 58:03
  SPEAKER_02: If the competition allows the studios to like create their schedule, then that's also helpful so they can kind of figure out like who needs to go where based on quick changes, based on who's in what dance is.
• 58:12
  SPEAKER_02: I really love that a lot of competitions are offering that.
• 58:15
  SPEAKER_02: So just keep doing what you're doing.
• 58:17
  SPEAKER_02: I know it's tough.
• 58:17
  SPEAKER_02: We're gonna get through it this season.
• 58:19
  SPEAKER_02: I promise.
• 58:19
  SPEAKER_02: I know some people love the block scheduling, some people hate it.
• 58:22
  SPEAKER_02: Some people say never let it.
• 58:24
  SPEAKER_02: We should always block schedule.
• 58:25
  SPEAKER_02: But I don't think it's gonna stay, unfortunately.
• 58:28
  SPEAKER_02: I think once once it's able to leave, it's gonna leave.
• 58:31
  SPEAKER_03: I don't think it's ever gonna go back to completely how it was before.
• 58:34
  SPEAKER_03: Some competitions may, but I think some competitions are realizing like there's a better way to do things, and I think it's gonna take a couple years, but it's gonna be trial and error, I think, for the next couple years, like what works, what doesn't, and then stick with the best.
• 58:45
  SPEAKER_00: Yeah, I think it will also the competitions are gonna have to listen to their clients because if some clients really like the block scheduling, they might have to offer it to people.
• 58:54
  SPEAKER_00: Especially, like, you know, let's take so the question was because it was a small studio, whatever we consider a small studio to be.
• 59:01
  SPEAKER_00: They are their block scheduling's harder for them.
• 59:03
  SPEAKER_00: But you know, you have a studio with a hundred entries, it might be a little bit easier depending on how many dancers you have.
• 59:10
  SPEAKER_00: So I almost think competitions are gonna have to offer it in some way.
• 59:13
  SPEAKER_00: Because I know a lot of parents love being done in three hours.
• 59:18
  SPEAKER_02: Yeah.
• 59:18
  SPEAKER_02: It wouldn't be a bad idea if the competitions moving forward would if, like, you know, they were kind of considering offering block scheduling still for their customers, is maybe designating like, all right, if you want block scheduling, then Friday is the time slot for you.
• 59:32
  SPEAKER_02: And uh they always know that Friday is the block scheduling day, and if anybody grabs it, great.
• 59:37
  SPEAKER_02: If no one grabs it, then you know, we do regular competition, but then Saturday, Sunday is regular comp or something like that.
• 59:43
  SPEAKER_02: Or maybe like end of the night on Sunday is block studio block day.
• 59:47
  SPEAKER_02: You know, if if it's planned out ahead of time where it's always the same for a competition, I think that that could maybe work.
• 59:53
  SPEAKER_02: I will say block scheduling is is very hard on the judges, it's not easier for us seeing the same studio over and over.
• 1:00:00
  SPEAKER_03: Yeah, it's hard.
• 1:00:01
  SPEAKER_02: Yeah.
• 1:00:02
  SPEAKER_03: Even that, I just don't feel like the overalls, it's kind of like what you what you see that day.
• 1:00:07
  SPEAKER_03: It's kind of like you look at a studio and based on the a studio that you're seeing kind of determines your score.
• 1:00:14
  SPEAKER_03: And then so when you get the overalls, you know, I don't not that I don't think it's close to where it would be if they were to compete like in their own category against the dances that they're actually against.
• 1:00:24
  SPEAKER_03: But it's hard to remember a dance when you have a 500 entry weekend, if you are number 34 on Friday and then you're comparing it to number 482 on a Sunday night, I don't know.
• 1:00:37
  SPEAKER_03: Like, I might have been hungry the first.
• 1:00:40
  SPEAKER_03: I know that sounds really bad, but you understand what I'm saying.
• 1:00:43
  SPEAKER_03: Like you're looking at it the same, but it might it might differ just a little bit as far as maybe what you've seen the whole entire day.
• 1:00:50
  SPEAKER_03: Maybe you're judging them harder because they're a really good studio.
• 1:00:53
  SPEAKER_03: It's just there's so many different factors.
• 1:00:55
  SPEAKER_03: I know that sounded really bad.
• 1:00:57
  SPEAKER_03: But it just close to it, but it's just it's it's really hard on the judges for block scheduling.
• 1:01:03
  SPEAKER_01: Yeah.
• 1:01:03
  SPEAKER_02: Yeah, I it's hard on the judges in in normal competition too, because a lot of how the schools are structured when it's non-block scheduling is like beginner, novice, age 12 here to an advanced 15 and over to an intermediate, and like we're jumping levels in the schedule and we're not putting everything like against each other how it should be, at least like how I would as a judge want it.
• 1:01:27
  SPEAKER_02: So our brains are like going all over the place and overdrive, like working a mile a minute, and like not using that as an excuse, but like it is hard.
• 1:01:35
  SPEAKER_02: It's very hard.
• 1:01:36
  SPEAKER_02: If you've never sat in the judge's seat, it's hard.
• 1:01:38
  SPEAKER_02: So like the block scheduling is a whole new way of like we're relearning how to judge almost because we've never had to do this either.
• 1:01:45
  SPEAKER_02: So as much as the dancers are trying to navigate how do I get keep my endurance up and my energy and my stamina, my breath, and all the things, like us as judges are also, you know, navigating this this season that way as well.
• 1:01:58
  SPEAKER_02: So just know that like we support you, we want you all to succeed.
• 1:02:03
  SPEAKER_02: We understand that block scheduling is hard, we know that you're dancing in mask and that is hard.
• 1:02:07
  SPEAKER_02: I appreciate any dancer that dances in a mask and is staying safe and respectful to everyone around them.
• 1:02:12
  SPEAKER_02: I always applaud and recognize that.
• 1:02:13
  SPEAKER_02: So thank you.
• 1:02:14
  SPEAKER_02: And I think we're all making it work this season as best we can, and that's all we can do, right?
• 1:02:19
  SPEAKER_03: Yeah, dancers make it work.
• 1:02:21
  SPEAKER_02: We make it work, we do.
• 1:02:22
  SPEAKER_03: Dancers need to run the country.
• 1:02:24
  SPEAKER_03: I always say that because we would get anywhere in four counts on five, six, seven, eight, and we'd all be in unison.
• 1:02:30
  SPEAKER_03: We would uh we all band together.
• 1:02:33
  SPEAKER_00: Dancers, I love it, stage managers.
• 1:02:35
  SPEAKER_02: Yes, yes.
• 1:02:38
  SPEAKER_02: Well, sadly we ran over.
• 1:02:41
  SPEAKER_02: So for everyone that sent in last minute questions, we are saving those for our next QA, and maybe we'll have like a final, final, final, final one of the season.
• 1:02:50
  SPEAKER_02: Maybe Leslie and I can jump on and answer those final questions to finish out season two of the podcast.
• 1:02:57
  SPEAKER_02: But thank you all for sending in questions and huge shout out to our guests, Michael and Dion, for joining us today on the live stream.
• 1:03:07
  SPEAKER_02: You are rock stars and answered every question flawlessly.
• 1:03:11
  SPEAKER_02: And I hope you enjoyed sharing your afternoon with us on the podcast.
• 1:03:15
  SPEAKER_00: Thank you.
• 1:03:16
  SPEAKER_00: Thank you very much.
• 1:03:18
  SPEAKER_02: So, final wrap of things, just to remind you all, I'm sure you've heard us talk about it, but we host a virtual competition at Impact Dance Adjudicators.
• 1:03:26
  SPEAKER_02: We just wrapped our March solo competition, which was a huge success.
• 1:03:30
  SPEAKER_02: We had seven different countries participating with us, which was awesome.
• 1:03:34
  SPEAKER_02: So much talent, and uh, we just love providing this for dancers around the world.
• 1:03:39
  SPEAKER_02: So if you're looking to for another virtual competition experience, then definitely check out IDA's virtual competition.
• 1:03:47
  SPEAKER_02: We are hosting our final May solo and group competition.
• 1:03:51
  SPEAKER_02: Registration will be active and open for an entire month, and it'll close on May 10th.
• 1:03:56
  SPEAKER_02: And once it closes, then our judges will get right to work on critiquing and scoring your entries, providing you with awesome detailed feedback.
• 1:04:04
  SPEAKER_02: We have genre-specific judging panels that you can request for where all three judges will specialize in the style that you submit, which is a really cool feature that we offer.
• 1:04:12
  SPEAKER_02: And uh we have a top 20 live stream challenge where the dancer three compete for a new set of judges.
• 1:04:17
  SPEAKER_02: So we have a lot of fun stuff, lots of sponsored prizes, hash awards for our overalls.
• 1:04:21
  SPEAKER_02: So we would really love for you to participate, or if you know any dancers that are interested.
• 1:04:25
  SPEAKER_02: So join us for our next virtual competition.
• 1:04:28
  SPEAKER_02: You can learn more at our website at impactdance.comslash virtual computer.
• 1:04:35
  SPEAKER_02: And that wraps it up for us today.
• 1:04:38
  SPEAKER_02: It was a great, great QA.
• 1:04:41
  SPEAKER_02: I love chatting with our IBA judges, and I loved seeing all these questions come in.
• 1:04:47
  SPEAKER_02: Thanks so much again for joining us.
• 1:04:49
  SPEAKER_02: I hope you enjoyed it.
• 1:04:51
  SPEAKER_02: Thanks to all of our listeners and podcast plan who have been listening and tuning in.
• 1:04:55
  SPEAKER_02: Don't forget to subscribe to Making the Impact the Dance Competition Podcast.
• 1:04:59
  SPEAKER_02: And I hope to see y'all again soon on Facebook Live.
• 1:05:04
  SPEAKER_02: See you next time.
• 1:05:05
  SPEAKER_02: Bye everyone!