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Q&A with Courtney - December Edition · Making The Impact - A Dance Competition Podcast

• 0:07
  SPEAKER_03: Hi everyone and welcome to Making the Impact, a dance competition podcast.
• 0:11
  SPEAKER_03: I'm your host, Courtney Ortiz, and we are here today for this month's episode of QA with Courtney.
• 0:18
  SPEAKER_03: Each month I sit down to answer all of your questions that you send in about the dance competition world.
• 0:24
  SPEAKER_03: As we know, it's December and the holidays are here.
• 0:27
  SPEAKER_03: I'd like to wish all of our listeners a very Merry Christmas and happy holidays.
• 0:31
  SPEAKER_03: I'm sending my love from New York City and hope that everyone has a wonderful holiday spent with their family and loved ones.
• 0:37
  SPEAKER_03: Enjoy the time off from the studio and get ready for an exciting 2020 dance season that will be here so soon.
• 0:44
  SPEAKER_03: Before we get into our questions, I'd like to say thank you to everyone who's been subscribing to the podcast and listening throughout the past few months.
• 0:50
  SPEAKER_03: We launched back in October and have just released our 10th episode of the season with huge success.
• 0:55
  SPEAKER_03: We have had so much fun making this podcast come to life, and we couldn't be more grateful for your support.
• 1:00
  SPEAKER_03: So if you've been enjoying our episodes on Making the Impact, don't forget to spread the word with any of your dance friends who may enjoy listening and share with your followers on social media.
• 1:08
  SPEAKER_03: We also would love to hear from you about your thoughts and ideas on future topics, so feel free to write us on our website or leave us a review and tell us what you think.
• 1:15
  SPEAKER_03: We have lots of awesome topics coming your way in the next few months that I'm sure you will love, so stay tuned every Monday throughout the dance season for our weekly episode releases.
• 1:24
  SPEAKER_03: As we know, competition season is quickly approaching and it will be here before we know it.
• 1:29
  SPEAKER_03: I'm here today to answer some of your questions to help us prep for the upcoming season.
• 1:33
  SPEAKER_03: We've had questions coming in from across the United States and Canada, from dance parents to studio owners to even dancers themselves.
• 1:40
  SPEAKER_03: If you have a question you'd like me to answer on an upcoming Q ⁇ A with Courtney episode, head over to our website now to submit or visit our show notes and click the link.
• 1:47
  SPEAKER_03: You can submit questions anonymously, or you can share your name in studio and I'll give you a shout-out live on the air.
• 1:53
  SPEAKER_03: We also love audio questions, so if you want your voice on the pod, head to the website and leave us an audio recording.
• 1:59
  SPEAKER_03: You can ask me anything relating to the dance industry, like competition prep questions, training advice, costume help, what the judges look for, professional dance experience, audition tips, any type of question is welcome.
• 2:11
  SPEAKER_03: So head to the website now and send it in.
• 2:13
  SPEAKER_03: And finally, be sure to follow us on social media at Impact Dance Adjudicators.
• 2:18
  SPEAKER_03: You can stay connected with us for podcast episode releases, weekly tips straight from our IDA judges, and you can even check out which events our judges will be at throughout the competition season.
• 2:27
  SPEAKER_03: We have also been hosting some exciting giveaways from our podcast sponsors that you don't want to miss out on.
• 2:32
  SPEAKER_03: So be sure to stay connected with us on Facebook and Instagram.
• 2:36
  SPEAKER_03: All right, let's jump right in.
• 2:38
  SPEAKER_03: I'm super excited to answer these questions from our listeners this week.
• 2:41
  SPEAKER_03: We have four awesome questions, and we are going to start off with a question from Jeanette Gonerick, a dance parent from KJ Dance in Plano, Texas.
• 2:51
  SPEAKER_03: This is a two-part question.
• 2:53
  SPEAKER_03: So she would like to know what is more important in a competition solo, technique or performance?
• 2:59
  SPEAKER_03: And is it sometimes harder to judge performance in a contemporary solo?
• 3:03
  SPEAKER_03: Thank you so much, Jeanette, for sending this in from Texas.
• 3:06
  SPEAKER_03: This is a great question, and I think that this is an important one to talk about because many, many dancers in the competition world have solos these days.
• 3:15
  SPEAKER_03: Solos practically fill up the entire competition.
• 3:19
  SPEAKER_03: There are a lot of soloists that compete at competition in all of the levels and age ranges, so it is important to discuss solos at competition.
• 3:26
  SPEAKER_03: And as far as technique or performance, which is more important?
• 3:30
  SPEAKER_03: Honestly, I think that they are both equally as important.
• 3:34
  SPEAKER_03: Depending on the score sheet that you have at the competition, and I'm sure you've heard us talk about this on the podcast in other episodes, but every competition is different as far as what their scoring brackets are and what their score sheets look like and how their scores are broken down.
• 3:50
  SPEAKER_03: Sometimes it's a one-numbered score, sometimes it's a broken down score, and it has technique, performance, costume, choreography, all of the different elements broken down to complete an 100-point score per judge.
• 4:01
  SPEAKER_03: Technique sometimes is the dominant score and will have the highest amount involved.
• 4:07
  SPEAKER_03: So let's say if it's an 100-point score, sometimes technique will be out of 40 and then performance will be out of 30.
• 4:14
  SPEAKER_03: Other score sheets that I've seen, sometimes technique and performance are at the same bracket and share the same amount of points.
• 4:22
  SPEAKER_03: So I think that it really comes down to how the competition has their scores laid out and what is more valuable in their score sheet because that will really determine and change how the score might pan out depending on what competition you're attending.
• 4:39
  SPEAKER_03: That being said, overall, a general perspective and my personal opinion, I think that they are both completely equally as important.
• 4:48
  SPEAKER_03: And here's why.
• 4:50
  SPEAKER_03: Technique is very, very, very important.
• 4:52
  SPEAKER_03: And I hope that everyone has had a chance to listen to our most recent episode, which is called Why Technique Will Never Go Out of Style.
• 5:00
  SPEAKER_03: It was episode 10 that we just launched last week.
• 5:03
  SPEAKER_03: And we discussed the ins and outs of technique and why it's so important and why we need to make sure that we're focusing on technique year-round throughout the studio.
• 5:11
  SPEAKER_03: Since technique is such an important element of your routine, you can't really disguise technical flaws.
• 5:18
  SPEAKER_03: So, you know, we always say, don't show us what you can't do, show us what you can do.
• 5:22
  SPEAKER_03: And I think that when it comes to technique, that is really what we want to do.
• 5:26
  SPEAKER_03: However, there are many dancers out there who are technically flawless but have zero performance.
• 5:32
  SPEAKER_03: And that will honestly make or break a routine for me because I think that you need to equally have both technique and performance to be a first overall dancer.
• 5:43
  SPEAKER_03: You can drill technique into the ground and over and over and over again and be a completely flawless technician.
• 5:49
  SPEAKER_03: But if there's nothing backing up that performance and no passion behind it, then it's really just dance steps and clean technique.
• 5:57
  SPEAKER_03: And that's awesome to watch.
• 5:58
  SPEAKER_03: But sometimes us judges, we need a little bit more.
• 6:02
  SPEAKER_03: So then let's flip the switch and say that there is a dancer who is struggling a little bit with their technique.
• 6:09
  SPEAKER_03: They're still working on some things.
• 6:10
  SPEAKER_03: Maybe they haven't got their lines fully finished.
• 6:13
  SPEAKER_03: However, they are performing and leaving it on the floor and they love their life and they just have the most amazing performance quality on stage and telling a story and using their focus and letting that take over them in their dancing.
• 6:28
  SPEAKER_03: Sometimes that will outshine someone that just has great technique.
• 6:32
  SPEAKER_03: So, in a perfect world, we want both.
• 6:34
  SPEAKER_03: We want to have the technique and the performance complement each other.
• 6:38
  SPEAKER_03: And that will really be a total package for me when I do see a dancer bring both of those things to the table.
• 6:43
  SPEAKER_03: However, we have to also know our strengths.
• 6:46
  SPEAKER_03: So I guess my best advice would be that if you are a beautiful technician, I want to make sure that you also remember to perform because that is a part of your score.
• 6:54
  SPEAKER_03: And depending on the judges that are on the panel that day, some people might love technique and say, oh my gosh, their technique was flawless.
• 7:02
  SPEAKER_03: I just can't get past how beautiful their technique was.
• 7:04
  SPEAKER_03: I really took no points off for technique.
• 7:07
  SPEAKER_03: But then the judge next to them might say, Yeah, but they didn't perform at all and they were boring to watch, which of course we don't want you to be boring.
• 7:15
  SPEAKER_03: So make sure that you are bringing that performance alive to back up your beautiful technique.
• 7:20
  SPEAKER_03: Overall, in the end, which is more important, they're both important, everybody.
• 7:25
  SPEAKER_03: Just letting you know everybody needs to have great technique and great performance quality because we are performers.
• 7:32
  SPEAKER_03: We're meant to be on stage for a reason.
• 7:34
  SPEAKER_03: You want to take the audience on a journey with you, and you have to do that with your beautiful performance.
• 7:39
  SPEAKER_03: So I really hope that everyone continues to work on both elements of their technique and their performance.
• 7:46
  SPEAKER_03: And it really comes down to a judge's preference.
• 7:49
  SPEAKER_03: It just really depends on what the judges really enjoy.
• 7:52
  SPEAKER_03: But a total package for me would have both.
• 7:54
  SPEAKER_03: So that's the first answer to our question.
• 7:56
  SPEAKER_03: The second part to Jeanette's question was: Is it harder to judge performance in a contemporary solo?
• 8:02
  SPEAKER_03: I'm going to say no, it's not.
• 8:04
  SPEAKER_03: Just because it's contemporary, it doesn't mean that it's harder to judge the performance.
• 8:07
  SPEAKER_03: I think that we have to really make sure that in all genres of dance that we're telling the story and becoming whatever character we are and getting into that mindset the moment we step out on stage.
• 8:20
  SPEAKER_03: You know, as dancers, we are also actors.
• 8:22
  SPEAKER_03: So performance is a really, really big part.
• 8:25
  SPEAKER_03: However, I don't think that just because it's contemporary, it means that the performance is harder to understand or harder to portray or get across.
• 8:34
  SPEAKER_03: So I think that our job as dancers and for the dancers that are competing on stage, you have to make sure that you are bringing that performance alive enough so the judges and the audience can understand your character and understand your performance a little bit more.
• 8:48
  SPEAKER_03: So, no, I don't think that it's harder to judge that just because it's in contemporary.
• 8:53
  SPEAKER_03: But I also don't think that being in contemporary means that that's an excuse to not perform.
• 8:57
  SPEAKER_03: I really think that we have to make sure that we are always performing the moment we step foot on stage.
• 9:02
  SPEAKER_03: And my advice to all soloists out there, especially because you are the only person on stage in a solo, you don't have group members and teammates to help you through the storytelling, we have to make sure that we know what our story is and our intention behind each and every movement that we do.
• 9:18
  SPEAKER_03: Yes, sometimes we can go out and just dance on stage, but it's really, really exciting to watch somebody tell a story.
• 9:25
  SPEAKER_03: So if that means that you need to create a storyline for your routine, if your teacher didn't give you one, or if you want to write down, you know, what this song means to you or what this dance means to you, and even just going through each eight count and creating a storyline to complement the movement, that will really bring a lot of intention behind your movement and really help you portray that character to your audience and your judges to be able to perform more successfully and really showcase that.
• 9:52
  SPEAKER_03: So that's a helpful little tip of advice.
• 9:54
  SPEAKER_03: But to answer your question, no, it is not harder to judge performance in the contemporary category.
• 9:59
  SPEAKER_03: But please be sure to bring all the performance and technique to the stage.
• 10:03
  SPEAKER_03: Thanks, Jeanette, for sending in this question.
• 10:05
  SPEAKER_03: Our next question is coming from a dance teacher named Whitney from Casciasco, Mississippi.
• 10:10
  SPEAKER_03: Her question is I'm so excited about this podcast, I can't wait to listen.
• 10:14
  SPEAKER_03: I'm an acroteacher and dance mom.
• 10:17
  SPEAKER_03: My question is about leveling.
• 10:18
  SPEAKER_03: We have a relatively new competition studio.
• 10:21
  SPEAKER_03: A few of our dancers are more naturally talented than others, but they all have the same years of experience.
• 10:26
  SPEAKER_03: Other than years of experience, what should we base their level on when entering comps?
• 10:30
  SPEAKER_03: We have recently received advice that once they are consistently placing high, it is time to move up a level.
• 10:35
  SPEAKER_03: What about the ones who are pretty good dancers but may place 10th at a couple of comps?
• 10:39
  SPEAKER_03: If we move them up, they may never place and get discouraged.
• 10:42
  SPEAKER_03: The level rules aren't always cut and dry, and we do realize it is not about the awards.
• 10:46
  SPEAKER_03: Just looking for any tips you may have as we want to follow the rules and push our dancers to get better.
• 10:51
  SPEAKER_03: Thanks, Whitney, for sending this in.
• 10:53
  SPEAKER_03: This is a great question, and obviously it's about our favorite topic, the hottest topic ever, levels, which is going to be an upcoming episode coming soon to the podcast.
• 11:04
  SPEAKER_03: I know everyone's really excited about that one, as am I.
• 11:08
  SPEAKER_03: So thank you for asking this question about levels.
• 11:11
  SPEAKER_03: So, as we know, levels is an extremely hot topic, mainly because it's really hard to determine what classifies a dancer in an appropriate level.
• 11:20
  SPEAKER_03: Every competition is very different as far as how they classify that.
• 11:24
  SPEAKER_03: Some will say it's about the amount of hours of dance they take a week or train a week.
• 11:30
  SPEAKER_03: Others will say how many years they've competed at competitions.
• 11:34
  SPEAKER_03: Maybe it's their first year competing compared to their 10th year competing, whatever it may be.
• 11:38
  SPEAKER_03: So everybody's different.
• 11:40
  SPEAKER_03: And I think that causes a lot of confusion as to how studios should accurately place their dancers when they attend competitions.
• 11:48
  SPEAKER_03: And my best advice to all teachers out there and studio owners who are putting their dancers into levels at competition is to read the rules for the specific competition and follow those rules accurately.
• 12:01
  SPEAKER_03: I don't think that you should compare your dancers based on, you know, each other at the studio or based on who you know that's attending the competition.
• 12:11
  SPEAKER_03: I think that you need to just be honest to what the rules are and follow them.
• 12:15
  SPEAKER_03: Even if that means your dancer may be in a level that is more advanced than they you think they belong.
• 12:21
  SPEAKER_03: Unfortunately, that's what the rules are, and I feel like that we just all need to follow them appropriately.
• 12:26
  SPEAKER_03: I will say right off the bat, and man many people might not think this, but us judges can tell if you are abusing the level system.
• 12:35
  SPEAKER_03: Now, we always don't have the freedom to move or bump dancers and dances around once they're placed in the level that you determine they are in.
• 12:44
  SPEAKER_03: So, you know, we are trusting you as a teacher and to our studio owners that you are appropriately placing them in the proper level based on the credentials and the guidelines and the rules that that specific competition has given you.
• 12:57
  SPEAKER_03: So we usually can tell that a dancer is misplaced if they are misplaced.
• 13:03
  SPEAKER_03: And at the same time, my I have a lot of thoughts about levels, and I feel like that teachers just need to not be afraid to place the dancers where they belong, even if that means that they're going to get beat or they're not going to win first overall.
• 13:17
  SPEAKER_03: And Whitney, I know that your question was, you know, if a dancer is consistently placing first, is does that mean that it's time for them to bump up?
• 13:25
  SPEAKER_03: I think that yes, absolutely.
• 13:27
  SPEAKER_03: If they're consistently placing first, they need to bump up.
• 13:30
  SPEAKER_03: However, your question is kind of gearing more towards I have different level talent at this studio and I'm comparing the dancers against each other instead of knowing how many hours they train and they all train the same.
• 13:43
  SPEAKER_03: There's always going to be different talent level at a studio.
• 13:47
  SPEAKER_03: And some people may excel higher than others but train the same amount of time.
• 13:51
  SPEAKER_03: And that's just how it is.
• 13:52
  SPEAKER_03: But I don't think that you're doing the dancers any favors by holding them back or not bringing them up to a higher level to challenge them and push them.
• 14:01
  SPEAKER_03: Because at the end of the day, competition is about competition.
• 14:05
  SPEAKER_03: And of course, we don't want to get dancers discouraged and frustrated that they're not winning.
• 14:09
  SPEAKER_03: But of course, it's not always about winning, it's about learning and growing and improving and being inspired by dancers who who beat us this time.
• 14:16
  SPEAKER_03: And how are we going to beat them next time?
• 14:19
  SPEAKER_03: Or how are we going to achieve this goal of ours to, you know, improve from our judges' critiques?
• 14:24
  SPEAKER_03: And, you know, even just getting a step in the right direction of even just trying to compete in the higher level, that's awesome.
• 14:30
  SPEAKER_03: That's really exciting.
• 14:31
  SPEAKER_03: Why not take that challenge?
• 14:33
  SPEAKER_03: I also think that when we have all of the levels in competition, it really defeats the purpose of competition because we're breaking it down into so many mini competitions that we're not all competing against each other.
• 14:44
  SPEAKER_03: So the amount of people that you're competing against is actually less than what you would if everyone was competing against each other.
• 14:50
  SPEAKER_03: So it just allows more opportunity for dancers to have a chance to win, which is great and we love that.
• 14:56
  SPEAKER_03: But at the same time, there's something really special about the defeat of a dance competition as well, and not being afraid to be defeated and to, you know, experience that.
• 15:24
  SPEAKER_03: You know, if there is a specific dancer who does train more than another at the studio and they do technically belong in a higher level, then place them in that higher level and don't hold them back just to win.
• 15:34
  SPEAKER_03: Or another example is all of your dancers train the same and there's different varying talent levels at the studio.
• 15:40
  SPEAKER_03: Just because of that, that doesn't mean that you place them in all different categories and levels.
• 15:44
  SPEAKER_03: If they all, based on the rules, should be in the advanced level, then all of them need to be in the advanced level.
• 15:50
  SPEAKER_03: And that might mean that, hey, that person might have won first in the intermediate, but might get 10th in the advanced, and that's okay.
• 15:58
  SPEAKER_03: I think that we just need to remind our dancers that that's okay.
• 16:01
  SPEAKER_03: And we're going to competition for an opportunity to grow as a performer, to work with our teammates, to get judges' critiques, to perform for mom and dad and for our judges, and to improve and be inspired by all of the other competitors around us.
• 16:14
  SPEAKER_03: I think that's really what the main goal is.
• 16:17
  SPEAKER_03: And the adjudication and the ranking, that's just an extra bonus, but it shouldn't always be about that.
• 16:23
  SPEAKER_03: I think our goal is to always keep improving and growing as dancers.
• 16:26
  SPEAKER_03: And don't get discouraged if you're in the higher level and you don't get first place or you don't get as high as you would have if you were in the lower level, because it's a great achievement that you are taking the risk to be competing against higher caliber dancers.
• 16:39
  SPEAKER_03: I think that we really need to keep telling our dancers that because it is a really great achievement.
• 16:44
  SPEAKER_03: I have a lot to say, obviously, about levels, but I hope that this answers your question.
• 16:48
  SPEAKER_03: And I would say, Whitney, why not just go for the higher level?
• 16:51
  SPEAKER_03: It sounds like your dancers are ready.
• 16:52
  SPEAKER_03: I will always say go for the higher level for most dancers and don't abuse the middle level.
• 16:57
  SPEAKER_03: The middle level is the level that usually gets abused very often in the competition world that we see.
• 17:03
  SPEAKER_03: And I hope that all of us as teachers can just make sure that we're appropriately placing the dancers so we as judges can do our jobs fairly and that it's a fair competition across the board for everybody, and that everyone is getting the best opportunity to showcase themselves in the appropriate levels on stage.
• 17:19
  SPEAKER_03: So thank you, Whitney, for sharing this question about levels.
• 17:21
  SPEAKER_03: And like I said, stay tuned coming in March or April for an upcoming level podcast episode.
• 17:30
  SPEAKER_03: Our next question is an audio question coming from a dance parent named Jennifer from Jacksonville, Florida.
• 17:35
  SPEAKER_00: What is the number one thing a dancer can do to catch your attention?
• 17:41
  SPEAKER_03: Standing out is super important as a dancer, whether we're at competition or at an audition or even in a convention.
• 17:47
  SPEAKER_03: I decided to ask some of our IDA judges about what makes a dancer stand out to them.
• 17:52
  SPEAKER_03: Let's first hear from IDA judge Julia.
• 17:55
  SPEAKER_02: I think the number one thing a dancer can do to catch my eye on stage is to fully commit to the piece that they're performing.
• 18:03
  SPEAKER_02: It's very easy to go on stage and give about 70%.
• 18:08
  SPEAKER_02: But in order for us to fully be invested in what you're doing, you have to be 110% committed to your performance.
• 18:16
  SPEAKER_02: And that comes from deep in your heart, you have to believe it in order for us to believe it.
• 18:21
  SPEAKER_02: And so when you get that beautiful surrender on stage, you begin to understand what's going on in the dancer's mind.
• 18:28
  SPEAKER_02: And it just makes for such a beautiful moment that you don't get unless you're wholeheartedly surrendering to your craft.
• 18:36
  SPEAKER_03: Awesome advice from IDA Judge Julia.
• 18:38
  SPEAKER_03: And I couldn't agree with her more.
• 18:40
  SPEAKER_03: We talked about this today on the podcast, especially about performance versus technique.
• 18:45
  SPEAKER_03: And I think that, like I mentioned previously, letting that surrender happen and letting the performance take over is so captivating and intriguing.
• 18:54
  SPEAKER_03: And I think that really sets you apart as a dancer from the person next to you if you're willing to dive deep and go there on stage.
• 19:00
  SPEAKER_03: So absolutely 100%.
• 19:02
  SPEAKER_03: Thank you, Julia.
• 19:03
  SPEAKER_03: Let's hear next from IDA Judge Jessica.
• 19:06
  SPEAKER_01: The thing that catches my attention from dancers on stage is their unique quality and setting the trends, not following them.
• 19:16
  SPEAKER_01: Those are the dancers that we say, wow, look at them.
• 19:20
  SPEAKER_01: They are not afraid to stand out, do something different, and lead the pack.
• 19:26
  SPEAKER_01: I think outside the box.
• 19:28
  SPEAKER_01: That's what makes me get excited when I'm judging.
• 19:31
  SPEAKER_03: I couldn't agree with Jessica more.
• 19:33
  SPEAKER_03: I think it's very important to not follow the trends at competition, even though we see so many amazing competitors that we're inspired by, and we see so many things that we want to try ourselves.
• 19:43
  SPEAKER_03: But it is really important to stay unique and stay true to you.
• 19:47
  SPEAKER_03: Individuality is what makes you stand out, and that's how you will be remembered by the judges.
• 19:52
  SPEAKER_03: So don't be afraid to bring you to the stage, show us your strengths, and bring something new to the table.
• 20:00
  SPEAKER_03: That's what we're really looking for, and I promise it'll be memorable.
• 20:03
  SPEAKER_03: And let's hear from our final IDA judge, Maddie.
• 20:06
  SPEAKER_04: Hi, this is IDA Judge Maddie Kurtz.
• 20:09
  SPEAKER_04: And the number one thing that a dancer can do to capture my attention is to establish an emotional connection with me from start to finish.
• 20:17
  SPEAKER_04: So I think it's important to note that it doesn't have to be sad or angsty.
• 20:23
  SPEAKER_04: The emotion can come in so many different forms.
• 20:26
  SPEAKER_04: You know, joy is a really wonderful emotion.
• 20:28
  SPEAKER_04: And if a dancer is just exuding so much passion and joy on that stage, I'm certainly going to feel it.
• 20:35
  SPEAKER_04: I think that if I find myself tearing up or getting choked up on the mic or even smiling so big that I forget to talk because my cheeks start hurting, that's a great sign that that dancer has connected with me.
• 20:47
  SPEAKER_04: And that's something that I'm gonna remember not only for the rest of that weekend, but probably for years to come.
• 20:52
  SPEAKER_03: It sounds like all of the IDA judges are all in agreement that we really love to be taken on a journey with your performance.
• 20:59
  SPEAKER_03: We want to be drawn in by you.
• 21:01
  SPEAKER_03: And I personally feel, and so do the others, that that is really what will make you memorable.
• 21:06
  SPEAKER_03: That is what will take you as a dancer to the next level.
• 21:10
  SPEAKER_03: So thank you to all of the IDA judges who helped chime in to answer this question.
• 21:15
  SPEAKER_03: All right, and we have made it to our final question of this episode.
• 21:19
  SPEAKER_03: It's coming from Becky Chasen, studio owner of Spotlight Dance Academy in Westford, Massachusetts.
• 21:25
  SPEAKER_03: Her question is: a lot of our dancers and parents think tricks are necessary in a dance in order for it to score well at competition.
• 21:32
  SPEAKER_03: I know lots of judges who say it's not true, and as long as a dancer is technical and can perform, it doesn't matter.
• 21:38
  SPEAKER_03: I'm not sure how I feel because the dances with tricks seem to always be the highest scoring because they have the wow factor.
• 21:44
  SPEAKER_03: Sometimes I feel like a lot of technical dancers can do tricks because they've become so strong, so it enhances their dance when they show that strength through tricks.
• 21:51
  SPEAKER_03: I also feel like dancers are relying on that to make sure they score high, and those that cannot do them are feeling shot down and losing their confidence in dance.
• 21:59
  SPEAKER_03: I don't want to always Put tricks into a dance because I feel like they don't always need them.
• 22:02
  SPEAKER_03: But for those who can do them and worked hard for them, I want to showcase that when it makes sense in the dance.
• 22:07
  SPEAKER_03: It is a constant struggle for me, and I don't have answers for those who think they can never win if they cannot do tricks.
• 22:13
  SPEAKER_03: How do judges feel about tricks?
• 22:14
  SPEAKER_03: Awesome question, Becky.
• 22:16
  SPEAKER_03: Thanks for sending this in.
• 22:17
  SPEAKER_03: And of course, we love tricks and we all love doing tricks, but really, how do judges feel about the tricks?
• 22:23
  SPEAKER_03: Do we need the tricks in a competition routine?
• 22:27
  SPEAKER_03: I think it definitely depends on the style of dance, and I think it depends on the dancer as well.
• 22:32
  SPEAKER_03: I love a trick.
• 22:34
  SPEAKER_03: I grew up in the competition world and I could do every trick in the book.
• 22:38
  SPEAKER_03: But at the same time, I think that something that needs to complement tricks is also style, musicality, correct timing, technique, performance.
• 22:48
  SPEAKER_03: I think that there's so many other layers that can enhance a performance alongside tricks.
• 22:54
  SPEAKER_03: So for example, let's say that there is a dancer who is nothing but a trickster.
• 22:59
  SPEAKER_03: I I call them a trickster because all they do is tricks.
• 23:02
  SPEAKER_03: They don't have transitions.
• 23:03
  SPEAKER_03: They might have great performance and they might have pretty solid technique, but that's literally all the dance is is tricks.
• 23:10
  SPEAKER_03: And really that comes back to down to the teacher, which Becky is technically what you're asking because you're like, I don't know if I need to choreograph tricks in there, and do I need to?
• 23:19
  SPEAKER_03: The hard part is for us as judges is that we have to judge what is seen on stage.
• 23:24
  SPEAKER_03: So whatever you present to us is what we're going to score.
• 23:26
  SPEAKER_03: And we always say less is more, and we always say, Don't show us what you can't do, show us what you can do.
• 23:32
  SPEAKER_03: But for example, let's say there's a dancer who's a trickster and their teacher knows that they're a trickster.
• 23:36
  SPEAKER_03: So the teacher choreographs nothing but tricks.
• 23:39
  SPEAKER_03: And there's no whatsoever dancing or choreography in the dance, but the dancer is so good at tricks and doing the tricks so well that we have to judge what we saw.
• 23:47
  SPEAKER_03: And even though maybe personally, I don't think that this is the best choreography, or I am it's lacking actual substance and actual style and literally choreography.
• 23:58
  SPEAKER_03: I can't take points off because they didn't show me something that they can't do.
• 24:01
  SPEAKER_03: They showed me excellent tricks that they can do, and especially if the tricks were done well.
• 24:06
  SPEAKER_03: Now, if they were not executing the tricks properly, then we would take technique points off and things like that.
• 24:11
  SPEAKER_03: And of course, there sometimes our choreography score.
• 24:14
  SPEAKER_03: We can deduct a few points if we feel like the choreography is lacking and there are too many tricks.
• 24:19
  SPEAKER_03: But the hard part is for us is that we can't re-choreograph your dance as judges, and we also have to judge what is in front of us.
• 24:26
  SPEAKER_03: So if you're a trickster and you're only showing me tricks and you excelled at them and you did them flawlessly with proper technique and that's what you did, well, then your score is automatically going to be high because you did a good execution.
• 24:37
  SPEAKER_03: But is that really what the judges want to see?
• 24:40
  SPEAKER_03: I'm gonna say no.
• 24:41
  SPEAKER_03: I love a good trick, but that's not the only thing I want to see at competition.
• 24:44
  SPEAKER_03: And I think that's the hard part.
• 24:46
  SPEAKER_03: I think that every judge on a panel will appreciate artistry over tricks any day.
• 24:50
  SPEAKER_03: And we see that very often now in competition in the contemporary section where I feel like I'm seeing so much beautiful artistry coming to the stage in contemporary, and the tricks are slowly dwindling away, more so in the advanced categories and specifically probably in the teen and senior.
• 25:07
  SPEAKER_03: So I appreciate that.
• 25:09
  SPEAKER_03: There have been dancers who have come on stage and have literally just shown art.
• 25:12
  SPEAKER_03: They have they didn't do a single trick, but what makes them stand out is their use of focus, their style, their connection to the music and their musicality, their like amazing timing and how they move through space and their dynamics in their movement quality.
• 25:31
  SPEAKER_03: Things like that are all things that sound very advanced and an advanced dancer would be doing, but those things can sometimes be more important and more exciting to watch than trick after trick after trick.
• 25:44
  SPEAKER_03: Because everybody can do a trick these days.
• 25:46
  SPEAKER_03: And, you know, tricks are of course a goal for everyone, but it's once you accomplish those tricks and then take them away, is when we're like, oh wow, oh my gosh.
• 25:56
  SPEAKER_03: I'm sure that those dancers that come on stage that do literally nothing but just beautiful movement and beautiful choreography.
• 26:03
  SPEAKER_03: And I'm sure those dancers can also do tricks, but they're beyond that now.
• 26:07
  SPEAKER_03: And they've advanced to trying to find more style and quality in their movement.
• 26:13
  SPEAKER_03: And I think that that really says a lot.
• 26:15
  SPEAKER_03: And I think that all judges want to see that more often.
• 26:18
  SPEAKER_03: Of course, it really depends on how advanced you are in your stage of training, depending on your age and level.
• 26:25
  SPEAKER_03: It seems to be the trend that maybe our junior and younger dancers really want to get those tricks in, and maybe our teens as well.
• 26:32
  SPEAKER_03: But like once you start hitting teens senior, you slowly are starting to realize, like, okay, I've done the tricks, they're cool, been there, done that, but like now I want to get this really cool, awesome floor work section, or now I really want to figure out how to work this musicality a little bit stronger.
• 26:48
  SPEAKER_03: And finding that artistry in our movement is what's going to set us apart.
• 26:52
  SPEAKER_03: I've said this many times before, and I've you've probably heard me say this on the podcast, but a dancer can just walk on stage and have a style about them that is captivating and intriguing, and that is so much more exciting to watch than someone that's trying to attempt these really crazy tricks that maybe aren't executed as flawlessly.
• 27:10
  SPEAKER_03: And I think that if we are going to be doing tricks, they have to make sense into the piece.
• 27:15
  SPEAKER_03: They can't just be a random aerial or a random leg catch turn or something.
• 27:20
  SPEAKER_03: They have to make sense to the climax and the music and the build and the storytelling, but they also have to be done properly.
• 27:28
  SPEAKER_03: So, like I said at the beginning of this question, you don't want to show us what you can't do, you want to show us what you can do.
• 27:33
  SPEAKER_03: And if you are going to be showing tricks, make sure that you can absolutely do them properly and safely.
• 27:39
  SPEAKER_03: But at the same time, if you are a trickster and that's your thing and you love a trick, just make sure that there's also dancing in between.
• 27:47
  SPEAKER_03: We want, we want those filler steps.
• 27:49
  SPEAKER_03: We want transitions, we want to see the the ins and the outs of the tricks just as clean as the trick itself.
• 27:55
  SPEAKER_03: Those things are just as important.
• 27:57
  SPEAKER_03: And I say that all the time on critiques when I'm critiquing.
• 28:00
  SPEAKER_03: Make sure that your preparation in and on the way out is just as clean as the actual trick.
• 28:06
  SPEAKER_03: So overall, our tricks important.
• 28:08
  SPEAKER_03: I mean, they're they're important, I guess.
• 28:10
  SPEAKER_03: Like it's great to have them.
• 28:11
  SPEAKER_03: I think they're important to know how to do.
• 28:13
  SPEAKER_03: Every dancer should know how to do a list of tricks.
• 28:16
  SPEAKER_03: You know, your calypsos, all of your jumps, all of your botmas, turns in second, whatever your tricks are, you should know how to do them and you should have a few up your sleeve that are like your go-to signature tricks.
• 28:27
  SPEAKER_03: Do I need to see them in every dance?
• 28:28
  SPEAKER_03: No.
• 28:29
  SPEAKER_03: Do I want to see variation?
• 28:30
  SPEAKER_03: Yes.
• 28:31
  SPEAKER_03: I don't want to see you do the same trick more than twice in the routine.
• 28:34
  SPEAKER_03: If you're a right leg bot mar and you have a great right leg, make sure that you also show me your left leg.
• 28:40
  SPEAKER_03: Do not forget about that because there are so many times where I've seen a dancer do the same exact extension more than five times in a dance.
• 28:48
  SPEAKER_03: And at that point, I have to tell the teacher, hey, we need some variation.
• 28:52
  SPEAKER_03: I've seen you do this exact extension three times.
• 28:54
  SPEAKER_03: I get it.
• 28:55
  SPEAKER_03: I know your extension's really great on the right.
• 28:57
  SPEAKER_03: You showed it to me in the first 30 seconds.
• 28:59
  SPEAKER_03: Now show me the left side.
• 29:00
  SPEAKER_03: How's your left looking?
• 29:01
  SPEAKER_03: Is that one looking just as good?
• 29:03
  SPEAKER_03: You know, we have to think of it, we have to look at it from that perspective sometimes because it does feel and get repetitive.
• 29:08
  SPEAKER_03: So we never want to have the same trick in the routine more than once.
• 29:12
  SPEAKER_03: So find that variation.
• 29:14
  SPEAKER_03: Don't forget to show us the opposite side that might be your weaker side.
• 29:17
  SPEAKER_03: That excites us as judges.
• 29:18
  SPEAKER_03: When I see someone show me a right side pirouette and then also show me a left side pirouette, I'm like, thank you so much for showing me versatility and showing me that you are working on both sides.
• 29:28
  SPEAKER_03: That gets you an extra bonus point in my in my book, honestly, because that shows me proper training.
• 29:33
  SPEAKER_03: Overall, I think that we should know how to do a lot of our tricks, but they're not essential and they're not necessary in every single competition piece.
• 29:39
  SPEAKER_03: And sometimes artistry will win over tricks, and that's just how it is, because it really depends on your judging panel and it depends on how you execute the tricks, how the choreography flows with the tricks, and the preference of the judges.
• 29:51
  SPEAKER_03: Thanks so much, Becky, for sending in our final question.
• 29:54
  SPEAKER_03: And thank you to everyone who's tuned in and enjoyed this month's episode of QA with Courtney.
• 30:01
  SPEAKER_03: Don't forget, if you have a question that you want to send to me to answer on an upcoming episode, head over to our website now and submit your question.
• 30:10
  SPEAKER_03: A quick shout-out from one of our sponsors and IDA affiliated competitions.
• 30:14
  SPEAKER_03: Hi to Man Dance Competition is a boutique competition experience you don't want to miss.
• 30:20
  SPEAKER_03: You choose your stage lighting for every entry from their nine color palettes, bringing a more professional feel and energy to the stage, and gives the choreographers more artistic control to see their work come to life.
• 30:31
  SPEAKER_03: Hi-Daman also brings the excitement of the nationals to every regional event with improv competitions and a dance-off entertainment challenge.
• 30:39
  SPEAKER_03: HD offers a morning warm-up class on the stage to encourage dancers to start the competition day like a professional and gives them a chance to really feel the floor.
• 30:48
  SPEAKER_03: HD is passionate about continuing education and offers a variety of scholarship opportunities to their dancers.
• 30:54
  SPEAKER_03: On top of it all, Heidi Man is committed to providing a fresh, fun, positive, and professional competition experience for the dance community.
• 31:02
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• 31:08
  SPEAKER_03: We have some exciting episode topics coming your way after the new year, including taking critical feedback from your judges, interviews with competition owners, and costuming for the competition stage.
• 31:19
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• 31:26
  SPEAKER_03: All of us at Making the Impact would like to wish you and your family a happy holidays and happy new year.
• 31:31
  SPEAKER_03: See you in 2020.
• 31:32
  SPEAKER_03: Thanks for tuning in.
• 31:33
  SPEAKER_03: Till next time, keep dancing.