I AM THANKFUL

I am incredibly thankful for DANCE. Dance has given so much to me, and through dance my life continues to be blessed more and more as times passes. This month on my Instagram, I have shared some of the MANY things that I am so thankful for, some things and people who have been a blessing to me, and just SOME things in life I am truly grateful for, both big and small. To end the month of November and in honor of Thanksgiving, I wanted to post on my blog a "thank you" to a few more people, and tell you about a few more who have made a difference in my life.

I am thankful my parents who took this shy little girl to dance class week after week until I came out of my shell. All the conventions, camps, workshops, and all the lessons they paid for, and all of the driving back and forth they did for me, all without complaint. I am forever grateful to my parents for giving me this lifelong gift that continues to give and bless me each and every day though others I have met, worked with, call friends, and my career. I owe it all to them. THEY gave me a future...this future. I appreciate and love them more with every day that passes. 

There are not hours in the day to thank my ALL of teachers properly. Because of them, I love to dance, to teach dance, to create dance, and to watch dance. I LOVE EVERYTHING DANCE, because of those special women and men. From childhood into adulthood, from studios to universities, to camps and conventions, they all made a difference. They created my drive, and instilled my worth ethic. They demanded respect and taught me to respect myself, others and the art. They encouraged me, inspired me, believed in me, pushed me to excel, and turned me into the persistent determined person I am today. They taught me to always strive for excellence, nothing less. These teachers taught more than just dance lessons, more than technique, more than choreography. They taught life lessons. Lessons that I have used in all areas and aspects of my life.

I have had numerous opportunities throughout my training and 20+ year career span that have brought spectacular people and wonderful friends into my life. I am amazed by each opportunity that has come my way. I am so thankful for the opportunity to have been a studio owner. When I was happy, business was great, and thought I would do it forever, God let me know He had another plan. I didn't understand then, but I do now. God indeed had plan. Through those students, I learned to how to teach and knew my passion was sharing knowledge and watching others grow and be their best. Helping others to succeed, not only in dance but in life, is in my heart and is what my purpose is here on Earth. I love those students and their families for cultivating that desire in heart and in the end, pushing me forward in my life's path. They forever changed me. They say that teachers make in impact on students but I also think it works the other way around too. I learned from them, and couldn't, and wouldn't, be half the teacher I am without them. 

I'm thankful for my high school English teacher. Because of her, writing this blog and writing for Dance Apps Inc. app with NappyTabs, Dancer's Toolbox, is possible. I am so humbled and grateful for Dance Apps Inc. believing in me and having me be a part of this project. I have to admit, I never in a MILLION years thought I would write anything, and here I am with this blog and writing for someone else. 

You, my readers, I am so grateful for you. Every country, every person who has taken their valuable time to read my blog, and every person who has taken time to read Dancer's Dish on the Dancer's Toolbox app, YOU have warmed my heart and brought a smile to my face more times than I can count. Thank you!

I am thankful for every single person, friend, teacher, mentor, dancer, and opportunity that has come into my life through the beautiful, strong, yet delicate, art of dance. My friends, whether you were or have been in my life for a brief moment in time, you were or have been in my life for years, or just recently came into my life, you were and ARE a blessing to me. I quote the famous song often, "I get by with a little help from my friends". I AM THANKFUL FOR YOU. All of the dancers I have been privileged enough to watch (and some watch grow up before my eyes) at dance competitions and at studios, they have touched my heart as I've watched them push the art form past any and all physical limitations. I have loved getting to know these sweet dancers I see year after year and their precious families from all across the country. Every student that I have ever had to honor to teach on a weekly basis, what am honor it has been. I have been touched by all of "my students" and love them more than I could ever put into words. I absolutely love the fun and fabulous dance teachers I have met at competitions or in their studios. We may only see each other once or a few times a year but we always seem to pick up right where we left off. The same goes for that dance friend I may not have seen for 10 years but it's still like no time as passed. That's how you know you really built a true friendship. I AM SO THANKFUL FOR EACH AND EVERY ONE OF YOU. You all have touch my life and I am blessed in many ways because of you.

For the studio owners who have believed in me over the past 20 years, bringing me into your studio to work with your dancers, I am eternally grateful. Thank you for the honor. It's a privilege to be a part of your dancers' education and training. I love what I do and YOU allow me to share what I love, and share the knowledge that my wonderful teachers have graciously given to me. THANK YOU. I also love having the opportunity to learn from you. AND you never know what you can learn from a child. I thank you for the opportunity not only to teach and educate but to choreograph. It brings me unspeakable joy, and it's just the coolest thing to see your thoughts come to life in reality. It's amazing. Thank you for trusting me to create on your dancers. A special thank you to the studios in California, Michigan, and Louisiana that gave me my start and first jobs in guest teaching and guest choreography. They believed in me and took a chance on me. I will always have a special place in my heart for them and those dancers.  

I am thankful for my mentor that came into my life when I was 21. She made me a dance educator. She trained me in judging, and asked the important question my first year of working as an adjudicator, "How long do you want to be in this business?" She then said, "Well, let me teach you." She taught me how to judge and how to be a good judge. She also took me from a dancer to a teacher to an educator. She taught me the difference, and more importantly she showed me the difference. I struggled with the transition in each stage, and she carefully and loving guided me though. When she called me a dance educator, I cried. Most importantly, she has remained a true and dear friend all these years. I adore her and owe her so much. I am forever grateful. 

I must thank the one who brought me into the "competition world". He taught me starting at a very young age about business, merchandise, customer service, and all about the industry. I learned what I liked and didn't like, how things should be done and shouldn't be done. I also met some incredibly great people through him and that job.  Last but certainly not least, I must thank the one who kept me in the "competition world" when I thought I wanted or needed to leave it. He showed me that I still had a passion for the business, and that no matter what, sincerity and honesty was always the right way. He gave me hope again in this what can be a crazy world. He extended his hand of friendship and became a brother. Both of these men took a chance on this "southern belle". I thank them from the bottom of my heart for believing in this loud, opinionated, strong-willed,  determined, spit-fire, southern, sometimes hot mess, of a woman. 

God provides amazing opportunities, and if you trust Him and push past your fears, wonderful things can happen. I give thanks and remind myself of this daily. God opens the door, but I must trust and walk through the door. I am thankful that He continues to push me out of my comfort zones, that he prunes my life (even when it's almost too difficult to bear), and that he provides opportunities that surpass my wildest dreams. My life didn't turn out, and isn't going as I planned it, but as He planned it. I have to admit, His plan sure did turn out way better than mine. I AM THANKFUL.

Dance hard. Dance smart. 

Meredith
thecompetitiveedgebymeredith.blogspot.com

"SOLD OUT" ... AND THE DEADLINE IS 5 MONTHS AWAY

In the recent weeks, there have been some dance competitions that have posted "SOLD OUT", "50% SOLD OUT", "HALFWAY SOLD OUT", or "FILLING UP FAST" for some regional competitions in certain cities. Many people question how a city can sell out months in advance of their registration deadline date. It can be frustrating when an event sells out way in advance of the posted deadline date. There are many reasons as to why a competition can't take more entries after an event is completely full. I hope this blog post helps to answer any questions you may have on the subject.

WHAT DOES THE REGISTRATION DEADLINE DATE REALLY MEAN?

Some dance competitions open their registration in the fall, usually sometime around October, after studio owners have finalized their competition schedule for the season.  It is very important to realize that when a competition posts a registration deadline date, that doesn't necessarily mean that they will except any and all entries up until that date. What it means is that is the final date you can enter an event depending upon availability. As we all know, there are only so many hours in the day. Everyone needs sleep and time to rest in order to function.  The competition staff usually gets three hours sleep at most because no one wants to disappoint a studio and turn them away. (Studio owners, directors, and teachers are sometimes in the 3 hours of sleep range too!) Every competition wants to accommodate as many as possible but there is a stopping point. 

WHAT FACTORS DETERMINE HOW MANY ACTS CAN BE AT A SPECIFIC EVENT?

Some venues are union houses and require a certain amount of sleep hours for their union workers. This puts an additional limit to the number of hours a competition may rent the facility for a day thus putting additional limits the number of entries that can be seen in a day. Another factor is how long the dances tend to be in each city. Some areas of the country keep their dances between a minute and a half to two minutes regardless of the rule time limit where as other areas of the country use the maximum time limit allowed and sometimes purchase extended time. Music length can play a role in how many entries can be taken for an event. The next thing to look at is the the start time and number of days a competition is willing to go. Some competitions will start during school hours up to a five day event where other competitions refuse to start during school hours and/or refuse to do more than a weekend three day event. Venue is the next consideration. The maximum capacity of the venue, and the number of days a venue has available for rental are also factors in determining amount of entries that can be taken. The venue choices may be limited in an area due to lack of availability, or there isn't another option. As you can see, there are many different factors that determine the maximum amount of entries for each event.

WHY DOES REGISTRATION OPEN IN THE FALL FOR EVENTS THAT AREN'T HELD UNTIL SPRING?

By the time registration opens, competitions must begin actively planning their merchandise orders, art work design, clothing orders, trophy design and orders, judges,  tour staff, etc. for the upcoming season. All of these things in many ways depend on the registration. Each city can be different from year to year. For example, you could sell out in a city one year and have 200 acts there the next year, or vice versa. You could have 200 acts one year in a city and sell out the next year having to turn studios away because there is no room. As the numbers start to come in, projections can be made, and the magic can begin to happen. If additional staff members are needed, they can be hired, trained, and booked. Judges can booked. Merchandise, trophies, and placement pins are ordered without a complete guess but based on the current look of registration and the previous trend of registration. It all starts to fall into place in an organized manner just like a well oiled machine. It takes many months preparation and numerous hours of hard work, some of which include but aren't limited to endless meetings, conference calls, planning, developing, designing, organizing, ordering, reading and agreeing to contracts, interviews, hirings, bookings, travel arrangements, and to many mathematical equations for my brain to comprehend to get ready for a competition season to begin before you even hit scheduling the event and putting on the production that you see at the actual dance competition!

WHAT'S THE ANSWER FOR STUDIOS WITH ALL THE EARLY SELL OUTS?

Competitions do not enjoy turning people away and if they could take everyone, they would. So what's the answer? Be prepared!!! Finalize your competition schedule by mid to late September at the latest and have your paperwork in order the best you can by the time registrations begin to open! I know that some people are 90% - 100% finished with choreography at the time registration opens while others are just getting started. If you aren't finished with your choreography and don't have your act information ready to enter, plan ahead and get your ideas down on paper. Try to know what acts you will have: who will be in what dance, what the average age is, etc. It is ALWAYS a good idea register as soon as the competition opens their registration. If you don't have all of your dances finished, you can always call the competition office, let them know you your situation, how many entries you will have, and what regional you are planning to attend. Ask them their policy on early registration and from there you will know what you need to do. If you are still  unsure, just ask them what you need to do to ensure your spot (if there is anything you can do), whether you need start the entry process or wait until you know all of your entries.  

Side note: IMPORTANT! Yes, editing and changes happen but please DO NOT WAIT until the week prior to or the week of the competition event to make your changes. Please be aware, make notes, and make changes as they happen or as the competition has instructed you. Be accurate and timely with your edits and changes. PLEASE do not wait until the last minute.

EARLY REGISTRATION AND ENTRY FEES

Some studios do not collect entry fees until closer to each competition deadline date and others begin collecting entry fees on a monthly basis beginning as early as August. When the payment is due for early registration is a question for each individual competition. Ask them their policy on early entries and payment collection, such as, would they like you to pay a deposit, wait until all the acts are entered, wait until closer to the deadline date, or pay up front. For competitions and cities that sell out early, you may want to ask about early payment. Payment may be due way in advance for sell out cities with a waiting list of people wanting to get in. (I have heard of people being emailed statements requesting early payment in full in order to keep their spot because of waiting lists.) Although in the same industry, never assume one's rules and policies are exactly like another competition's. Please remember to respect each individual competition and their payment policies without comparing them to another competition. It's like a dance studio. Dance studios are all in the same industry but how they chose to run financially and how/when they accept payment is all different and an individual preference.

IF YOU ARE UNSURE, ASK!

There are MANY wonderful competitions consisting of amazing teams of competition owners, national and regional directors, office managers, client account managers, and tour and office staff members. AMAZING PEOPLE working for WONDERFUL COMPETITIONS. I'm sure each competition would love to hear from the studio owner/director and answer any questions that the owner/director may have about early registration. I encourage everyone register early for all the competitions they have selected to attend in the upcoming year. I suggest registering for them ALL now (and by this time each year) to make sure you don't miss out on a competition you have on your schedule. If for some reason you do miss out, there is still time to make other arrangements. You might be able to switch to another location on a different date or you may have to find a different competition for that weekend. I assure you that the competitions would appreciate you registering at this time if they are open and if you are able to adhere their policy. Again, unsure...just ask! I believe this is a win win situation! We all know as competition season approaches things get hectic and very busy. Why delay? It may be a lot early on, but you will be glad you did it later!

Dance hard. Dance smart.

Meredith
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HAPPY 4TH OF JULY!

From my family to yours, Happy Independence Day! My family is eternally grateful to all of the brave service men and women, and their families, for all that they do and all that they sacrifice for our freedom. GOD BLESS THE USA!

A NOTE TO DANCE MOMS AND DANCE DADS

With the competition season coming to an end with National Finals and with a new competition season beginning, I thought I would take a moment to blog directly to dance parents. Being a dance mom and a dance dad is time consuming and can be costly. When you mix those two things with your care and concern for your child, it can bring on a tremendous amount of stress. As a parent, I get it. Every parent wants their child to be healthy, happy, and successful. As parents, it is important to remember that dance teachers love your children and also want them to be healthy, happy, and successful. It is worthy to note that dance competitions want all the children to be healthy, happy, and successful too!


REMEMBER IS IT ABOUT THE CHILDREN


Dance competition should be a fun experience for dancers. It should be a place for children of all ages to show off their hard work and enjoy their moment in the spotlight. Often times, I see what should be a fun experience turn into a stressful event because of anxious parents going into overdrive. One way to eliminate the stress is to be informed. Make sure talk with the studio owner or dance teacher to confirm that you have all the correct information well in advance of the event. Another way to eliminate worry is to double and triple check that you have everything on your dancer’s checklist packed well in advance of your departure time. Last, but not least, arrive earlier than the scheduled time set by your dance teacher or studio owner. Once you do these to things, you are good to go!!! From there, you can sit back and let your studio owner and/or dance teacher take the reigns!


IMPORTANT! ALWAYS REMAIN CALM.

Dancers feed off the vibes, words, and tones of their parents. Keeping this in mind, having a warm smile and remaining calm allows the children (of any age) to enjoy the privilege and opportunity you have provided, instead of making them feel guilty, stressed, or worried. Yes, there will be quick changes. Yes, you may have a child that messed up onstage whom you will need to comfort. Yes, the competition may be ahead or behind schedule. Please remember that as a parent, all eyes are on you. The dancers need their parents' encouragement and support. Parents set the tone and mood for a competition not only with the dancers, but with the teachers and even the competition staff.


REMINDER: THINGS RUN SMOOTHLY AND TENSION STAYS DOWN WITH THE ONE CHIEF RULE.


Contrary to what many may believe, studio owners make very little money off competition students. Competition takes up the majority of a studio owner/dance teacher's time with the least amount of pay. Studio owners and dance teachers provide extra performances and competitions because they love your children and want them to have the benefits of the experience. Let them take the reigns and guide the troops.

I encourage all parents to take a deep breath and look at the big picture especially during the stressful and tough times. Your child obviously loves dance or they wouldn't want to compete. You trust your studio owner and dance teachers or you wouldn’t pay them. Everything is good! Try your best to enjoy the experience with your child, taking great pride in them. You will see the stress and pressure drift away from your dancer allowing them, and you, to create wonderful lasting memories.


Dance hard. Dance smart.
Meredith
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GOOD SPORTSMANSHIP: IT STARTS WITH YOUR PERSPECTIVE!

In a day and age driven by instant gratification, it can be easy for dancers to become focused only on themselves and the awards they receive at dance competition. This can come from the dancers, from the parents, or in the worst case, from the teachers. Instead of competition being an opportunity to perform and chance to share the love of dance with others, it can become about the trophy and "beating others" if you let it. Dance competition is a great place for learning, growing, and appreciating dance, if you chose to look at it from this perspective. 

In the middle of the madness, take time to appreciate the art and dancers that surround you. It is important to remember that everyone has worked hard for their moment on stage. Teachers and dancers alike spend hours preparing for each performance. Hours are spent training and choreographing not to mention the endless hours of rehearsals, music editing, costume design, and prop design. Parents are often the prop makers and may spend lot of time gluing rhinestones to the costumes. Everyone is in the same boat. If we step back and remember this, we can begin to appreciate every dancer and their time on stage. With this being said, clap for everyone not just your own studio. Please enter and exit the auditorium between dances. If you enjoyed watching a specific dance, tell the dancers how much you like it. If you see an amazing dancer, tell him or her you admire their talent. Congratulate others on their success whether they are on your team or another team. Everyone at competition has one major thing in common: the love of dance. 

Good sportsmanship begins with a personal outlook and the way you chose to handle situations. 

Competitions provide a great performance opportunity! They also give dancers a taste of the fast paced professional world when they experience quick changes, whether it be of costumes or choreography, for example reblocking a number in the case of a missing or ill dancer. The adrenaline of racing to change costumes and quickly returning to the stage to give another brilliant performance can be exhilarating and fun when you keep it in perspective. The same thing applies to quick choreography and/or spacing adjustments. Staying positive during high pressure moments will lead to a better overall experience. 

One bit of advice for dancers: 
Thank your judges, especially if they are personally handing you an award. If you are standing next to a dancer or group of dancers that just received an award, take a moment to congratulate them. All dancers get excited when they receive an award and all dancers love to know others are happy for them. Thank your teachers for their time, hard work, dedication, and for training you. Teachers are always on call working many hours behind the scenes. Teachers do a lot more than you may realize. Thank your parents for giving you the gift of dance class and allowing you to have the dance competition experience. Always be nice, respectful, encouraging and helpful not only to your teachers, teammates, and parents but also to other teachers, dancers and parents. 

A bit of advice for everyone attending or performing at a competition: 
Make friends with other dancers, parents, and teachers. (Making friends does not mean soliciting business.) Be supportive and kind to each other. Clap for others, not only your studio. Give words of support, encouragement and praise to each other. If someone needs a bobby pin or needs to borrow a shoe, lend a helping hand. Congratulate each other. Be kind to the competition staff. You may be tired but they are too. They have no control over the schedule. They are at the event an hour before the competition starts and an hour after the competition ends everyday. Thank your judges. The judges are working hard as are the competition staff. I also suggest arriving to competitions early enough, or staying long enough, to sit and enjoy performances. There is always something to learn from each other. It is also nice to just sit back, relax and watch dancing!!

People will always remember how you made them feel so be nice, smile, and make a difference! 

It is important to remember that none of us know it all and we can all learn something from others. I would love to see everyone taking it back to what it's all about: the shared love of dance. Being nice to others can change your entire mood! Do your part in making competition fun! Competition is a great place for teachers, dancers and parents to make lasting friendships with people who have the same interest. The dance world is very small and you never know when paths may cross down the road. 

Let's all be good sports and enjoy the gift of dance!

Dance hard. Dance smart.
Meredith
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THE IMPORTANCE OF COSTUMES

Believe it or not, but your costume affects every aspect of your score at competition. From the moment a dancer, or group of dancers, take the stage, an opinion is made that subconsciously sets the tone for your score. From the neatness of dancer’s hair to the fit of the costume, to the costume design and attention to detail, it’s all very important. A “flashy” and beautiful costume with hundreds of rhinestones is worth every penny. If a dancer(s) enters the stage looking well groomed and wearing a costume that appears to have had time, effort and thought put into it, subconsciously judges will assume the dancer(s) is very well prepared and well trained, therefore, raising the base score immediately. Whether you spend 1 hour or 20 hours in the studio a week, it is important for your appearance to say “I spend 20 hours a week in the studio”. “Letting the dance speak for itself without the costume” really isn’t the best idea.

Don’t have a seamstress and order your costumes? Do not worry!! An ordered costume can be altered to fit perfectly. You can also order trims, beads, and rhinestones to enhance the look and make it an original. Ordering basics is a great option, too. You can totally design your own costume with basics adding rhinestone designs, beading, and trims. By adding accessories and details, you can customize any costume!

Some genres don't use as many "flashy" accessories as others. With hip hop costuming, pay attention to every detail down to the shoes. Rhinestones and such aren’t used as much here but they can certainly enhance a costume if you use the same color rhinestone as the fabric. With contemporary pieces, the choreographer may want more of a subdued look, but colored stones matching the fabric can keep the idea all while taking the costume to another level.

Last but not least, secure your hair and every piece of the costume, including hats and belts. Secure the front of jackets to the front of the costume. Secure every little detail. Losing a piece of your costume or having your hair come down will lower your score. 

In conclusion, a well-polished look affects the overall performance and impression, therefore, raising the overall score of a piece. Like it or not, right or wrong, this is factual. I hope this helps parents and teachers better understand the importance of costuming.

Dance hard. Dance smart.

Meredith
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TIPS TO BECOMING THE BEST JUDGE IN THE INDUSTRY

Judging is a hard job! The days are long, the acts are many and there isn't a moment to spare! With the competition industry growing and studio dynamics changing, it is important to know the dos and don’ts of adjudicating. There are many new judges coming into the scene and many people who would like to judge but don’t know where to begin the process. Here are some unwritten and written things to know about judging, judging etiquette, and how to apply for a judging position from the “inside”, my experience and perspective.

TIP: PREPARE BEFOREHAND

  

1) Know the competition for which you are judging inside and out. You need to attend the competition as a studio owner and/or teacher with your students to experience the flow and know how it runs. Make sure to read and study the competition's rules and regulations prior to your judging weekend. Know all the awards that will be given out and be familiar with the awards ceremony. (This topic will also be discussed in the etiquette section.) 

2) Familiarize yourself with the scoring. Know the point spread for each placement. Some competitions give a "cheat sheet". If so, know be comfortable with the exact spread and point system. Know the specifics about any special awards and how they are determined. Ask any questions prior to the start of competition.

3) Each city and each competition's event are different. Ask the staff what the talent level is like prior to the start. THIS IS IMPORTANT. You need an understanding before you score the first act.

4) Pack and dress appropriately. If you are unsure, ask. Always remember it is far better to be overdressed than underdressed. You will be representing that competition and I assure you that dressing appropriately is greatly appreciated. All eyes will be on you so you want to look your best! Space in rental cars is limited and you will be riding with others who also have luggage. Be careful with packing and bring the smallest bag/luggage as possible. Airlines are not dependable when it comes to luggage. It is always a good idea to only bring a carry-on instead of checking your bag. Not only will this insure you of having your things, you will not have to wait at baggage claim saving time for all.

5) Print out all emails, schedules, itineraries and paperwork. Bring these things with you in an easy to locate place.  Make sure you know all the details of who will be picking you up and where. Make sure to store phone numbers in your phone or have them printed in your paperwork. 

TIPS: GENERAL SCORING GUIDELINES

1) Know the general ability level of the talent you will be seeing and score according. All placement/adjudication awards should be given. It’s never a good idea to compare dancers to your dancers at your studio. Each event will have its own ability levels and the best at that event should receive the highest adjudicated awards. Although the dancers may not be “double platinum” in your studio, they may very well be “double platinum” for that event and need to be scored according. Also, your mindset must change and reset with each level. Judge each level appropriately, fairly and not in comparison to other levels. Standards are different in each level. 

2) Stay focused on the performance on stage. They can only be scored on what they do, not on what you think should have been included. Do not try to compare it to other performances. Keep personal preferences out of the equation. Whether you personally like the number, love the number or hate the number, it should not affect the score. Score on what the dancers actually execute on the stage at that moment in that performance.

3) Being the "hard judge" or the "easy judge" isn't necessarily a good thing; however, being the easier judge is better than the super hard judge. If you are told your scores are not consistent with the others (i.e. you are 4 or 7 points higher or lower), please reconsider where you are coming from and how you could more appropriately score. If 2/3s of the judges are thinking a certain way, odds are that your audience is also in that 2/3s majority. Your audience is made up of other dance teachers, dancers, and dance parents who have watched many competitions. If you are approached about this, please don’t take it as “they are asking me to change my scores” because that couldn’t be farther from the truth. In the tally position, it is their job to make sure that all the judges have the approximately the same numerical value for their subjective opinions. Often times, the judges are exactly on the same page subjectively but just need guidance on how to reflex those same opinions numerically.

4) Stay consistent with how you are scoring the solos, duo/trios and groups. It is especially hard to stay consistent between small groups, large groups and lines. As a general rule, judges tend to drop scores dramatically when moving into the large group and lines from the small groups. This is something you want to avoid. Think back to how you compose your small groups and how you compose your large groups and the difference in dynamics. The more dancers there are, the harder it is to clean. In large groups and lines, there may also be dancers who do not train as often and/or just starting to compete dancing alongside seasoned competitors. Take these factors into consideration and ease up a bit when moving into the larger groups, lines and productions. This will keep scores in line and consistent.  

5) Although your score matters very much, so do the others. Be very aware of exactly where you score a performance. Every point matters. Every judge matters. Please respect other’s opinions by keeping your thoughts about your scores and specific performances to yourself.

TIPS: GENERAL AUDIO/VIDEO CRITIQUE GUIDELINES

1) Start on time. Sometimes there are problems and it's unavoidable but do your best. One way to always be on time is to end and submit your scores on the “ending pose”. When they pose, say thank you and immediately submit your scores and critiques. A good rule of thumb is to start putting your scores in half way through each performance. You can always change them before you submit. I cannot ever remember seeing scores rise after the midway point but I have seen them lower because of serious or continuous mistakes made by the dancers. Once your scores are in midway through, you can look them over and make any necessary adjustments.

2) No matter how good a dancer is, they are not professional and there are critiques to be given. NEVER say “I'm just going to sit and enjoy this”. A teacher will complain to the competition on you after the event!!  As a judge you have to work hard with every number equally. Always talk throughout the number, EVERY NUMBER. No one wants to receive a critique that was "just a copy of their music". I am sure all the teachers reading this have received “that judge’s critiques” that “don’t say anything”. I have heard complaints for YEARS on judges who don’t say anything or only say things like “cute” and “thank you”. Believe it or not, even your friends will complain on you if your judge their students and don’t say anything. (It’s the truth.)You don’t want to be “that judge”. Again, the competition will receive complaints on you after the event!!! If you let 10 seconds go by without saying anything, that’s too long. Your best bet is to keep the critiques going the entire length of the piece. Please comment on as many different things as possible. It’s also a good idea to only mention costuming once.

3) Give positive feedback as well as criticism in a kind and positive tone of voice (and keeping a big smile while you give the critiques is ALWAYS a plus). Every performance has things to work on and things they do well. Please knowledge both. Remember these are children not professionals.

4) Choreography suggestions, well, it’s just a no-no all the way around and is a topic to be avoided. It's ok to say you like the choreography but please refrain from giving choreography suggestions and ideas including how you would have choreographed the piece.  As you, a dance teacher, know there are parents who look to blame everyone but their child. There are also studios who have hired outside choreographers requiring extra payments from parents. In addition to these situations, there may be internal teacher conflicts and commenting on choreography could escalate these problems. Choreography suggestions, well, it’s just a no-no all the way around and is a topic to be avoided.

5) Be careful not to use one word critiques. If you say "nice" please explain by saying "nice extension" for example. Never assume the listener will just "know what you mean". There are so many different elements to base your scores. I suggest commenting on the following: technique and execution, stage presence/showmanship, costume (only once) and appearance, intensity, connection to the piece, energy level, timing/musicality/sounds and use of accents, transitions, formations, movement quality, overall performance, entrance/opening position and briefly on the exit if needed. If you comment in each of these areas, you have addressed pretty much every aspect and have given a well-rounded critique throughout the entire performance. It’s also a good idea to ask each competition how they would like you to begin each critique, for example: act number and song title followed by your name and where you are from.

TIP: Don’t make comments that YOU wouldn’t want YOUR students, teachers or dance parents to hear on a critique.

TIPS: GENERAL GUIDELINES FOR SPECIAL AWARDS

1) Before each set of competition begins, ask what special awards you will need to turn in and for any paperwork you will need for these awards.

2) Be cautious that deserving studios don’t slip through the cracks because they are not as prevalent at the competition. There are MANY deserving studios. Some studios just are not as big as others; therefore, they don't have as many acts. They can sometimes be forgotten because they aren't performing every other act. This is a point where the good judges are separated from the great judges. Be aware of all deserving acts and do not forget those who only performed a few times in the midst of the madness. 

3) Most competitions give special awards, judges’ choice awards and scholarships on top of the High Point awards. Familiarize yourself with the criteria for these awards. Just because a routine is 1^st place overall or in the top 5, doesn’t mean they automatically hit the criteria for certain special awards and scholarships. Be careful to award on merit AND criteria. Please ask the director or tally if you are uncertain about specifics. For example, a showmanship award should go to the routine that has the best showmanship – not the best technique and good showmanship. If the best showmanship is from the best all round group, for example, that’s great and fine but that is not always the case. Find the dancer(s) or group that best meets the criteria alone for the best showmanship award.

4) Take notes during the competition on acts that you would like to see receive a special award. Quickly note the qualities or specific award you would like to give them so at the end of the set you are ready to hand your awards tally without delay. Tally is pressed for time to start awards and they need this information quickly.

5) Please have more than enough special awards. For instance, another judge has selected the same performance for an award as you. Be prepared with another performance that you could award instead.

TIPS: JUDGING ETIQUETTE AND HINTS ON HOW TO BECOME “THE FAVORITE”

1) Never ask the staff what studios will be competing. This information should be unimportant. If a judge asks, a red flag goes off. A judge should not score on name recognition or have a particular interest what studios they will be judging. It’s ok to ask when the competition is completely over.

2) It isn't in good taste to talk about the dancers or performances in the break room and it's never ok talk to negatively about children and/or their performance. Always remain professional and keep your subjective opinions to yourself. You don't want to offend and you don't want to be offended. Please refrain from talking or passing notes at the table. This can be taken by audience members as talking about the dancers or performance. When this happens, someone from the audience (teacher or parent) is going to complain to the director about you. EYES ARE ON THE JUDGES ALL THE TIME. I have seen some teachers watch the judges more than their students onstage.

3) Competitions want judges who love what they do and where they do it. To truly understand a competition enough to judge for them, you need to experience it as a client. There are competitions that will eventually replace judges who don't support them with their studios. This is not an “I scratch your back, you scratch mine” situation in the least. Please do not take it that way. The competition believed in you enough to hire you so in essence you are a contracted employee. You would never want to work for a company you weren’t proud of so you need to believe enough in that company enough to participate in their competition. 

3) Always be on time or early. This includes to the airport. Judges that are late and/or miss flights can be scheduled minimally or not asked back. 

4) Take care of your work station. Please throw away your trash promptly keeping your area clean and tidy.

5) Be seated and ready to begin 5 minutes prior to the start. For short breaks, please arrive at leave 2 minutes prior to the resume time. Don't wait for someone to come get you. Be aware of the time. If you don't need a break, don't take one. Competitions love to start back early. 

6) Refrain from making negative comments on social media such as "too many solos" or "the day was so long”.  Also refrain from making comments towards or about those competing, whether good or bad. It’s unprofessional. Yes, it’s true the dance world is very small but please be careful of what you post. Positive comments about the company on social media are always welcomed and appreciated.

7) ALWAYS keep a smile and/or a pleasant expression while judging the dancers.

8) The dance world is very small. If you happen to see someone you know at an event you are adjudicating, please just smile and keep walking. Please do not hug or chat with dancers, parents, or teachers. This is a big no. 

9) Keep you phone put away at all times unless you are in the break room. (It should never be on the judges table or taken out at the table, even between acts or on a break.)

10) Last but certainly not least: Don't be a diva. Be responsible, kind, friendly and easy to work alongside.

TIP: When you judge, don’t forget what it's like to be at the competition as a teacher and audience member.

TIPS:  HOW TO CREATE A JUDGING RESUME'

1) Send your resume’ only to competitions that your studio attends. Also include a “ready to go bio” that can be printed in the program.

2) Always attach a current headshot. This is good for two reasons: it puts a face with a name and the office will have your headshot on file for program printing.

3) If you are a professional or have professional experience, mention it but don’t highlight it. The main focus should be on your teaching experience with children, your dancers’ accomplishments (at competition and professionally), your awards (choreography, etc.) and your training. If you work with children of all ages and ability levels, that is a huge plus! Make sure to note that somewhere in your resume’!

4) Most competitions set their judging panels toward the end of the year (October – December). You may want to mention your interest in judging to the competition director at the event and find out to whom you should email your bio and resume’. Mail it in immediately with a note saying “if you have a cancellation, please feel free to call me”. Send it again in September. You may want to follow up with one phone call, email or text. If you do not hear back, please talk to the director again the next year at the event and start the process again. It may take two seasons or so to get booked.

5) Always be kind and follow the rules at the competitions you attend. Attitude, behavior and reputation go a long way in this industry.

I hope this gives a some 

insight from “the inside” on judging. Again, I don’t know it all. I try to learn something new every day. These are just some things I learned along the way as a teacher/studio owner, as a judge and as a national director.

Thank you for reading The Competitive Edge!

Dance hard. Dance smart.

Meredith
thecompetitiveedgebymeredith.blogspot.com

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