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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 1st 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
You can read more posts from Meredith on Dance Apps Inc. app with NappyTabs, Dancer's Toolbox under Dancer's Dish.
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