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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