Most recently I judged the NADAA convention in CT. at the Sheraton Hotel in Bradly International Airport. i ALWAYS take notes during competition so I can answer the large amount of questions I get after any time I judge. I don’t want to repeat myself in this blog BUT I do want to expand on past posts to help teachers and students grow, improve themselves, and learn how to think more like judges do when viewing a competition.

Props - I love when a dance has props. Chairs, umbrellas, mirrors, coat racks, photos in a frame, benches, and plenty more. Props are fantastic BUT don’t forget about them. I see too many situations where a prop is introduced, used for 1 maybe 2 8 counts and then forgotten about entirely. Many dancers forget they even had a prop by the end of their performance and leave stage as if the prop never existed. If you introduce a prop be sure it is included in the performance more than once and not just sitting there to “set a mood”. When used properly a prop will enhance a dancer’s performance and not be a distraction from that performance. If you introduce a prop, use it!

Wigs - I have always said I LOVE the use of wigs. It really gets students/performers into a different mind set when performing. It typically enhances the performance and drastically helps dancers become the Character. “Perform as the Character would perform, do not perform as yourself”. The wigs help get that desired performance.

Hair - along with wigs is hair style. How many professional dancers, when performing, wear a Ballerina Bun all the time. Your hair needs to be right for each performance you give. Hair could be out and flying around when you do hip-hop or straighten when performing stylized jazz, etc…..Your hair can also be a prop when performing….So let down and let it out….No more Buns for every dance your perform in one competition.

Quick Changes - simple. If you have many numbers to perform in one day, this is the perfect time to practices “Quick Changes”. It should never take you more than 3 dances to change from one costume to the next. Don’t panic! If you rush and panic it takes longer to change costumes. Be sure costumes are pre-set. Breath. concentrate, and focus. Changing up to the last second before hitting the stage isn’t professional and doesn’t put you in the right mind-set just before you are about to dance. Take your time and you will become a master of the “Quick Change”. Oh, and it never hurts to ask a friend to help - BUT ask before you need the help NOT in a mound of sweat and craziness at the exact moment their help is required….

Hope that info is helpful….

Tw/uS, A.

I get tons a questions about dance shoes. I have addressed TAP shoes before in my blog and it really comes down to 4 syllables - Miller & Ben -or- for students Bloch. After the “which shoes do I tap in?” questions It stops there for the most part. However, there is more to unveil.

I see all students going from their “dolly dinkle” patten leathers to flat taps. I think this creates a problem with lifting heels when Tapping. Ideally I would like to see students n a small heel until they are about 12 years of age. I do not like to see Tap Dancers in a flat tap shoe until they have a greater understanding of technique. It isn’t until about 13 years of age that i move them to a flat tap shoe. This means the shoe choice actually aids in the learning curve of the dancer/student. I keep them in Blochs until their foot stops it’s quick growth spurts and then move them into a Miller & Ben shoe - Where they Tap happily ever after.

On a different dance shoe note. Remember the shoe is part of the leg line when you dance any style. Don’t forget about your Character shoes when performing a Theatre piece, a stylized jazz dance, or any other dance mood where a heel is more fitting for the performance than a flat shoe. Much to often I see the wrong choice of footwear on dancer’s feet when performing/competing.

Hope this helps - and as always

Tw/uS, A.

I love this idea and think EVERY studio should adopt it ASAP! If you are like me and want your students to watch others perform to increase their knowledge of themselves as a dancer? Then This is perfect for you…..it is a student to student “award” that your students can give to others they see and admire at conventions & competitions.

I got my dancebutton from Alison & Megan in North Carolina and it still sit on my cork board years later. My dancebutton is #584.

I highly recommend you introduce www.dancebutton.com to as many studios as you can!

1. Get off the floor when you hop, and PRESS into the balls of your feet (Forced Arch) TAP
2. Don’t dance; Perform
3. Straighten the supporting leg!
4. Spot eye level, on the accent to turn as a unit.
5. No Fouettes in Tap! Save them for your Jazz, Modern, Lyrical and Ballet - Use Tap Turns!
6. Don’t forget to Pointe` your feet - especially when going into & getting up from in floor sections!
7. Every transition is equally as important as each individual step!
8. Be sure to stretch before every performance.
9. Preview and discuss each stage, at each performance, for proper staging and spacing!
10. Express, Emote and SMILE!!!!

I choose these 10 because they apply to 90% of the the dances I adjudicate. They are here to help you avoid the most common pit falls I encounter. Sometimes the hardest thing to do is see ourselves - but when we do, we can become the person we want to be by working on what actually makes up who we are as a person. Then we love ourselves and have the ability to love others. It works that way with Critical Criticism! Listen to what everyone has to say, Take it all with a grain of salt, then place appropriate value to all you have heard and apply it properly to your life!

Let talk about lyrical at competition…As a performer you need to express the lyrics of the artist you are dancing to with you face, body and movement. Your job is to connect the audience to the emotion of the song. Be aware of musical changes and DO A LYRICAL REPORT.

A lyrical report is a book report for a song….You should listen to the words and the way the artist’s voice changes during the song. What emotions are expressed? How do I express them properly? What are the right moments to express them? and so on….This will help you perform on stage rather than just “spit dance steps back” at your audience…..It is hard to put yourself out on the line emotionally in front of a wide variety of people BUT that is what we should do when performing a lyrical dance.

Age - I know lyrical is very enticing to all ages BUT remember a few things. For younger students I tend to introduce them to expression on stage with Theatre and Character dances. This teaches students that it is O.K. to dance with different expression and emotions on stage and to perform as a character and NOT dance like themselves….Plus it is hard to judge a lyrical dance when the student is 10 and she is smiling through a whole dance about being a battered wife…I see things like this every weekend when I judge and it happens ALL DAY, NOT JUST ONCE OR TWICE!

If you have younger students who really want to become great lyrical dancers, start with the theatre dance and easier character stuff when they are younger so they can get used to expressing themselves in front of an audience - This will make it easier to transition into heavier, deeper, and more mature emotions when they get older and tackle lyrical pieces.

O.K. - That is all for this topic at the moment…Hope this is helpful…..It seems like teachers really fine my lyrical report system useful and I hope you do to…

Tap w/u Soon,

Anthony