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I
would like to attempt to answer an oft-asked question of interest to both spectators and
competitors at dance competitions: What factors does a judge weigh in assessing a
couple’s performance? The
criteria that a judge might choose to consider are actually too numerous to examine
individually in the brief time allotted, since at least six couples are being judged
simultaneously. Therefore, the judge must rely on the impression each couple makes
relative to the others . The experienced judge, having seen and studied dancing at all
levels, can quickly assess these factors collectively:
POSTURE - one of the most
important aspects. Good posture makes you look elegant and exude confidence. It improves
balance and control, and allows your partner to connect well to your body in the smooth
dances. One’s competition result is often directly proportional to one’s postural
correctness. Hence the old adage, "Persistent practice of postural principles
promises perfection."
TIMING - if a couple is not
dancing on time with the music, no amount of proficiency in any other aspect can overcome
this. The music is boss.
LINE - by this we mean the length
and stretch of the body from head to toe. Attractive and well- executed lines, either
curved or straight, enhance the shapes of the figures.
HOLD - the correct and unaffected
positioning of the body parts when in closed dancing position. For instance, the line of
the man’s arms should be unbroken from elbow to elbow. Also, there should be symmetry of
the man’s and woman’s arms coming together to form a circle, which, although changing
in size, should remain constant in shape so that the dancers remain in correct body
position relative to each other. The silhouette of the couple should always be pleasing.
POISE - in smooth dancing, the
stretch of the woman’s body upwards and outwards and leftwards into the man’s right
arm to achieve balance and connection with his frame, as well as to project outwards to
the audience.
TOGETHERNESS - the melding of two
people’s body weights into one, so that leading and following appear effortless, and the
dancers are totally in synchronization with each other.
MUSICALITY AND EXPRESSION - the
basic characterization of the dance to the particular music being played and the
choreographic adherence to musical phrasings and accents; also the use of light and shade
to create interest value in response to these accents and phrases. For instance, in
foxtrot, the stealing of time from one step to allow another to hover; or a quick speed of
turn in an otherwise slow rumba; or the snap of a head to suddenly freeze and then melt
into slowness in tango.
PRESENTATION - Does the couple
sell their dancing to the audience? Do they dance outwardly, with enthusiasm, exuding
their joy of dancing and confidence in their performance? Or do they show strain or
introversion?
POWER - Energy is exciting to
watch. I’ve noticed that, in a jive, it always seems to be the most energetic couple
that wins this dance. But the energy must be controlled, not wild. For instance, powerful
movement is an asset in waltz or foxtrot, but only if it is channeled into the correct
swing of the body, and not just by taking big steps. The lilt of the music must be matched
by the action of the body. In a waltz for instance, the dancers’ body action must
clearly show the influence of the one down beat and two up beats. So the release of power
into the beginning of a figure must be controlled and sustained during the rise at the end
of the figure.
FOOT AND LEG ACTION - the
stroking of feet across the floor in foxtrot to achieve smoothness and softness; the
deliberate lifting and placing of the feet in tango to achieve a staccato action; the
correct bending and straightening of the knees in rumba to create hip motion; the
extension of the ankles and the pointing of the toes of the non- supporting foot to
enhance the line of a figure; the sequential use of the four joints (hip, knee, ankle, and
toes) to achieve fullness of action and optimal power; the bending and straightening of
knees and ankles in waltz to create rise and fall; the use of inside and outside edges of
feet to create style and line all fall under this most important of categories.
SHAPE - Shape is the combination
of turn and sway to create a look or a position. For instance, in Paso Doble does the man
create the visual appearance of maneuvering his cape? Does the lady simulate the billowing
flow of the cape through space? In foxtrot, does the man use the appropriate shape on
outside partner steps to enable body contact to be maintained?
LEAD AND FOLLOW - Does the man
lead with his whole body instead of just his arms? Does the lady follow effortlessly or
does the man have to assist her?
FLOORCRAFT - This refers not only
to avoiding bumping into other couples, but the ability to continue dancing without pause
when boxed in. It shows the command of the couple over their choreography and the ability
of the man to choose and lead figures extrinsic to their usual work when the necessity
presents itself.
INTANGIBLES - such as how a
couple "look" together, whether they "fit" emotionally, their neatness
of appearance, costuming, the flow of their choreography, and basically whether they look
like "dancers"; all have an affect on a judge’s perception and therefore on
his markings.
Different judges have different
predilections in what they want to see, and weight these factors differently. One judge,
for instance, might be especially interested in technique, while another wants to be moved
by musicality and expression. While both factors are obviously important and need to be
considered, it can result in couples getting widely disparate markings. Couples wondering
what a judge saw to give them a particularly high or low mark should know that any one of
the many factors listed in this article could be responsible. The use of a heel when a toe
is warranted can just as easily hurt you in a judge’s eyes as a meticulous closing of
feet can help. Because the judge sees each couple for only a few seconds, anything that
draws the attention, either positively or negatively, could very well be the deciding
factor on how you are marked.
Competitors, please be assured that
virtually no qualified adjudicator will mark you for any reason other than his or her
honest evaluation of your performance. Most judges hold their own opinions highly, and try
to do a conscientious job. Anyway, no one judge can make or break you. The use of a panel
of these experts usually insures that the end result is the correct and equitable one.
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