Notes from a comp judge…
There can be different goals for creating competition choreography each season. Some dances are created to push the dancers toward artistic growth, others challenge the dancers’ technical ability while some choreography is inspired by a great concept or piece of music. Other goals are to simply to give dancers experience, confidence, etc. Inspiration, intention and movement vocabulary are unique to each choreographer. Regardless of the intention of the work, judges apply standard and individual assessments to each piece. I am sharing my perspective as a judge to give insight and reference for an amazing dance season.
Use of the full stage creates an expansive and bold experience. Formation changes, broad movement that sweeps the stage, entrances and exits can bring a dance to LIFE.
This is a tricky one…. In duet, trio and group pieces / sections, choreograph to the weakest dancer or stage the piece with layered choreography. A judge’s eye goes directly to dancer struggling through a la second turns, etc. This can discount the amazing work the strong dancers are executing.
Have you heard the saying that we do “65 percent onstage of what we do in rehearsal”? If an aerial, turn, partnering, etc. is not working in rehearsal take it out or make adjustment. Showcase each dancer’s strength, don’t make the mistake of showcasing a skill. If the dancer is not proficient in the step, find a new way of displaying their abilities.
Dance styles are determined by the movement vocabulary, not the music.
Watch the dance from the front of the studio. Look for angles of the choreography from the judge’s perspective. Have the dancers wear the costumes while you observe from the front (not looking in the mirror). Many dances begin in awkward angles and lines that could be cleaned up if observed from the audience’s perspective.
If incorporating a prop into the choreography, make full use of the prop. Refer to it as often as the story allows. Using the prop for the beginning and ending poses only is often a missed opportunity. AND be clear when directing the dancers how to set or strike a handheld prop (putting a hat on the flow, taking off a skirt, etc.). This goes a long way towards creating a seamless performance.
Have dancers practice the entrance and exit of each piece. Judges learn a lot about dancers by watching them enter the stage. For more experienced dancers, ask yourself “what are these characters doing, feeling, etc. in their lives before the music starts?” What makes sense for this piece?
This is the second tricky one… We can’t be so “in love” with the dance or dancers that we lose critical perspective. Watch the piece as a teacher (technical skills, etc.), as a choreographer (storytelling, intention, etc.), as a mentor (confidence, support, etc) and as a judge who has never seen the work before (is there clarity, expression, proficiency and heart?) is it possible for each role to be equally measured?
Relationship and connection between dancers on stage is very Important. If dancers are dancing together, facing each other and dressed alike, they should acknowledge each other. This will pull the audience and judges into the experience and heighten our investment in the dance.
You do not have to reinvent the wheel. It’s all been done before ;-) This will free you up to make the work you want, use that song you’ve been saving, build that crazy prop or try a new style. Take the pressure off and enjoy this season.