Mike Brassard
Nothing brings out the passion in salsa dancers, as does a discussion about Salsa Competitions and judges.
With the 1st Winter Salsa Carnival Competition finals only three months away, a look at judging just might provide both spectators and competitors insight into how those first, second and third place couples get there. Jennifer Aucoin's experience as a World Salsa Championship Judge applies in some way to every salsa or dance competition on the planet.
Jennifer Aucoin has been judging salsa competitions in Quebec and Ontario for quite some time in addition to creating and running the successful Canada Salsa Congress, establishing the Steps Dance Studio and running local salsa competitions until 2004. And as a former gymnastic coach who has judged gymnastic competitions with their subtle technical aspects, Jennifer's unique and precise background vaulted her to the 2nd and 3rd World Salsa Championships as a judge.
Judge Only What You See
"As a judge, you look only at what you see. You are looking at what they [that couple] do in that two minutes." Jennifer stated.
That couple may have been perfect in the semi finals, but that couple has to perform perfectly to win. If that couple is having a bad day... well ... it's what they do in that two minute final that will win or lose it, not what they did the day before. Jennifer continued.
"If you do know the competitors, you have to put aside all thoughts of what you have seen them do in the past or what you believe they are capable of; what matters is what they present in the 2 minutes," Jennifer also said.
Despite the noise of the crowd, the reputations of the dancers and the excitement of the event, a focused serenity is one of the most important traits a judge can have.
Focus & Impartial
"You really have to be focused and as impartial as you can be, " Jennifer asserted.
"It's stressful as you have to be focused for so long, three to four hours per night, remembering it all and keeping it all in mind," she continued.
Jennifer has a methodical way to watch and evaluate that nightly parade of couples, each having their two minutes on the stage. It is precise and consistent, but it is hard, it is taxing.
"You get into a zone. It sometimes feels as if you are studying a picture within a frame - the frame is the music, the choreography, the presentation, the soul, inside the frame You zone in on arms, legs, feet. The focus is very intense and tiring," she said.
Jennifer continued, "You are looking for deductions and you are looking for things they do very well to add 'bonus' points." "You have categories, you deduct points. I start at ten and take points off for mistakes, sloppiness."
This seemingly mathematical approach is not as cut and dried as it seems as Jennifer continued,
"For example, you may deduct 0.2 every time there is a balance error, but then you may add 0.2 if they do a phenomenal move and execute it beautifully."
Many Eyes Make The Load Light
A judge does not work alone. Most competitions have a panel of judges so no one judge can decide who is first, second or third. And each judge looks at each category on the score sheet that include elements such as timing, technique, difficulty, connection/partnering skills, choreography/originality, appearance and showmanship, and heat or how well the couple dances in a pure lead-follow format. While some competitions combine these elements, all of them are assessed.
At the World Salsa Championships, there is a scrutineer and a panel of judges. As part of their pre-competition work-up, Jennifer said the judges met for 4 hours, discussing what each category consists of as well as mock judging video. They were practice judging so to speak, burnishing their already formidable observation and evaluation skills and discussing possible sticky points in evaluation.
A Number's Game
During the actual competition, the scrutineer collects each couple's score sheet from each judge right after they are finished. The judge does not have any time to individually tally the score. That is the scrutineer's job. "It becomes a numbers game," Jennifer said. The scrutineer collect the sheets, tallies them and enters the score into the spreadsheet. There is no discussion among the judges. As the totals from each judge are tallied, variations from one judge to the other level out to a realistic evaluation for each couple. This can give the competitors confidence that the judging will be as fair as fair can be.
That's the method. Now, what exactly are the judges looking for when they deduct from or add a point to a couple's score?
The Devil Is In The Details
Timing is the category that generates most of the discussion among the judges and bedevils competitors to no end. And as timing is worth double points more than the other categories, it comprises a lot more than mere feet moving to a beat.
Jennifer noted that some judges divide the body into two parts and watch what is happening above the waist and what is happening below the waist. While the arms may be on time, the feet may be off time. If the music is very fast, the feet may be just moving but the arms and turns may be on time. Shines need to be on time and performed in sync with the partner, not independently, not done off time.
If the feet are not moving, or if the couple or one competitor has what the judges call "quiet feet," for more than a few bars [one bar - eight beats], points may be deducted unless it is for some compelling choreography requirement or effect. While this is not carved in stone, it is indeed a rule of thumb of what judges generally like and don't like to see. If the feet are sloppy or if they are ahead or behind the beat, points may be deducted. If the man's arms are on time and he is leading his partner on time, and his feet are sloppy which puts his feet off time, points may be deducted for timing and possibly for technique. Timing points can be deducted for coming out of a dip off time. Coming up fast or slow is not necessarily bad for timing, but stepping out on time is crucial to keep that point from being deducted. The On2 dancers have to be especially aware of this.
Technique spans a number of things. The devil is in the details. A couple has to practice and perfect every motion and turn pattern in their routine. Turns for example have to be complete, not under turned or overturned. Spins have to finish cleanly. Are bodies, arms, or legs too straight or too bent? On a cross body lead, if one or the other of the couple leans too far in or out, a point may be deducted. Balance on a pose has to be precise and strong, no wobble.
Partnerwork, while not weighted as heavily as timing, could be the most complex element for the couple to perfect. Is the leader leading too strong? Is the follower too strong for the lead? Is the lead off centre for turns and spins? Has the couple fumbled or missed a connect? A point can be deducted for any of these factors.
Difficulty is an interesting element. Everybody sees the woman turning and spinning? But, does the man turn, single or double turns too? Are there any unique twists to the usual moves or turn patterns? Jennifer noted that a routine that is either very hard and executed effortlessly and flawlessly will place well, while a conservative routine that is clean will come in ahead of a hard routine that a couple struggles through.
Stage presence also covers a lot of things. How the couple uses the stage is important. Do they use the space or do they stay in one spot for their routine? Are they centered on the stage or do they stay right or left and thus not give the judges a clear view? Does the couple engage the audience with their facial expression, body language and music? Is the couple smiling and are they engaged in their routine? Do they enjoy what they are doing? Does the couple have charisma? Do their expressions compel the audience or the judges to keep looking? For example, Jennifer noted that World Champion Oliver has that Michael Jackson star quality when he is on the stage. People simply cannot keep their eyes off him when he is on the stage.
Costumes can add or detract to a performance and many couples ignore this. Do the costumes match? Do the costumes go with the music and the routine? Do the costumes even fit properly? Jennifer stressed that couples need to practice in their costumes and work out any problems with the costumes before they compete. Sequins breaking loose can trip a couple on the stage, affect balance and technique and cause deductions.
Jennifer's Advice To Competitors
Jennifer took some time to give advice to people competing for the first time as well as seasoned performers and competitors.
Jennifer asserts, "Prepare in advance!"
Jennifer said to take lots of time to complete the routine and get it working. It should flow smoothly and easily. Ask an instructor or a very experienced dancer to critique the routine and work out any snags or rough spots. Video the routine to critique yourselves and practice in costume. Jennifer recommends that couples perform their routine in front of a group before the competition.
If a couple chooses music that a lot of other people have used, their choreography will have to be really different to engage the audience Jennifer cautions. The music does not have to be too fast, but it has to have energy, it has to grab and hold and even enrapture the audience. Jennifer stresses, "Choose a song you love so you can transmit your joy to the audience!"
Finally, Jennifer says to any competing couple, "[You] have to have fun!" She continued by saying, "If a couple is not enjoying themselves on stage, or in practice, it will show. You have to go into a competition knowing that you may not win a prize but that on the other hand you will win because you have worked hard, pushed yourself to the limit and grown as a dancer.
Jennifer concluded, "Show emotion and enjoy!"
Resources
World Salsa Championship Rules
Winter Salsa Carnival Competition Rules