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Here you will find the Judges and workshop teachers for
this years competitions. The list is being updated and is
subject to change without notice.
Workshop Instructors and
Schedule
Sunday, November 7th
Ballroom A
Ballroom B
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10: am to 10:50 am |
Timo Bartel
(Germany) Hip Hop for Beginners |
Bianka Hinkle (Miami) Jazzy Cha Cha Cha for beginners |
|
11: am to 11:50 am |
Timo Bartel
(Germany) Advanced Hip Hop |
Nairobis Olmo (Cuba)
Guaguanco - All levels |
|
12: pm to 12:50 pm |
Laura Altman (Miami) Cha Cha Cha -
Intermediate Level |
Ernesto Vegas (Venezuela) L.A.
Style Salsa for all levels |
|
1: pm to 1:50 pm |
Dahiana Oliver (Venezuela) Ladies styling for Salsa
|
Ernesto Vegas - (Venezuela)
Intermediate Salsa Shines |
|
2: pm to 2:50 pm |
Giovanny Londono
(Colombia) Cali Style Salsa for Beginners |
Ivana Chilluzi (Italy) Sexy Bachata for beginners |
PURCHASE YOUR WORKSHOP TICKETS
HERE
Workshop tickets are $10 each or $25 unlimited pass
(workshop prices and schedule subject to change)
Click here to view competition scoring
system.
The criteria that a judge might choose to
consider are actually too numerous to examine individually 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. 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.
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.
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?
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?
FLOOR CRAFT - 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 could be
responsible. |
