MAY-JUNE 2015
EYE ON COMPETITIONS
May 1, 2015
Judges share insights and outlooks
It’s not easy being a competition judge. The days are long, the music is loud, and the pressure to do right by the dancers never ends. To try to understand what they’re up against, we asked 11 experienced competition judges to offer their thoughts on stage fright, eye contact, talent agents, and tough decisions.
We thank Albert Blaise Cattafi, L.A. Dance Magic: former member of Shaping Sound, member of Rasta Thomas’ Bad Boys of Dance; choreographer; performer with Cirque du Soleil; for participating.
What advice can you give dancers who struggle with pre-show nervousness or stage fright?
Cattafi: It’s natural to want to live up to your potential, but no amount of lip-licking, hair-twirling, or other nervous habit will help. That is why we prepare—so that when that time comes to call upon our training, we know it’ll be there. This is my routine: I kneel backstage with my hand touching the floor, say a little prayer, kiss the floor, and remind myself, “There’s nothing to prove, and everything to share.”
Some dancers strive to overtly connect with judges (e.g., look them in the eyes, lip sync to them, gesture toward them). What are the advantages and disadvantages of doing so?
Cattafi: I’m not a huge fan of feeling like I am part of the performance while judging. Eye contact every once in a while, maybe a quick gesture if it’s appropriate and tasteful—and if the piece calls for a little something extra, then go for it.
Competitions are connecting more and more with talent agencies. What are your thoughts on that?
Cattafi: It’s great that we can put students in front of agencies before they take the next step into the professional dance industry. The other side of that coin is the message these agents are sending. Last year, after listening to an agent, a group of students asked, “Should I really wear the same yellow flower in my hair to every audition so they remember me?” That may help a little, but what really helps is being better than everyone else. If your technique is solid and you work your hardest in every possible moment, then the people next to you at these auditions better be wearing very large yellow flowers!
What was the toughest judging decision you’ve had to make, and why?
Cattafi: Deciding between great pieces of different styles—the well-staged and super-entertaining musical theater number, the precise tap number with great rhythmic substance, or the flawless classical variation with professional tutus. To me, the whole package—with performance at the top of the list—reigns supreme.