All About Competitions
Information & Tips from Competitors, Judges, and Producers
In our last issue we offered you “a-bit-o’ information” about competitions, asking, “is competition for “YOU”? This issue brings more information on the subject of competition, including a chart of competitions in date order, an woderfully detailed article from Halima, “The Competitor’s Edge”, winners from 2005 competitions from across the country, and Dawn Devine offers suggestions on costuming for competition. We hope this information is helpful for those of you who may be sitting on the fence, trying to decide whether you want to put you “toes” and “zils” in the water. <grin>
For those of you who may not have read the previous information in the Quarter 4/05 issue, let me briefly recap. I am owner of one of the most successful competitions in the country, The Double Crown Belly Dance Competition. “But”, before producing this event, I was a competitor (who did not always win or place, but that never stopped me from going to the next comp). I am also a judge at various competitions and often am a vendor as well. I think having been involved at all levels of competitions, I am in a rather unique position and believe this may be what has brought the Double Crown its success. Bottom line: “I LOVE COMPETITIONS”. The only other challenge in regard to “preparation” that has pushed me that hard is “Teaching at Rakkasah”.
With the Competition Season being upon us - - the first of the year being Tonya and Atlatis’ Belly Dancer of the Universe, we hope you find this information helpful. Please don’t hesitate to contact any of us who have contributed information - - we are always happy to help. “NOW, ON WITH THE COMPETITION”.
Here are some fabulous quotes on Competition!
"A competitor will find a way to win. Competitors take bad breaks and use them to drive themselves just that much harder. Quitters take bad breaks and use them as reasons to give up. It's all a matter of pride." . . . Nancy Lopez
“I'm not in competition with anybody but myself. My goal is to beat my last performance." . . . -Celine Dion
“Let others cheer the winning man, there's one I hold worthwhile. Tis he who does the best he can, then loses with a smile. Beaten he is, but not to stay, down with the rank and file. For he shall win some other day, who loses with a smile.” . . . Unknown
“You can't always be a winner, sometimes you have to lose to become something great.” . . . Diane
“You're not obligated to win. You're obligated to keep trying to do the best you can every day.” . . . Casanova
COMPETITOR'S EDGE
By Halima
As we enter 2006, we enter the beginning of the competition season. Competitions are becoming more and more popular as seen by the many that have been here for a long time and the new ones popping up. At this time I believe the West Coast has the most, but the mainstream of competitions is being addressed in another article. What I want to talk about is how to be prepared for competition.
I would also like to give you some of my background information which I believe makes me qualified to deal with this subject. I have been involved with belly dance competitions since about 1976. I have judged many categories in almost all of the competitions on the West Coast. I have sponsored a success competition in Oregon before life style changes forced me to pass it on. I put together a score sheet system that truly made it a competition addressing skill levels as well as entertainment value which parts of have been drafted into other competitions. I have also competed in two competitions so that I would actually know what it would feel like to be a competitor and get a perspective from that point of view. And I did not win or place in either competition so I also came away with that perspective as well. I have coached individuals as well as troupes for preparations for contests. So I guess I can actually say been there; done that; and got the well worn t-shirt.
The first thing I have to tell you is READ THE RULES; READ THE CRITERIA, AND ASK FOR A JUDGING SHEET. Sometimes the sponsors will include this in their packets, sometimes they don't. Sometimes they get it posted on their websites and sometimes they don't or sometimes it gets posted a little later than what you need. So if you are determined to enter a contest, take the responsibility to ask in advance. Also enclosing a self-addressed stamped manila envelope will definitely insure a faster response.
Now some of you might not think it is important to read anything beyond the entry fee; but when you lose because you have been disqualified because you used the wrong music, went over your time limit; didn't know you were supposed to play zills; etc., then don't get upset with the sponsor, kick your own self in the behind for not taking the responsibility of reading the requirements.
While this article could turn into a book, I'm going to touch upon some highlights of what you will find on a judging sheet and how I would score it. I can't speak for other judges, I am speaking for myself. I firmly believe in following the way the rules are set out and realizing that sometimes I do have a judgment call to make as well. So saying that, I have selected some of the things you would find on the judges score sheet from The Double Crown Belly Dance Competition, produced by Zaina Hart in Vancouver, WA.
Make Up Artistry
Competitor is wearing make-up which enhances the eyes, cheeks, lips, etc. The competitor has taken into consideration, lights, staging area, distance from audience, etc. and has therefore not been drowned by lighting, etc. The use of artistry in this process should be a plus; the use of no make-up would contribute to a lower score.
Well it is pretty clearly stated above but just in case you're not sure, this is what I look for. Does the eye make up enhance the eyes or does it make them so dark that they just look like black eyes under the lights. Does the lipstick compliment the rest of the makeup so that I see a whole face or am I just looking at cheeks or eyes standing out at me. If you have problem in this area then ask a friend that is good with make-up to help you out and give you a hand with colors and application. If you have a chance and can afford it, take a make-up class. After all you are entering a competition, you want to look your best.
Costume Appearance/Style
Costume should be neat, clean and free of wrinkles and dirt. Only body parts intended to be exposed, should be exposed. The costume is flattering to performer, fits properly and does not overpower nor take away from the performance. Costume should fit the style of dance being performed as well as work with the music.
Okay, I don't want to see a "wash and wad" costume. That drives me nuts. Your costume should not look like it has been thrown in a corner or wadded up and then put on with the glory of all it's wrinkles. I am not a prude, but frankly I don't want to see your underwear, nor do I want to see your breast bulging out over the top or from under the bra because the bra doesn't fit right. I don't mind cleavage, it's part of our anatomy, but there is a big difference between cleavage and over-spill. There are too many ways to remedy this. There simply is no excuse. If you don't know how to fix it, again, ask a friend; get a costuming book; take a costuming class or call someone that does costuming. You will find a lot of them will help you. I also like to see a costume complete from head to toe. I want to see something in the hair to keep it from straggling in your eyes because I want to see your expressions while you dance, your eyes, your make-up and I believe it is where costuming starts.
Matching accessories are also very important to give a completed look. Costuming and make-up work together, they should enhance each other so that when the performer comes on stage you may see the costume first, but you don't dwell there. If they are complete and flattering to each other they will enhance you. Example: Here comes contest number one in a gorgeous to die for costume and her hair is straggling and she has bare makeup on. Okay what do you see and continue to see in the performance? Her gorgeous costume because it is the only thing that stands out.
Costume should be appropriate to music. If you don't know, then research. You would not want to wear a cabaret costume and dance to shikat music. And believe me most of the judges do know the difference.
If you are wondering why I make such a fuss about the costume and makeup; well it is for a couple of reasons. First, you are entering a professional venue even if you are only a beginner. The venue meaning you are dancing in front of the public who judges us all. Don't you want to be seen at your best? Second, sometimes it comes down to that one point that might make the difference between whether you win or lose. How would you feel if you lost by one point and found out it was because of your make-up or costume? If you have two or three performers of equal strength in dance, then more than likely the deciding factor will come down to the costuming and make-up.
Entertainment Ability
Poise and Posture
Competitor is balanced, steady in carriage of head and body (posture), self assured, in control of performance and able to recover from unexpected situations.
Okay, I know you are probably nervous, but you have to take a deep breath and put that behind you and focus on what you are doing. Good posture is a must! It will help keep you balanced and steady. It will give you an energy lift that brings about that feeling of being self assured. Everyone has a boo boo occasionally, how you handle that makes a difference. If you can shrug it off and keep on going you will definitely gain poise points as opposed to letting it show on your face, running off stage or just giving up. No one is perfect and believe me everyone including the judges have made some major boo boos in the past, so just remember that and keep going. I remember one performer who lost her wig on stage and just kicked it aside and kept dancing and won the competition.
Posture is so important, it is one of the things that makes those movements appear cleaner and helps your use of space, so keep that in mind while you are performing.
Personality, Creativity and Entertainment Level
Competitor has visual contact and rapport with the audience that obviously expresses feelings. Should possess the ability to appeal to the audience through ones individuality/personality. Competitor is able to draw the audience into the mood he/she/they are trying to convey and is enjoying what he/she/they are doing. Competitor should be innovative and imaginative in presentation.
I don't care if you are a scared rabbit, you can't show that on stage. You need to be able to look the audience and the judges in the eye and smile. Show the mood of the music, be playful. Withdraw with drama when you need to; be flirtatious; be funny. Some or all of this should be within your music, find it and show it to your audience. Be the entertainer. If you are having problems in this area, ask your instructor for help or a dance friend. Enjoy what you are doing! I look for mood changes with the music and acknowledge them with a higher score.
Dance Ability
Entrance / Exit
Competitor should gain the audience's attention the moment he/she/they hit/enter the stage or enter the room (Competitor may start on stage, therefore, his/her/their first movement, etc. would be considered in the entrance/opening presentation). The Competitor's exit from the stage and/or the end of his/her/their choreography should be memorable and impactive. This however, may not necessarily be a physical exit off of the stage but an ENDING to the choreography; the FINALITY of it, so to speak. Keep in mind stomping from the stage, being silly, bows, thank you's, etc., even after said choreography / ending will be considered in the exit portion of judging. Competitor should act appropriately at all times of performance.
Well I think Entrance and Exits are pretty much explained above. My advice here would be to watch competitions and see how others enter and finish and what grabs your attention and what leaves you with a ho-hum feeling.
Technique
The competitor's mastery of movements/steps and ability to follow through with extensions and movements (to complete a move or step and not cut it short). Competitor should use a variety of steps that flow well together. A great dancer will make the most difficult of moves seem effortless and smooth and the most simple - the most impactive.
If you can't do the movement properly, then don't include it in your routine. Do what looks good on you, what you know you excel at. Don't cut your movements off too short. If you don't know what I mean by that statement, then you need to check with your instructor for an explanation. Transitions should be smooth and not look choreographed even if they are.
Isolations
The competitor's ability to isolate separate parts of the body with minimal incidental movement of the rest of the body. Isolations should be clean, precise and very visible (leaving no doubt). Multiple isolations considered to be highly advanced.
Isolations is also pretty well explained. I once had a performer ask me why she got a lower score on isolations because she felt that she did really good in that area. So this is the way I judge isolations. If you are a beginner, intermediate, then I look for clean basic isolations, but if you are a professional then I expect more advanced isolation combinations that stay clean and precise. Obviously you have to have some basics in there, but a professional performer should be able to challenge themselves with harder combinations. That is one of the things that sets them apart from a mediocre performer to an outstanding performer.
Use of Space and Stage
Competitor's ability to use the stage effectively, moving skillfully from one place to the next (the ability to use directional changes smoothly).
Well I definitely think more explanation is needed here. Let's talk about the stage first. I look to see if the performer addresses all areas of the stage, front, back, middle, and corners. You don't always have to travel to the bare edge of the stage, but you need to move around the stage and in those directions enough to acknowledge them. This you have to build into your choreography. If you simple dance left to right, right to left, or front to back and back to front and a few turns here and there, then you are going to get a low score. Use some diagonals, some figure eight floor patterns, some circle patterns so you can address all points of the stage. This needs to happen somewhere in your performance. Most performers will do this somewhere in there entrance or finale piece. You can choose where you want it.
Now let's talk about space. Space to me isn't just covering the space on the stage, it's also using the space around your body. Are you getting full extensions from your arm movements when you use your hands and arms or a veil? Keep your body open so movements can be seen, don't close yourself off by holding your arms too close to your body. Don't let your energy and posture drop because you have whimpy arms. Learn proper placement and how to get the most out of them. If you have strong arms and dead hands, then you haven't finished out the use of your space by getting the full extension. Let the energy flow clear through your finger tips.
Musical Interpretation
Transitions
Competitor utilizes transitions in the music to his/her/their advantage with accents, etc. and should appear to "hear" transition points in the music as the body follows through. Transitions should be smooth and flowing.
Actually I think Transitions should be moved up and used with technique. Good technique needs good transitions. You need a smooth transition to keep the movements flowing and falling into place as they should.
Knowledge of Rhythms and Accents
The competitor should be moving with the music and not fighting or chasing it. This will be obvious by chosen moves and steps. Competitor uses stops, accents, etc. in the music appropriately.
Sometimes in our desire to make sure we hit every accent just right we start to anticipate our music and by doing so forget what we are doing at the moment and have a tendency to cut our movement off too soon. This is going to throw you about a ½ a count behind and then you are going to be chasing your music trying to catch up and get back in tune with what you are doing. I can only say practice, practice, practice and listen to your music at every opportunity so that it becomes such a part of you that you know it hands down. Knowledge of music also consists of knowing when to use an accent effectively and when to use a pose. But it also means to know when you can use a walking movement or turn effectively with an accent.
Every contest has it's own judges score sheet, so it's important to ask for theirs. Some competitions require zills. Also there are some other factors built into troupe and duet performances that you will need to look at as well.
Competition is one of the ways that we can show our skills and present ourselves in a professional venue to the world. Society understands competitions, goodness knows we have enough of them from school competitions to the Olympics.
Not everyone is a competitor and that is okay. Thank goodness we have a dance form that provides something for everyone. But for those that want to compete then by all means go for it.
Also remember to be a good sport whether you win or lose. You are putting YOUR EGO on the line when you enter a competition. Is it strong enough and healthy enough to handle it if you don't place or win? I'm not saying that you can't be frustrated and at times irritated, but you keep that to yourself and share it with your friends. You don't lay it out in front of your co-competitors and the general public. Believe me, you only hurt yourself when you do that. If you have a healthy ego, take the judges comments to heart, work harder, support the other competitors and keep trying.
I've also included the way most of the score sheets are set up for scoring by the judges. Some contests only score 1-5 while others score 1-10. Most judges find this information on their packet.
Judge's Comments
Constructive criticism only. No derogatory or hurtful remarks. Make your suggestions and comments in a professional, effective manner.
Scale
0=Not Demonstrated
1-2=Poor
3-4=Fair
5=Average
6-7=Above Average
8-9=Excellent
10=Superior
Contests can be a rewarding experience if you let it. It gives you comments and help from professional performers. It gives you an additional opportunity to perform for the public and be recognized. It provides you with an additional training ground for your skills.
I would also like to say a word about the sponsors of competitions. Sponsors put in a lot of work in this area and THEIR OWN MONEY to make these events happen. Hopefully they will get a financial reward from it, but trust me that isn't always so. That only happens if you SUPPORT the event. They also do it out of love of something they believe in and we all know that feeling. So remember this if you aren't happy with something at a contest. Don't lose your temper and scream at the sponsor. Talk or write to them later and explain what you were unhappy about. Maybe they can explain the reason behind it; maybe it is something they didn't think of; and maybe it will be something they can use down the road to help make their competition better.
My mom always said "walk a mile in my shoes" before you judge me or criticize me.
Okay competitors, get ready, get set and go get prepared for the 2006 belly dance competitions!