Text Box: Dance Tips An excerpt from Loraine Ritchie’s interview with Dance Judge Ron Wesley

Text Box:                  What I look for when judging Highland is the "presence" of a dancer as a complete package. Their attire should fit correctly rather than the loose fit baggy or un-kept cumbersome look or a kilt that has a tilt to one side. Jackets that don't "gape" at the neck or shoulders and also are the proper length for the conformation of the dancers body. In technical aspects there are many details and criterion the knowledge and the ability to enhance a competitive level of expertise offer another competitor regardless of whether everyone dances "set steps" or whether dancers avail themselves of other steps and styles….it is simple… 1. They should look natural not strained or mechanical 2. Show understanding of musicality and try to dance "in" the music not behind it 3. There should be buoyancy, non laboured look, have stamina and elevation without over exaggeration, a line of aplomb not "a deformity look with a sway back, protruding shoulders, protruding rib cage and a facial expression that has a pleasant portrayal of enjoyment not the facial expression reminiscent of "spastic cramping of the intestines and definitely not that we sometimes, as judges, witness that is acknowledged by ones mother as, "she is concentrating so hard on her feet that she just forgot her face!" 4. The dance should be in harmony with the technique required in any given dance with shading of strengths of prowess being exhibited 5. Shedding should be in 3rd rear Arial high position and certainly in 3rd Arial High it should be not "almost" or at the side of the leg. Backstepping should run continuously rather than the bungee jump into 3rd Arial pos high, knees and proper use of turn out from the hip, no clenched, sickled or flat feet and a foot that is stretched showing the position that it is supposed to be in and not the dancers interpretation (through lack of training) 6. Pas de- basque's should be in position and when they should be inside the sword try not wandering indiscriminately, in and out like you are shopping at the mall. 7. Shuffles should be both inward and outward brush not one or the other, and high cutting is like, Arial feet, where we see "truly the lack of understanding of musicality" where the dancers either miss beats or jump so high like they need a parachute to land. What I see in competition is the suppression of the true artistry and agility of a dancer over the adoption of a static regimented sometimes anemic or severely insipid display where a dancer believes that "elevation beyond the ozone layer" is more important than the correctness of style and technique. Your Instructor’s Comments: 1. Elevation is important, but it should not be taken over the top! I think most of my dancers have yet to see an example of this, but it is common in many Premier dancers who, quite impressively, jump so high that there’s hardly any time left for correct positions/grace/artistry. Basically, it often appears as a Olympic jumping contest, having no resemblance to any form of dance1 2. Understanding the stories behind each dance and each dance’s purpose help you to interpret each dance as you see artistically fit! 3. One of my big “pet peeves” is a dancer who has beautiful positions, but who has no EMOTION. TIP: if you are having fun and enjoying dancing, then you will have a pleasant presence on the stage. I’ve seen (and personally prefer) dancers who have a good presence on stage beat dancers who have better positions and technical points than them but who didn’t have any emotion or artistic interpretation in their dance!!! 4. Of course, all judges have different preferences. However, I have found, in generalization, that presence is in the top preferences of most judges.  CONCLUSION: SMILE, HAVE TIGHT POSITIONS (BUT NOT AN UNCOMFORTABLY TIGHT BODY), AND HAVE FUN. IF YOU TRULY ARE ENJOYING YOURSELF THE PRESENCE WILL BE ORGANIC AND LOVELY!

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