Pamela Gaizutyte on Competing and Judging

Pamela has been dancing since she was 5 years old. She did traditional Lithuanian folk dancing for years, until she found her passion in Lindy Hop at the age of sixteen. In 2009, she began working at Hoppers’ Dance Studio in her hometown of Vilnius, Lithuania, where she surrounds herself with rhythm on a daily basis as she practices, performs, and teaches Lindy Hop and vernacular jazz.

Pamela Gaizutyte is one of the most exciting followers to burst onto the international swing scene in recent years. Her creativity, personal style and sense of musicality are an inspiration. Pamela enjoys spreading the joy of dance and sharing her knowledge, and is excited to travel to new and faraway places to do so.

INTERVIEW QUESTIONS

 
Name: Pamela Gaizutyte
Home base: Vilnius, Lithuania
Facebook: here
Year you started competing: 2009 (started dancing 2008)
Approx how many competitions have you competed in: 30-50
 
 

Competing

* Why do you compete?
Sometimes I compete just to make myself practice as it pushes me to challenge myself and work on something (anything). Other times it’s so that I have an opportunity to create something with another person. I find that in the Lindy Hop World, the average dancer doesn’t have a lot of performance opportunities in order to make a name for themselves or get recognized with a partner, so that’s where competition comes in.
 
* Why do you think competition is valuable?
Competing is valuable because it makes you work through a stressful situation. This is a great way to see how your body moves naturally or under pressure. You get to see your true skills, strengths, and flaws. It’s also a great place to get experience. Hmmm….what else? You could win some things like an event ticket! I used to do that: I would borrow money from my family and friends so that I could compete in the hopes that I might win a ticket to another event, and then I would only need to get myself there and find a place to stay! 
 
* What’s your personal philosophy on J&Js?
I’ll be there for my partner, for sure. It’s not only “social dancing,” so it’s not time to challenge my partner and surprised them. For example, let’s say my partner and I are dancing for the first time in a competition. I’ll try to calm down if they don’t have a lot of experience and really be there for them. But if I know what to expect because I’ve already danced with that Leader before, I don’t change my dancing – I still will style and takespace when I can.
 
Partner first, music second, self third, and audience fourth.
 
* Do you still get nervous before a competition?
Oh my goodness, I used to getnervous; I couldn’t control my limbs! So yeah, I used to, and it would make me feel ill. I finally said to myself, “If I am going to be nervous like that again, then I will not perform or compete.” I want to have a fun time, not make myself sick!
 
Hahah, I have even thrown up after a performance before! That’s how nervous I’ve been before.
 
In the past, I have done a bad job performing and that made me really upset. I had to ask myself why was I put myself in a position if it wasn’t pleasurable. And then I stopped being nervous. Now I appreciate performing and competing much more.
 
* How do you deal with nerves before a competition?
I talk to myself before I head out to the competition dance floor by reminding myself the reasons why am I dancing. Mainly, I tell myself that I am sharing my experience, and that helps ground me.
 
* What competition have you done that meant the most to you? Why?
ESDC Solo Jazz (2015) was the most meaningful. It was me, Tatiana Udry, and the boys. At that moment I felt like I wanted to show whatever I was feeling in that moment with my dancing. I knew that it might not be very aesthetic to watch, but that was not the most important thing to me. Dancing “me” was the most important, and I did that. I was really proud of myself.
 
On a side note, I would like to see equal or more gals compete in solo jazz competitions AND be recognized for their work! Sometimes it feels like some of the gals are not willing to push themselves when they compete and I really want them to push harder and go beyond their comfort zone.
 
* What is/was your favorite competition to watch?
Probably J&J because that’s where the most magic can happen!
 
* Three pieces of advice to give to the next up-and-coming competitors?
     1) Be ok with the level you’re at. Enjoy where you are.
     2) Question everything as that’s the best way to learn.
     3) Dance with confidence in yourself, and then you will leave no space to be judged.
 

Judging

* What do you enjoy about judging?
Focusing on the dancers, paying more attention to what’s happening with their bodies, connection, and rhythms.
 
* What do you dislike about judging?
Sometimes it’s tough to choose placements or criterias that guides you through what you wanna see in the dance.
 
* As a judge, what are you looking for in a Routine?
Attitude, personality, musical choices/interpretations.
 
* As a judge, what are you looking for in a Strictly?
Equality, conversation between partners, and solid connection (in the meaning that as they are partners they understand each others’ dancing).
 
* As a judge, what are you looking for in a J&J?
Generosity, attention to each other, move/rhythm suggestions, like a call and response.
 
* What do you think are the biggest misconceptions about routines/strictly’s/J&J?
That placement kinda guides you or reveals what kind of dancer you are. 
 
* Three pieces of advice to give to the next up-and-coming competitors?
     1) Just dance like you are social dancing or they way you do in rehearsal and try to remember that feeling.
     2) Find something you’d like to emphasize something when you perform or compete –  like slides or dancing more on rhythm section – getting inspired by your partners footwork. If that doesn’t speak to you, then maybe choose an emotion before you go out onto the stage and “be” that.
     3) Listen to the music – it has many many answers and suggestions.
 
_______
 
To me, Pamela embodies pure joy when she dances. She has that rare ability to let go of the world around her and exist in the flow of the music and the power of her movement. I don’t have a clear memory of the first time I saw her, but I always remember knowing that she had “it” and that she was going to be a force in the Lindy World, if she wanted to be. It’s been a pleasure to see how she’s matured in her career; training and teaching with multiple partners, becoming a road warrior, finding her voice, and most recently creating a shoe company.
#soproud

 

Nalla Kim on Judging and Competing

Nalla Kim has traveled the world as an instructor, competitor, and judge and is a mainstay in the booming swing dance scene of Seoul, South Korea. In 2008, Nalla met his partner and wife, Jessica Yoon and have been teaching together ever since. Nalla & Jessica have taken home several International and National Championship titles including ILHC, Boston Tea Party, Korea Swing Championships, Busan Summer Swing Festival, Korea Balboa Classic, Asia Balboa Classic and Korea Open. He runs the swing teams Sweet Heart & Lindy Blossom and brings international instructors and musicians to the thousands of Lindy Hoppers in Seoul through events like Authentic Jazz Weekend, Lindy Blossom Weekend, and SEOUL Lindyfest. Nalla made his first appearance at ILHC in 2011 with team Sweet Heart and now he’s become a regular on ILHC judging panels. He’s known around the world for his enthusiasm and passion for Lindy Hop. 
 
 

INTERVIEW QUESTIONS

Name: Nalla Kim
Home base: Seoul, Korea
Year you started judging: 2012 
Year you started competing: 2007, at a local competition. My first international competition was in 2008 at Rhythmic Arts Festival J&J.
Approx how many competitions have you judged: 100 (local and ILHC)
Approx how many competitions have you competed in: 50
 
 **Nalla wanted me to remind the readers that English is not his native language. **

JUDGING

* Why do you judge?
When I go and teach at an event, I’ll go and judge the competition. I like watching the dance and getting to judge gives me the best view of the competition. I try to push myself beyond passively watching the show. Also, it’s an honor to be a judge, particularly at ILHC.  
 
* What do you enjoy about judging?
I can enjoy the best view of the competition. I get to see people’s art, which is really fun!
 
* What do you dislike about judging?
Sometimes I feel an internal conflict about judging, which makes it harder to truly be fair. Sometimes it’s because my friends are competing, or because how hard the competitors worked to prepare for the competition. Sometimes political things come into play. I try to disregard the personal issues, but  there is always an internal struggle when I judge. This can be really hard. Also, sometimes it’s really difficult to decide who not to put through. There have been times at ILHC where all of my favorite Followers were in a heat, and I wanted to put all of them to finals. It’s also hard to say who is the best artist because everyone’s art is so different — it’s so personal. 
 
* As a judge, what are you looking for in a Routine?

This is the art piece. I want to see more unique style. I want to see the reason why you do this. If it’s the similar to the others, like someone else has done it, I am not as interested. The value is what is unique about their personal voice.

* As a judge, what are you looking for, or value, in a Strictly?
Whether its improvised or planned, I want to see something natural and energetic. I don’t want to know it’s a routine. There needs to be a clarity within the partnership and a connection to the music. 
 
* As a judge, what are you looking for in a J&J?
I focus on the partnership dynamics: what and how do they communicate? How do they connect? How do they make something together? I’m not just interested in musicality. I don’t want to see an imbalanced partnership. I don’t like it when the Leader over-leads or the Follower just follows — maybe the Leader initiates movements and the Follower completes them. I like to see Leaders react to their Followers so we can enjoy their connection.
 
* What do you think the biggest misconceptions are about Routines/Strictly’s/J&Js?
When the competitors focus only on the audience, they miss the mark. Connect to your Partner first, then the music, and THEN the audience. Prioritize. Maybe they are too nervous or too focused on the judges, but that really should be an afterthought.
 
For me, improvisation is preferred! I really feel that the dancers should care about the music, so if they are going to do choreography, then I think it should be flexible. 
 
* Three pieces of advice to give to the next up-and-coming competitors?
1)  Don’t worry about your placement. It’s not a big deal — It’s just an opinion of one moment. When I watch routines again, I sometimes change my mind.
 2) Be professional on stage, but not *too* professional. During a J&J or Strictly, please focus on the social dancing and less on the flash or being overly expressive.
 3) Trust yourself when you practice. That’s better than the result.  The most important thing is the process. 
 

COMPETING

* Why do you think competition is valuable/important?
I think competition is valuable because it allows you to set a target and reach something. In order to do that, you must have clear goals, clear motivation, and you must create something new. Without that motivation, it’s much harder to push yourself.
 
* What’s your personal philosophy on J&J?
I try not to think about just me, but us as a couple. I try to my best to be the same dancer I am while on the social dance floor. I don’t focus on the fact that there are judges there, but envision that this is another “normal” social night. This puts me at east, and I hope that my lead communicates that. I definitely want to to put my follow at ease.
 
* Do you still get nervous before a competition?
For sure — I still do. I’m not good at showmanship and I still get nervous. That’s why I like J&Js, but when I get spotlights or routines, I get very nervous.
 
* How do you deal with nerves before a competition?
I don’t want the audience to be uncomfortable so I try my best to hide my nerves. A few years ago we took a private with Nathan Bugh, and he helped us deal with nerves.  His advice was to use one’s imagination: imagine being in a comfortable place, imagine that everyone in the audience is a close friend. I try not thinking about it as though I’m competing against anyone else, but that I’m sharing the stage with these people, as though it’s a jam circle.  It’s better that way. It reminds me that this one competition is not my last chance to showcase my skills. 
 
* What competition have you done that meant the most to you? Why?
For personal reasons, my ILHC 2012 Showcase with Jessica. We did a Dean & Jewel Tribute performance to honor Jean Veloz.  When I did the showcase, I didn’t think of it as a competition. I didn’t think about placement. But Jean Veloz was apparently impressed enough by the performance that she asked me to dance afterwards. We danced a song backstage and it felt great.  Many people recognized what we did that night. At that time many dancers were doing Whitey Style, except the SoCAL dancers, so we were a rarity. 
 
* What is/was your favorite competition to watch?
ILHC 2011. I was there as a competitor for the Classic Division and at that time many international dancers were in the there – Skye & Frida, Kevin & Jo, etc.–  and I just wanted to get through my routine so I could get to watch the rest of the show. I was 3rd or 4th and after that I got to watch all the other routines. It was an honor to compete in the same division as my teachers. 
 
* Three pieces of advice to give to the next up-and-coming competitors?
1) Many competitors come to me and ask me for advice after their performance. I talk to them, but I am not the master. I am just another dancer, not a champ. So my advice is: just trust yourself. 
2) So many dancers make it as high as the All-Star division and then they disappear. I understand that for many of them this is just their hobby, or that they leave the scene because they start a family….but I feel sorry every time one of them disappears. So please, dancers/friends, keep dancing and come back to the stage. I miss you! Come back and keep dancing.
3) I don’t like the scoring system since it sometimes works against the dancers. Maybe we need to think more about how we are scoring the dancers. So don’t take it personally.
 
 
 
Final thoughts?
We need balance in the scene. If not enough people compete, its hard to keep pushing the dance.  We need to keep the high quality. Competition helps keep us going and it’s really good for the community. It is good advertising and helps spread the joy of Lindy Hop to others, which in turn helps motivate them. Nowadays, people say they are too tired to compete, or that it is not important, but I hope people will continue to compete. Maybe we’ll find a way to take some of the stress out of the competition. 
 
If you’re interested in hearing more from Nalla, check him out on The Track Podcast, by Ryan Swift
 
 

Delilah Williams on Competing

 (featured image by Steve Kim)

Delilah can be found truckin’ at dance events all over! She was classically trained in ballet since birth and bumped into swing dancing at 15. It was then in 2005 that she got the bug, the lindy bug! Delilah learned how to swing dance at the mercury cafe and started traveling to workshops. Over the years, she has performed and competed individually and with numerous teams including the CU jitterbuffs, Atomic Rhythm, Baltown Grapplers, Woodside Jumpers, and 23skidoo! She is part of Denver’s premiere girl troupe, The Diamond Dolls. The two awards that she is most proud of are the Golden Budgie and the Underground Jitterbug Championships at Camp Hollywood 2015. Her cheerful smile, playful presentation, and creative movements will put a smile on your face.

 

INTERVIEW QUESTIONS

Name: Delilah Williams
Home base: “Welcome to Denver, CO, the mile high city!” (They say that on the train in the airport and I always speak along with it and people look at me like I’m a total nut.)
Year you started competing: My first studio competition was in 2003, and my first swing was in 2006.
Approximately how many competitions have you competed in: I tried counting, but I couldn’t remember them all. I believe over 100.
 
* What’s your dance background?
My grandma, mom, grandfather, and father had to lug me to ballet starting at 3 years old. A few years later they tried to get me into other activities (soccer, piano, etc.) but instead I started tap and jazz! I grew up in a small town where there was just one studio. My dance teacher is the only reason I am still dancing. She was always supportive of everyone, and even allowed the kids sometimes to help with pieces of choreography. Then, in high school my best friend, Kendall Roderick, and her family offered to take me to the Mercury Café to try swing dancing in 2005. I thought it sounded super lame, but I went and I was completely hooked. Their family drove us for two years down from our hometown of Evergreen, to Denver until we were able to drive ourselves down the hill. I participated in the studio until 2007, when I decided to only focus on Lindy Hop! I still enjoy doing modern dances, currently I am learning K-pop with a few friends!
 

* Why do you compete?
For me, I love the energy of competitions and performances, it allows me to lose myself and give everything to the crowd, music, and my partner. Social dancing is amazingly fun, but it is missing a component that drives people to push boundaries and try for things they normally wouldn’t on the social floor. The crowd and music drives the dancers, the dancers drive the crowd and the music. The energy can either feed into your insecurities, or feed into your badass cookie jar. I compete to lose myself in the moment, to not think and just do with my partner and the music. It is such a rush when the crowd cheers so loud that it drowns out the music, but you keep going not sure if you’re even on time.

* Why do you think competition is valuable?
Competition allows you to push boundaries of what you thought was possible in your dance, doesn’t matter the style. Because of this, I believe that competitions can help to hook new dancers in, keep veteran dancers interested, and create a platform for growth within the dance. When you see people striving to be better and better on the competition or performance floor, as a newer or veteran dancer what you’re seeing can inspire you. Whether it inspires you to try a new trick, or learn a new dance, it doesn’t matter. It peaks your interest, you look at more videos, take more classes, and grow yourself as a dancer. This intense drive to learn, change or be the best allows the scene to continue to grow. It’s awesome to see different styles showcased together, whether it be social dancing vs choreography, or smooth vs chunky, or bal vs shag, whatever!

* What’s your personal philosophy on Jack and Jills?
Jack and Jills are tough. It is easy to overthink stylizations, moves, the music, everything. I go into J&J’s trying to only focus on my partner and the music. If you can find a way to turn off your mental brain that’s telling you a billion things at once and let yourself be in the moment with your partner, you will look back at your video and be like “DAMN I didn’t even know we hit that”. One thing that helps me be in the moment is scatting and spotting my partners chest while I’m dancing.

* Do you still get nervous before a competition?
I not only get nervous, but I get extremely anxious because I absolutely love being in front of people doing my thing and I cannot wait to get out there. But at the same time, I do worry that I will fail. I cannot stop bopping around before competitions, and I can be so high strung and psyched that I hate it when people touch me before I go out!

from Wandering & Pondering

* How do you deal with nerves before a competition?
The mind is a powerful thing. If I am doing aerials I always wear my hair in the same style, a one piece jumpsuit usually made by my amazing mother and grandmother (so my costume can’t distract me), and have my chapstick on hand. I always practice in costume prior to comps, as in days or weeks. Before the competition I have a warm up routine that I was taught by Gabriel Cashman in 2012 before a competition at Midwest Lindy Fest, which calms me down. For me, ritual is key. I also try to put as much positive energy out into the space as possible. If I think I will fall on a trick, I will. If I know I will nail it, then I will. Once I am out there and the music starts, I straight up check out until the end and try to be in the moment.

* What competition have you done that meant the most to you? Why?
Easily it is the Underground Jitterbug Championship in 2015 with my partner, Kenny Nelson. The UJC is a magical gathering at some Camp Hollywood’s, where anyone who wants to compete goes in the circle and throws everything they got until the end. It usually ends up being about 4-5 songs long by the end. Growing up swing dancing in Denver, it was always about fast music and tight air. I had watched the UJC when I was younger and always wished I could have the confidence to throw in such a tight competition. I was worried we would get tapped out early, or not make the finals, but, we did! That was the first night that I felt confident and free while doing called aerials in front of a crowd. I have never done very well with crowd judged contests until recently, and it felt awesome to have the crowd pick you. That being said, what took the cake for me was winning the Golden Budgie (rock the house award) for our performances over the weekend. Being recognized for what you love is an amazing feeling.

You can either watch the last 3 minutes of this epic competition, or you can check out the whole thing (below).

* What is/was your favorite competition to watch?
In general, my favorite competitions to watch are the amateur divisions. Specifically, I loved this last amateur lindy comp at Camp Hollywood this year. Amateurs in general can have less preconceived notions about what they should and shouldn’t do, and also they have less pressure on their shoulders to maintain a certain level of performance that they’re already demonstrated. They go out there, ready to rock what they have, and usually it is crazy fun and different!

* Three pieces of advice to give to the next up-and-coming competitors?
1) Do what you need to be comfortable. If you are not comfortable physically, or mentally, you will not look comfortable to the crowd. Do you hate dresses? Then don’t wear dresses! Not sure if you hair is going to stay? Fix it into a stable style, because otherwise your energy will be put into thinking about it falling. People always give me a hard time about how crazy my face is when I compete and dance in general, but for me what makes me feel comfortable and hit what I want to hit is scatting with the music. So, I may look insane but I still look like I LOVE what I’m doing, which means the crowd will be more likely to get on my side than if I looked unsure if my steps. Which brings me to my next point…

2) Love every single thing you do, even if it sucks. While you’re in front of a crowd, the biggest thing that matters is confidence in what you do. It’s not like YouTube, Vimeo, or Facebook. They don’t get to rewind, so if you mess up keep going and turn that into something legit, they won’t be any the wiser. Sometimes it works out even better! One way to improve confidence would practicing, especially with a group so you are used to people around and watching you. I fell twice at Montreal Swing Riot, hard, but I did not mope, cry, or freak out until the competition was finished. The audience doesn’t care if you screw up, as long as you keep going. Which brings me to my final point…

3) So you screwed up? Well that sucks, but trust me every single person has not so great videos of their dancing floating around on YouTube. Watch it, cry a little bit, and move on. Watch all of your videos and other videos of competitions that you enjoy over and over, until you know when the crowd screams, when the trumpet player reaches the climax of his solo, or how you or your favorite couple nails that trick. Even if it’s one of your sucky videos, watch it until you like something about it. There is always a positive to a competition, and finding that can help your brain focus on something positive, instead of your screw up. Visualization of what you want to be and do is a huge part of competing. If you can’t think it or believe, you will not do it. I watch the videos that I like and do not like until I like something about it and can visualize how I would have approached the pieces I didn’t like in a constructive manner. Plus, it allows you to draw from other couples and see what they did that you liked!

 
———

I have admired Delilah for years. To me, she’s always been around, just killin’ it. She wears fun/funky clothes, has a sweet set of swivels, a member of rad girl gang (ehhemm….the Denver Diamond Dolls), had a solid work ethic, a vibrant personality, and her Face-ography is unparalleled in the Lindy Hop Community. Not only that, but she has great hair!! As a fellow colored-hair person, I have to give a little shout out to her fabulous ‘do! #slay #ladycrush

 
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Anthony Chen on Competing

Beginning with his more traditional roots, Anthony started dancing at age 8 when his parents convinced him to learn and perform Chinese Lion Dances. At age 15 he was introduced to breakdancing at a speech and debate tournament, and shortly thereafter he found his home in the local swing community in Albuquerque, New Mexico, where he quickly fell in love with Lindy Hop. Throughout his dancing career he has trained in several other types of styles from hip-hop to Argentine Tango to West Coast, but most of all he enjoys drawing upon them to expand upon his technique and creativity in Lindy Hop. On the social dance floor, he is known to be playful, musical, creative, and clear; sometimes people call him a “magical unicorn.” He holds first place titles from events such as Lindyfest and Lone Star Championships, Montreal Swing Riot, Ultimate Lindy Hop Showdown, and International Lindy Hop Championships. His teaching style focuses on energy, technique and connection theory, and his love of both leading and following has been instrumental to making the classes that he teaches both clear and intuitive.

Website: www.saltlakeswing.com

INTERVIEW QUESTIONS

Name: Anthony Chen
Home base: Salt Lake City
Year you started judging: 2008
Year you started competing: 2006
Approximately how many competitions have you judged: Probably 30-40
Approximately how many competitions have you competed in: I don’t know how many I’ve competed in, but I’ve placed in about 70 competitions. 

Competing

* Why do you compete? What does it do for you?
Gosh, I think I just do it because it’s fun. I’m not someone who likes to be in the center of attention, but it’s a great feeling when you can get the crowd cheering.

* Why do you think competition is valuable?
A common answer I think would be that it drives the level up. I’m totally on board with that–it can be inspiring to yourself and to other dancers to work on the craft and for everyone to become better dancers. However, another reason that I find to be just as important, is that it teaches you to be present, to be expressive, and to step out of your comfort zone. A dancer can get by just fine by only social dancing, and they can grow to become an amazing social dancer. On the other hand, through competing, you can build upon your skills as a dancer and as person: you learn to project your energy, draw people in, and gain confidence in yourself.

* What’s your personal philosophy on Jack and Jills? 
I try to dance like how I would socially, which I know is easier said than done, when everyone is watching you. I would feel like I’m lying if I said they’re the exact same thing; my Jack and Jill dancing is not the same as my social dancing; if I’m not careful, there’s a lot more unbridled energy that can go into a competition-social dance from the adrenaline rush. At one point, I found it helpful to imagine that everyone is watching when I’m just social dancing, just to help get rid of those nerves later. In both social dancing and in Jack and Jills, my focus is always on my partner–I really just want them to have a good time. That helps me relax, and can often help them relax too. Oh, and dance to the music.

* How do you prepare for a Strictly? How far in advance do you start your preparation?
It’s actually been more than 10 years since I’ve lived in the same city as a competition partner, and for most of the time since then I actually haven’t had a regular partner. Thus, the vast majority of strictly competitions that I do are essentially Jack and Jills, with minimal preparation prior to the competition, usually at the event itself. By minimal, I mean something like figuring out the entrances and exits, so we don’t always start with a swing out (which honestly isn’t the worst thing) and don’t always end on a Minnie-dip (not a bad ending either).

* How often do you train your dancing? And what does that mean to you?
When I was on a performance team, we would train about twice a week (ramping up to 3-4 times a week about a month out from the event), several hours a day. This would entail working on choreography, peer-critiques, and repetition. But that was a while back…without a partner in my scene, I cross train a lot (I love the outdoors!) and I spend a lot of time in my head. A good friend of mine would often ask me what I’m thinking about when I get that far-off look…and it’s almost invariably dance moves. I come up with things in my head, and then try them off the dance floor with a partner or a dance friend. When I get the lead/follow down, then I might bring it onto the social dance floor. If I feel comfortable leading and following it socially for a while, you might see it in a Jack and Jill.

* What do you tell yourself when you get frustrated?
Hmm. I just don’t often get frustrated, haha. But this to me dives into a completely different topic. One thing I’m always working on is self-awareness. I try to change things that I know are in my locus of control, and focus less on things that are outside of that. This minimizes a lot of that frustration for me.

* Do you still get nervous before a competition?
Sure I do. I think the more material I’ve prepared for a competition, the more nervous I may be. So I rarely feel nervous for Jack and Jills; I just go out and enjoy the dance. Strictlys or routines can have a lot more on the line, but the more you practice choreography, the easier it is to learn and retain, and the less nervous you get.

* How do you deal with nerves before a competition?
Getting more performances and competitions under your belt is the sure-fire way to help with nerves. But right before a competition, per se, I might stretch, bounce around a bit, sip some water, and put on chapstick.

* What is/was your favorite competition to watch? Inspiration?
I don’t have a specific competition that’s my favorite, but I do like watching Jack and Jills–it’s most inspiring to see how people connect and what they come up with on the spot. Strictlys and Showcases can definitely be incredible and skillful, but Jack and Jills create those magical moments that are just so much fun to witness!

* Three pieces of advice to give to the next up-and-coming competitors?
1) Make sure you do it for the right reasons. Do you compete for fame or recognition? That’s fine if you do. But I would wager that people find themselves in the dance scene because it’s a fun activity, and it’s a welcoming community. If your attitude about competing makes you lose sight of the reasons why you dance, then it may be helpful to re-evaluate. Judges can also see right through this. Don’t try too hard.
2) Think you’re getting the hang of things, and your Lindy hop is feeling good? Great. Keep taking classes. Take beginner classes. Pay attention to how the instructors teach. Be humble. When you start thinking that you’re really good is when you stop improving. And no one likes an ass.
3) Smile.

** Anything else?
Yeah. One thing I tell a lot of advanced students is to not stop dancing with beginner dancers. If you just dance with peers who are the same or a higher level than you, they’ll often adapt and cover for your mistakes. Dance with lower level dancers so you learn how to adapt and cover for theirs. One of the main reasons why I continue to love dancing is because I feel that I have the capability to make a dance enjoyable for my partner; seeing her or his smile makes all the difference for me. Because of this, I’ve never stopped enjoying dancing with beginners: they smile all the time!

Annie Trudeau on Competing and Judging

Annie Trudeau’s passion for dance was first well demonstrated when she chose her career as a dance teacher and performer over her engineering physics degree’s possibilities. She also trained as a competing artistic gymnast when she was a teenager. She is a co-founder and co-owner of Studio 88-SWING in Montreal (Canada) where she teaches swing since 2001. As the artistic director, she also manages and dances in the Montreal Swinging Air Force dance performance troupe, which has been International Lindy Hop Champions in 2010-11 and 2014 and Canadian Champion 2013-14-15. She is passionate and enthusiastic as a swing dancer, teacher and competitor.  She has numerous titles in competition including 6 first place at International Lindy Hop Championships (2008 to 2013 included) in Washington in the Showcase Category and also first place at the European Championships in London in October 2013. She also danced at the Montreal Jazz Fest with the electro-swing band Caravan Palace, was hired as a choreographer for the Cirque du Soleil and lately coached artists for the TV Show ”Les Dieux de la Danse” in Canada. Annie has dedicated the last 10 years of her life full time to her dance business and to her art, and she loves to share her experience and knowledge to students of all levels and ambitions.
 

INTERVIEW

 
Name: Annie Trudeau
Home base:  Montréal, Québec, Canada
Year you started competing: 2001
approximately how many competitions have you competed in: 60 in swing, much more if you take into account gymnastic and figure skating.


Competing

* Why do you compete? 
To push the boundaries of my artistry and to contribute to the evolution of swing dancing.
 
* Why do you think competition is valuable?
I think competition gives a goal to any individual, couple or team who want to create a piece and perform it. Having a goal that has a specific time restriction helps gather the ressources in order to accomplish a certain amount of smaller goals, or to achieve a new skill, or to get to a certain level that one (or a group) can decide prior to the project. If it’s improv category, it provides a platform and a goal to work up to as well because improv skills can be worked on in the studio or on the social dance floor before going to a comp. I think the more competition is something you do as a way to improve, the most healthy and positive it is. The more one consider competition as a way to compare to other people, the more it *can* have more of a negative or depressing impact on the participants.
 
* What’s your personal philosophy on Jack and Jills? 
I try to create the best dancing moment possible. How I go about this is first of all on a personal level. With my partner, I try to create a connection that makes it so we feel we can trust each other in being ourselves, and it’s ok to make ”mistakes”. When that atmosphere is established, then both partners can be at their best precision wise, musicality wise and risk-taking wise. I think JnJ should be about finding a way to make your partner give the best performance of its life, and pretend like the music is your favorite one even if you don’t especially appreciate it.
 
* Do you still get nervous before a competition?
The more I spend time preparing a piece, the more I am. It’s not about the importance of the competition, of the amount of people in the crowd, it’s about how much work I’ve put to get to that point and how a mistake can have an impact on my potential disappointment.
I always have to remind myself that being zen and simply happy to be healthy and able to inspire people is a gift not everyone can say they have been given, and any amount of unnecessary stress will hinder my performance so I push away the clouds of doubt before I go on stage as much as I can.
 
* How do you deal with nerves before a competition?
See above answer. Plus making mental runs of what would be for me a perfect show. 
 
* What competition have you done that meant the most to you? Why? 
Disclaimer: I will mention Max Pitruzzella in those lines, because I have been his partner for many years and it is part of my past. I will repeat again how it is saddening for me to know now that he selfishly chose a path in life that hurt deeply so many people. I will not share videos of us for a while ; it is a bit sad for me to erase such an important part of my past, but it is not as important than to be part of a movement where there is zero-tolerance for people who are so careless about the other people’s well-being that they will take advantage of their position of power to exploit, manipulate, assault sexually etc. Zero-tolerance. With hope of a brighter future, I will now go on in sharing a bit of my past.
 
ALHC 2001 
The first time my team Swinging Air Force dared going to the USA to do a competition. We were the first Canadians to do that! Got 3rd place with a routine where we were nurses and soldiers. 🙂 We were super nervous because we admired so much American dancers. Watching the tape cassettes at home and all that. 😉 We even had to go to NESDC a month before to ‘simply perform’ our routine to get feedback by the judges to let us know if we were going to be ridicule or not participating in a ‘real’ competition. Haha. So I get it when beginners are afraid. It is a scary world of star dancers out there. But in the end – 16 years later – I can assure you that we are all human and nothing replaces a good work ethic and countless hours on the dance floor to get better and perfect your art!
 
ULHS 2007
The first time I got a 1st place at an international event. Fast division. Woah!
 
Frankie 95 in 2009
We worked so much to prepare for that event! Every day, many hours a day, preparing to perform Hellzapoppin as well in the show. I learned that Frankie passed away while being in Montpellier at an event. We were so extremely sad, I remember a jam we did right away on Hellzapoppin music giving our everything in honour of Frankie. I mourned, I went to his funeral in NYC, drove early in the morning from Montreal… A lot of emotions around that event! So when Max and I participated in the really big Strictly and got the old timers recognition by winning, we were extremely proud. 
 
ILHC 2012 (video above)
The first time after many years that I showcased a routine with a different partner other than Max. I did it with Thomas Blacharz. We spent every evening for a week in Herrang (after my full teaching day) to create the piece and I met him in Denver for 3 days later that summer. It was exciting and I was very proud of what we did together. We won the Showcase category. It proved to me that I was not a good dancer only because of Max, although I knew he contributed a lot in my development, just like I contributed to his.  I was working on my individuality as a dancer, and this made a big difference in my journey.
 
* What is/was your favorite competition to watch?
Juniors at ILHC! Those kids are the biggest inspiration when it comes to giving your everything. <3
 
* Three pieces of advice to give to the next up-and-coming competitors?
     1) Figure out why you want to compete so you are aware of your ambitions and select carefully where you assign your (probably) limited time in terms of dancing.
     2) Give your absolute best because that’s how the experience is worth it
     3) Find courage to express yourself while being inspired by others instead of trying to move like someone else (bonus: discover who you are it in the process).  Be patient if you are looking for results. Persevere as it will eventually be rewarded internally and externally. Spread your joy, always!
 

Judging

* What do you enjoy about judging?
Getting to witness talent and ideas on a privileged seat.
 
* What do you dislike about judging?
Having to rank people when the values I hold dear don’t guide me to a clear ranking.
 
* As a judge, what are you looking for in a Routine?

I won’t be looking for the same things in a showcase, a classic or a team routine so here are the differences in my opinion:

    In all routines, I will favour a lot new ideas and risk-taking and personality over pure technique. I am a fervent of the evolution of the dance, while keeping solid roots.  If I see a couple that feel like a breath of fresh air, that dare go out there with there new ideas giving their heart out, I will take this into strong consideration over a renowned more experienced couple doing a more conservative routine even though overall technique might be better. Obviously, precision, rich movement, intricate rhythms and musicality all matter a lot, just as organic, elastic and efficient connection, even in a choreography context.
 
    That being said, in a showcase division, a piece has to be especially extrovert and entertaining in its style and in the choice of content and execution. There is value to a routine which would entertain a general public crowd (public of non-Lindy Hoppers, neophytes). Often times, showcases will involve air steps. Although in order to add value to a routine, those air steps have to feel like any other movement ; the couple should execute them with the same precision, the same ease as other on-the-ground movement of their routine. I make small exceptions when I see a very daring and unusual air step being performed, because I want to encourage new ideas and risk-taking although if I feel like any of the partners are unsafe performing it, I will try to mention it to them and I will penalize them for trying something they were not ready for and putting their physical integrity at risk.
 
    In a classic, I think we can trade pure entertainment to a more refined, deeply-felt, more intricate interpretation of a swing piece.  Usually, a more experienced eye will appreciate more the value of a good classic routine.  The social dancing feeling should be top priority, quality of movement and connection are also super important. Movement interpretation of music as to aim to be as good as the music itself.
 
In a team division, group execution (including individual dancing) and synchronisation, precision of group effects and formations and overall choreography are my main guidelines.
 
* As a judge, what are you looking for in a Strictly?
A strictly competition in my opinion should highlight the exceptional abilities of a specific leader dancing with a specific follower.  A perfect balance should be aimed between improvising and using already rehearsed material such as combos and sequences.  I think different events might have different traditions or preferences in what they are trying to promote and participants should try to get what that feel is in order to best prepare.
 
* How about in a Jack & Jill?
As I mentioned before, a JnJ should be a blissful moment where two dancers make the best of a given dancing situation. Take the best qualities of a follower, and the best qualities of a leader and try to make them operate at the same time! I want to be invited in sharing this moment with the competing couples, and I want to see respect and support in each others attempt at risk-taking, crazy musicality or variations. In all this magic, do not forget to showcase your best technique though, because I might be charmed by your instant connection, but it won’t make me close my technique eye! 😉
 
* What do you think the biggest misconceptions are about Routines/Strictly’s/Jack & Jills?

”I am not ready to compete.”

Well, if you read my 2001 first competition story up here, you know that I feel you sister/brother!
That being said, 16 years and a career later, my opinion has changed so I will share it in hope to encourage you to come out of your shell if you are ready for it (but you don’t know it yet).
If you are not ready to compete because you don’t enjoy competing or the concept of competing, then do not compete. You don’t have to.
 
If you don’t compete because you think you are not good enough… but you think you would enjoy competing…then that’s where trying to find courage is only what you need to make it happen! So here is what I think. Choose an event where you have seen newcomers and beginners being warmly welcomed (insert here almost all Lindy Hop events on the planet, this community is very warm to newcomers on average). Try to go with friends and find a mentor who will encourage you to do so as well. That’s what I did with my peers, remember, we went to ‘perform’ our routine just to get an approval first… hey we were insecure, so we went to our own pace! Try to do the same. Be gentle with yourself, but don’t stop trying until you get your goal! Baby steps 🙂
Use your passion as main drive and never compromise your well-being and your happiness for dancing. Dancing should be at the service of your well-being. Not the opposite. Write me if you need a little pep talk, I’ll answer as best of my capabilities : Annietrudeau@gmail.com. 😉
 
* Three pieces of advice to give to the next up-and-coming competitors?
     1) Dance for dance sake
     2) Study hard but create as hard. Be part of history as an innovator.
     3) Be an artist growing through the practice of dance. Try to find and create beauty as much as you can!
 
———
 
If you want to see more of Annie, check her out at the Canadian Swing Championships this year and ILHC (yup, she’s coming back)!!!
 
 

Nick Williams on Competing and Judging

Nick Williams has embodied the passion and spirit of swing dancing ever since his first lesson in 1998. The depth of his understanding of Lindy Hop, Balboa, and Collegiate Shag stems from studying with the original dancers. Nick’s desire for authenticity, combined with his passion for dance evolution, leads to a style known for precision, lightness, musicality and dynamic energy. His successes include World Lindy Hop Champion, US Open Swing Dance Champion, American Lindy Hop Champion, National Jitterbug Champion, International Lindy Hop Champion, Ultimate Lindy Hop Champion, American Classic Balboa Champion and California Balboa/Swing Champion. Nick was honored to be recognized by the California Swing Dance Hall of Fame. He is also an accomplished choreographer and has choreographed for the hit television show So You Think You Can Dance. As an instructor, he is known for his ability to break down movements and technique to create a fun and light-hearted learning environment. His true love of music and dancing will forever inspire him to learn, teach, and grow.

INTERVIEW

Name: Nick Williams
Home base: Orange County, CA
Year you started judging: around 2000
Year you started competing: 1998
Approximately how many competitions have you judged: several hundred
Approximately how many competitions have you competed in: several hundred

Competing

* Why do you compete? What does it do for you?
Personally, it gives me the opportunity to push myself and improve my dancing. Always forcing me to create and evolve. Professionally, competing an easy way to let the dance community know that I am still relevant, provides a platform for me to share my voice, and allows me to focus on the goals I set for myself.

* Why do you think competition is valuable?
i think competing allows you to take your dancing to the next level. It’s also a really great way to raise the level of dancing in a scene by providing inspiration and excitement which hopefully will inspire other dancers to do the same thing. Finally, it’s an easy way to share the energy and the spirit of Lindy Hop.

* What’s your personal philosophy on Jack and Jills? 
Simple: it’s you, your partner, and the music. A large part of a Jack & Jill is understand the strengths of your partner and finding a common ground. I don’t like when people try to out dance their partner or disconnect in order to show themselves off.

My philosophy: Focus on creating something together.

* How long before you start prepping for a competition?
As far as a routine division, I start preparing at least 2-3 months before, and depending on which competition, I might need to start the routine even earlier.

* What is your process like for creating a Showcase?
I first pick song and edit the music (if need be). I then need to clarify the direction of what I’m going to do with the routine (vision). Next, I pick out the parts of the song where I have a clear idea (flashier moments or points I want to build toward), outline the flow of the dance, create a rough draft of the entire routine, and finally polish it. This process has taken as little as 3 days and as long as 4 months.

An important note: I think it’s a mistake to just sit down and go ahead without a clear idea of direction. Not to say that routine won’t come together, but it’s far easier to create something when the vision is clear.

* What would you recommend to someone who is training for a Strictly?
For faster tempo phrase battle it’s important to create sequences that you can execute well at the assumed tempo (yes, that should be obvious, but it’s not always the case). Depending on how much time you have, I’d recommend creating spot choreo (move-lettes or something one to two 8s long) that could be polished in one week to one months time. If, however, it’s more of a “just dance” competition where choreography is not the focus (or spirit), then I would recommend spending copious amounts of time social dancing with your partner to get on the same page. Philosophically, I personally don’t want to over-choreograph – I just want to put some good, solid dancing on the competition floor.

* Do you still get nervous before a competition?
On occasion, but less than I used to. So much of competing is the mind-game and if you know how to harness the anticipation/nerves/energy, it can work in your favor or it can totally work against you. To me it ends up being like performing in theater. Once I get out onto the floor, all the anticipation melts away.

* How do you deal with nerves before a competition?
I grew up playing sports – track & field and soccer – and my coaches encourage all the players to use visualization and focus the nervousness.

I think it’s important to put yourself in the right head space before hitting the floor. Before a “just dance” competition, I’ll go out and have some silly dances with my parter and remind myself that I’m here to have a good time, to feel our connection, and that I trust my partner.

* What competition have you done that meant the most to you and why?
THE competition that meant the most was the Jitterbug Contest at Camp Hollywood in 2000. I was very green, a new kid in the scene, it was my first major competition, and politically I was being bullied. Essentially, some people were trying to get me out of the scene because I was seen as a threat since I was coming up the ranks without the ass-kissing. Cassanda and I competed, took 3rd, and beat out some of the bullies. Going out there with all that the BS, showing well and placing, and getting such great positive feedback from people … that was totally my Karate Kid moment.

* What is/was your favorite competition to watch? Inspiration?
I like to go back to the old clips – the original dancers. My inspiration for how I want to dance and who i want to get my inspiration/technique from is the old stuff: Buck Privates, Hellzapoppin, Gene Kelly… that’s what makes me push.

The vintage clips I draw most from for my dancing, but find some from other dance forms. I like how bodies moves, and I don’t just mean swing dancer. I love to collect different types of movement even if I won’t directly use them in my dancing. I have been inspired by many forms, but I primarily draw from the 30s & 40s as well as the dancing of the song and dance people in musicals from 1930s-1950s.

* Three pieces of advice to give to the next up-and-coming competitors?
1) Always dance and compete for yourself, never for anyone else or by anyone else’s values. Don’t look for praise. Decide what your voice is, and that’s what you put on the floor. Competing should be less about the win and more about sharing who you are.
2) Don’t let the results get to you. There is always another competition and you can always improve by the next one.
3) “Dignity. Always dignity.” – Gene Kelly

Aaaaaand, here’s a little bonus from me (Jo) to you.
.

 

Judging

* Why do you judge?
I judge because I like my value system to have a say in who wins and where the dance goes.

I spent a long time developing that system of values. It’s a combination of what the original dancers handed to me – in regards to what the dance was about (not just how it’s done) – and what is good dancing. This was a several year journey – lots of research done via compare and contrast – and I was really interested in what generally makes dancing good. Specifically, I’m talking about: quality of movement, dancing with music, musicality, and connecting to partner. Coming at the dance from this perspective also helped me while I was starting my teaching career; I was constantly searching for a better way to teach/dance Lindy Hop.

* What do you enjoy about judging?
I enjoy being apart of where this dance goes and I appreciate being able to put my stamp of approval on what I think is best performance/competitor in the moment.

* What do you dislike about judging?
The main thing is when you have to think like a judge, you don’t get to enjoy it like an audience member. You don’t get to immerse yourself in the experience because you have to be analytical.

* As a judge, what are you looking for in a Routine?
A combination of routine construction and execution. Something danced well and well-choreographed. I look for partner relationship and interaction, the degree of difficulty of what they’ve created – not just flash or WOW factor, but the little nuances – and for a representation of the dance they are supposed to be representing. For example, if it’s a Lindy Hop Routine Division and most of the routine is solo jazz, to me that warrants less of a reward than primarily doing partnered movement.

* As a judge, what are you looking for in a Strictly?
I’m looking for a dynamic partnership instead of individual dancers expressing themselves while holding someone’s hand. I want to see a partnership create something together and have something to say – something that stands out from the pack.

* As a judge, what are you looking for in a Jack & Jill?
Partner connect and interaction. The point of a J&J is to dance with someone who isn’t your partner and to create a great dance together.

* What do you think the biggest misconceptions are about routines/Strictlys/Jack & Jills?
Competitors make too many choices based on what the audience cheers for. They try to go for the audience appeal and approval instead of focusing on good dancing.

* Three pieces of advice to give to the next up-and-coming competitors?
1) Judges don’t exist when you dance. Don’t worry about the judges. Just dance for yourself and your partner.
2) It doesn’t matter what the judge value system is – yours matters more.
3) Don’t forget to have fun

** Anything else?
Competitions are a way to help drive, inspire, and improve the scene. In no way does this say who is the best, should dictate how you social dance, or change you because you don’t think you’re enough. Don’t forget that social dancing is about the little things and competitions is about the big things, so remember why you’re doing what you’re doing.

____

 Yup, one more video for you. This is hilarious. 

 

Sylvia Sykes on Judging and Competing

Sylvia Sykes began dancing in 1966, competing in 1970, and teaching in 1979. She has studied with many of the dance greats, including Frankie Manning, Dean Collins, Maxie Dorf, and Willie Desatoff. Her extensive studies and travels have made her an expert on regional dance styles and she is known for her expertise in, and the preservation of the older forms of Swing dance. In addition, she is credited with helping to preserve the Balboa by introducing the dance World Wide. 

In 1985 Sylvia and Jonathan Bixby co-founded the Santa Barbara Swing Dance Club, a twice-monthly live-music dance club that they continue to run. She is still teaching her weekly classes that she started teaching in 1979, plus she teaches out of town over forty weekends per year. She is the most sought-after head judge in the modern Lindy Hop & Balboa dance scenes and is now part owner and head judge of the International Lindy Hop Championships.  
 
Her dance troupe ran for fifteen years, performed with some of the great Swing bands, and nurtured other International teachers. She has been a member of the Santa Barbara Dance Alliance since its inception, has taught at the University of California, and has appeared in many TV shows and in several documentaries on Swing dancing over the years.
Sylvia is actively judging and teaching various forms of Shag, Balboa, and Lindy Hop throughout the U.S., Europe, Australia, and Asia.
 

 
 
 
INTERVIEW
 
Name: Sylvia Sykes
Homebase: Santa Barbara, CA, USA
Year you started judging: not sure, but approx. 1984
Approximately how many competitions have you judged: way too many
What other dance forms do you work in? Just pantheon of swing

What is your background or connection to the Lindy Hop Community?
Been doing it since 1965, though very poorly.

 
* Why do you judge?
Now because I sort of have to..originally to have a voice for where the dance was going – whoever wins will drive the dance – so I wanted to put my two cents worth in to keep the dance connected to the roots.
 
* What do you enjoy about judging?
Not much these days other than a bit of influence to keep the dance current and connected to roots.
 
* What are some of the challenges about judging?
Weighing innovation and great ideas, but not stellar execution against perfect execution but same old same old, as well as differentiating between several couples all performing about the same and having to include and exclude them from the “money.”
 
* As a judge, what are you looking for in a Routine?
Musicality – seeing the music more clearly, connection, still lead & follow not just close by execution, humor (or pathos), some sort of emotion, a story, and hopefully something danced well, with some soul.
 
* As a judge, what are you looking for in a Strictly?
Great partnership, action-reaction, both listening and reacting to the music as well as their partner, modifying a movement midway in reaction to music or partner.
 
* As a judge, what are you looking for in a Jack & Jill?
Great social partnering! Dancing to the level of the partner, listening, and modifying to find a common ground.
 
* What do you think the biggest misconceptions are about routines/Strictly’s/Jack & Jills?
Hmm…not sure… but a pet peeve is choreographed jam in a Strictly.
 
* Three pieces of advice to give to the next up-and-coming competitors?
     1) You have no control over whether you win or not, just how you dance. Your legacy will be the dance, not the placement.
     2) Use the process to better your skills.
     3) Have a reason to compete beyond “I want to win and be famous.”
 
* Why do you think competition is valuable?
It forces you to work on your dance skills and it brings people into the dance.
 
* Why did you compete?
I don’t.
(Note: I think what she meant to say was that she doesn’t currently, because we know she did. Just click here to check her out in 1995 at the US Open!!)
 
* What competition have you done that meant the most to you? Why?
Probably the National Shag Dance Championships because it really was out of my comfort zone.
 
* What is/was your favorite competition to watch?
Anything with good dancing!
 
* Any recommendations on how to deal with getting nervous before a competition?
Pee and poop, beforehand.
 
* What would you like to see more of in competition?
Good dancing, not merely flashy moves
 
* What would you like to see less of in competition?
Soulless execution.
 
 If you want to hear more from Sylvia, check out interview on Ryan Swift’s podcast, The Track.
 

New York Lindy Tech 2017

I’m so excited!! This weekend Kevin and I will be hosting our first New York Lindy Tech!

Are you no longer taking classes in your local scene?

Do you feel like you’ve outgrown them?

Are you a good dancer, want to get better, but don’t quite know how?

Are you interested having your Lindy Hop mind blown?

Then save the dates to work with KEVIN & JO:

January 27-29, 2017 in New York, NY

What Isn’t Consent

THIS. This so many times over! 7 Things You Might Think Are Consent That Aren’t is the most important read of your week. Take the time to read it as many of these things often go overlooked.

The concept of affirmative consent dictates that “yes means yes,” and that only an enthusiastic “yes” constitutes sexual consent. But what is not consent? A lot of the things we’ve been taught indicate sexual consent are actually not adequate ways of determining if your partner is into it or not. In order to make sure a sexual encounter is OK with both partners, consent needs to be vocal, enthusiastic, and continuous.

Just teaching people, especially young people, what is and isn’t consent can have a huge impact on their behavior. For example, in a survey published in Violence and Gender, 32 percent of college men said that if “nobody would ever know and there wouldn’t be any consequences,” they would have “intentions to force a woman to sexual intercourse.” (Terrifying, I know.) But fewer — 13.6 percent — said they would have “any intentions to rape a woman.” (Yes, still terrifying.) Just calling it rape deters people from doing it, so the better people can recognize assault, the fewer sexual assaults are likely to occur.

You’re not looking for a “no.” A “maybe” isn’t going to cut it. You’re looking for a resounding “yes.”

Please read the rest of the article on Bustle and start having a conversation with your close friends about what “consent” really sounds like.

____

Interested in learning more? Here’s a great video that draws a super charming parallel between consent and making someone a cup of tea.