Alice Mei on Competing and Judging

Photo by Tim Gee

We have all read/watched or at least heard of “Alice in Wonderland”. There is something really special about this heroine with her specific charm and fascinating personality. Alice Meï is that adventurer, but with dancing shoes.

Alice started dancing at the age of 4. By the time she turned 14 she had the honor of interpreting almost every single Disney character from “Dopey” to “Tinker-Bell”. She eventually joined a national dance school for another 4 years where she practiced ballet, contemporary and jazz dance daily. Slowly tiring of these dance styles, she began to look for something new. After a few unsuccessful attempts at African dancing, Flamenco, and kick boxing she eventually met her true love – Lindy Hop!

Alice is fascinated by the art of improvisation and has spread the joy of Lindy Hop and authentic jazz in more than 30 countries through teaching, performing, competing and social dancing. She love the diversity of movement and the freedom of expression that Lindy Hop brings to the world.

 

 

INTERVIEW QUESTIONS

 
Name: Alice Mei
Home base: Montpellier, France
Year you started competing: 2005 
Approx how many competitions have you competed in: 7 a year
What styles of dance have you competed in: ballet (’94), Lindy Hop, solo jazz, Balboa, Slow dancing, solo blues
 

Competing

* Why do you compete?
I compete to kick my own butt! Competition gives me something to practice for. 
 
A fun plus: it’s also a great way to get a video album of my dancing at various points in time. I like to see how my dancing evolves over the years.
 
* Why do you think competition is valuable?
Competition can help you get over your fears, give you something to work for, and helps you practice dancing under stress which helps with your performing. I think videos of competitions also promote our art form and I believe it’s important.
 
To be honest, I never feel like competitions results should be taken too seriously because Lindy Hop is an art form and depending on who is judging, your scores can be so different. Over the years I have disagreed numerous times with competitions results. There has been people inspiring a great deal who didn’t make it to the podium, but those scores didn’t change what they represent for me or the joy they brought me.
 
I usually stress quite a lot about competition because it taps into my fear of not being good enough and it can seem sometimes like it isn’t a lot of fun. But when I compare it to the competition I experienced in ballet, I feel like the vibe in Lindy hop is very positive and healthy.
 
* What’s your personal philosophy on J&Js? 
Dance with your partner first (connect with the human being holding your hand), listen to the music, and let that inspire you! I am usually turned off by people doing a lot of flashy things for no reason because I prefer when a partnership is connected to the music.
 
What I look for in a J&J as a judge is good timing, good body movement, and musicality. I want to see people taking care of each other and enjoying moving for themselves more than for the crowd.
 
* Do you still get nervous before a competition?
Yes, always. Very.
 
* How do you deal with nerves before a competition?
Haha, I don’t really deal with it too well. I think doing it over and over makes it a bit less stressful every time. I have been trying to fix my self-confidence for years now, but it’s not an quick and easy fix. Sometimes I drink a bit to relax (not that I’m advocating for other people to do that), but it’s only if it’s a social comp. I would be too scared to forget my choreography otherwise.
 
If it is a routine/choreography, I have been trying this thing lately before I go out onto the floor. I try to stand tall (I mean as tall as I can) and take up space because it apparently produces some good chemicals and makes you feel more powerful/confidant – it’s a mind trick (and it’s supposedly scientifically proven)! Lastly, I try to think of the routine only up until a certain point and then I have to trust my muscle memory instead of my mental memory. I trust that my body will remember because I have trained the same moves many times… the body is smart.
 
* What competition have you done that meant the most to you? Why?
I don’t know if I should say it, but I was really proud of how I did in the 2015 Strictly at Snowball because I got 1st place (below) and 3rd place with different partners, and neither of them were my regular partner. So maybe it means that I had something to do with the success ?!?! I feel like I am not a great competitor so I usually thank my partner for any good outcome.
 

 
This was also shortly after I stopped a long partnership and as a Follower I wanted to feel like I contributed to the dance for who I was as a dancer and I wanted to feel like I could stand on my own. I didn’t want to be an extension of the Leader anymore.
 
Also, the Solo Jazz at the 2016 International Lindy Hop Championships because I was in such a panic about doing it. When I realized I had made it to the finals I was surprised, happy, and terrified. I had promised Mikaela I would do the competition to face by biggest fears, but then it all became way too real! It took me 2 months after the competition to watch that video – my best friend had to make me 😀  I really don’t like my dancing there, but it’s a start … there is a lot of room for improvement and that’s a plus.
 
* What is/was your favorite competition to watch?
I used to like watching competitions more when I wasn’t at the top level because there were more things to look up to. When I was younger, really all the ULHS videos from 2005/2006 were incredibly exciting to me. I couldn’t sleep, they were so good! Oh, and The Silver Shadows – they just were…amazing. 
 
Now I like to watch Classic Routines a lot. It’s like watching people’s new born or something.
 
* Three pieces of advice to give to the next up-and-coming competitors?
     1) Be yourself. Just dance like yourself.Your dancing won’t change that day, so it pretty much depends on who you’re up against.
     2) Listen to the music
     3) Try to stay cool. Nobody likes to watch people freaking out.
 
 

Judging

Photo Credit: For Dancers Only (http://d.pr/1fEEY)

* What do you enjoy about judging?
I appreciate when I get to implement my value system and give credit to what’s important to me in the dance; it’s one more way in which I get to shape the dance scene into something I like, beside teaching and performing.
 
* What do you dislike about judging?
Well, it’s nice to get a seat and not have to fight for a spot on the floor, but I don’t enjoy it as much as when I’m merely watching because I have to compare instead of just focusing on what I like. Sometimes it’s a challenge to watch everyone dance when really you’d love to continue watching a particular dancer/couple rocking out. The other thing that I find difficult is when there are two people/couples who are equally as good but represent the dance in a different way. It makes me struggle to rank them when they are to me equally as good but just different. Like comparing apple and strawberries.
 
* As a judge, what are you looking for in a Routine?
Good body movement, clear rhythms, maintaining connection with their partner because it makes the movement look better, and see something that I don’t see while social dancing. I really enjoy seeing solo choreography and partnered choreography blend into each other. I like to see two people dance in and out of partnering. 
 
* As a judge, what are you looking for in a Strictly?
Good body movement, good rhythms, and I am not necessarily expecting to see choreography. I like to see two dancers listening to each other and reacting to one another. To be more explicit, elements of choreo are ok, but I put more emphasis on the spotlights being a great social dance with a few tricks specific to that partnership. 
 
As much as I would like to see faster dancing in general. I think people tend to play music that’s way too fast for people’s skills in competitions. I think we need to overall play faster music (in classes and in parties) before we make competitors do crazy stuff to a speed that they can’t handle.  
 
* As a judge, what are you looking for in a J&J?
Please take care of your partner! I want to see an exchange between two people and see what they each have to say. I regret that often times a strong Leader with a weaker Follower is placed higher than a strong Follower with a weaker Leader. I am trying to change that mentality in my judging. Followers, I can see you when you make it work and when you are being musical despite bad choices on the Leader side and I value it highly 🙂
 
I value good choices.
 
* What do you think the biggest misconceptions are about routines/Strictly’s/J&Js?
think in routines, people think it’s just choreography and they overlook the technique at times. The technical skills are still essential to making a dance look good even when it’s choreographed. It ain’t what you do it’s the way that you do it!
 
For a Strictly, I think the biggest misconceptions are that they think they need to do choreography and I just don’t think that’s true. I think it is good to be prepared and to have little sequences but it’s also important to know when to actually do it, if it fits the feel of the music or not and if it matches the format of the tune . I would say, if you are going for a choreography, keep it simple enough so that you can dance it and embellish it on the spot to fit the music.
 
For J&Js, misconception is that you have to shine really hard instead of connecting to your partner. Honestly, good body movements and good rhythms go a long way. There is a bit of luck involved too, on who you’re get as a partner.
 
* Three pieces of advice to give to the next up-and-coming competitors?
     1) Keep working on your dancing all year and remember that to some extend, the result of the competition says more about the judges than it does about your dancing. 
     2) Dancing is an art so you can’t take the result too seriously. We all have different tastes and preferences, so please dance “you.”
     3) Winning doesn’t always mean you’re the best – it just means that you were the best at that moment in time, for the judges. Remember, it’s not a sport , so make it personal and enjoyable and let the music inspire you.
 
 

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!

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.

Team USA — with Mario Robau, Valerie LaFemina, Lance Shermoen, Lynn Vogen, Jonathan Bixby, Sylvia Sykes, Jackie McGee and Charlie Womble.

* 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.”
 

Photo by David Holmes

* 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.

Camp Jitterbug 2011 Contest Results

The results are in and videos are up!! Congratulations to all the competitors!

Solo Charleston


Winner: Joanna Lucero

Jack & Jill

1) Davis Thurber and Kelly Arsenault
2) Andrew Hsi and Maéva Truntzer
3) Juan Villafañe and Gabby Cook

Strictly Lindy

This year, the Strictly was done in a new format. Two couples at a time were given one chorus to battle for their life and then the 5 judges decided who lived, and who died (sounds very Roman the way I’m explaining it). After the four rounds of battle, the four remaining couples jammed.

Battle:

Jam:

1) William Mauvais & Maéva Truntzer
2) Juan Villafañe & Sharon Davis
3) Nick Williams & Jo Hoffberg

 

Lone Star Championship 2011 – Invitational Competition

Invitational Strictly – Spotlight 1

Invitational Strictly – Spotlight 2

You might notice that I dressed differently than I typically do. Lisa Casper (New Orleans) outfitted me from head to toe. That is her yellow bandanna, yellow top, and skirt. The fun thing about that skirt is that she made that herself! I think this might be the making of a new clothing designer in our scene!! (And and and, in a very short while I’ll be selling hair accessories handmade by her!!)

RESULTS

1) Nick Williams and Laura Keat
2) Peter Strom and Naomi Uyama
3) Todd Yannacone and Jo Hoffberg

Jack and Jill!!!!!!

What set this competition apart from all the others was the music. We danced to a lindy hop song and then something that fell into the karaoke/soul category. Nick Williams and I were brave enough to choose Karaoke Grab Bag, and to be honest, I think it was a great choice. 🙂

FAVORITE MOMENTS:
1) Sucking on the lindy hop portion and then finding total redemption with a Star Lift. To top that off, Nick’s “fork in the garbage disposal” moment. And I have to give Chia-Wen Lin a shout out for being such an awesome team player as well as Carla for continuing to play along.
2) Andrew Thigpen and Carla Heiney dancing to “Summer Nights” from Greece (14:41). She made such a great Sandra Dee and they both acted the crap out the song!! Hahha, and getting to be backup singers….man… I’ll never forget that.
3) Peter Strom and Mia Goldsmith’s dance was……so many things (21:39)!! One way to describe it is “not work appropriate”. Another: daaaaaaaaannng! Just watch everyone’s reaction in the background. Funny stuff. 🙂
4) Nikki Marvin swivel moment (28:30) shortly followed up by Jeremy Otth’s circle slide (28:35) and finger point (just to make sure you saw it dancing to Footloose (28:56). When he undid his suspenders….we all nearly lost it! He made such a great Kevin Bacon….it was ridiculous!

Naomi Uyama also did a fantastic job picking out the music!! People we so well suited to the music they chose. Love it!

RESULTS:

1) Chance Bushman and Karen Turman (6:00)
2) Nick Williams and Jo Hoffberg (9:47)
3) Peter Strom and Mia Goldsmith (19:56)