Difficult Routines

Discussion in 'Ballroom Dance' started by Dancebug, May 1, 2007.

  1. Dancebug

    Dancebug Active Member

    Do you think judges consider the level of difficulties of each couples’ choreography when they judge? I know some Olympic games are judged that way. I watched a European country’s national competition the other day. The couple who won the first place had very contrived routines, and because of the difficulty of their routines, they did not always look smooth. Still they won. It made me wonder if the level of difficulties in choreography is one of the factors that judges consider when they mark each couple.
  2. Katarzyna

    Katarzyna Well-Known Member

    most of the time judges have no time to see your routine, just a few second fragment of it. so that moment better looks good. of course in the final you might see more of a couple.. harder routines often translate to mor exciting and dinamic dancign I think.. sometime putting in a little extra will cause you to sacrifice quality a little, but I think taking some risks sometimes is not bad.. But you have to make sure you are ABLE to perform the choreography you have..
  3. Gumby

    Gumby New Member

    The more difficult the move the better the underlying technique must be in order for it to look even competant. If you want to add some flash to a your routine think about some area where your basic technique is really good and embelish on that.
  4. tangotime

    tangotime Well-Known Member

    Take this advice from an adjudicator ( me ) I will always be more impressed with quality, than quantity.

    As one of my former coaches said " more comps have been won and lost, with a Rev. turn , feather finish, 3 step and natural ".
  5. Dancebug

    Dancebug Active Member

    But at a final when everybody has superb rev. turn, feather finish, 3 step and natural, then what do you do?
  6. DanPost

    DanPost New Member

    Just a guess...
    Make your own RT+FF+3S+NT better? ;)
    :cool:
    Dan
  7. tangotime

    tangotime Well-Known Member

    One seldom sees that level of perfection in the amat. ranks-- and of course you took that as a literal translation .
  8. Reverse turn is consider a hard step? Isn't that an open left turn? That's the first syllabus step in the silver level. Shoot, maybe there's more to it than I thought.
  9. jschaab

    jschaab New Member

    I know my own reverse turn has much to be desired. Really leading a heal turn, instead of just praying the follow knows its coming is an art I'm still puzzling through.
  10. Kitty

    Kitty New Member

    that it is not exactly what Katarzyna said. She said a judge never sees your full routine, but only some short fragments of your dancing. A couple has to make sure that every part of their routine looks good, and understnad that no judge will see the whole thing. Another point she made is that some choreography looks more effective than other, with more chances for couple to show off good musicality and timing in a syncopated piece than in a basic piece of choreography. So some risks are good sometimes if they improve the overall impression of the couple.
  11. Laura

    Laura New Member

    An Open Left Turn is different and simpler, the lady does not have to dance an actual heel turn during it.

    But yeah, there's often more to everything than anyone thinks! :)
  12. pruthe

    pruthe Member

    I also asked well known US adjudicator what he looks for in am/am & pro/am comps (esp. lower levels) and he basically said same thing as Tangotime.
  13. yanka

    yanka New Member

    While I've heard this a million times (and I do believe it), there is the aspect that to get noticed by the judges in the first place (to have them look at you for those 5 seconds), you can't just be doing basics the whole time.
    Well, you can (and I have), but it's easier to get lost on a crowded floor that way. So if the judge is trying to look at every couple, you'd be ok, but if the judge is waiting for couples to catch their eye, you may not be so well off...
  14. tangotime

    tangotime Well-Known Member

    Yanka--- I think you missed the point--do not take the statement too literally .

    What we are asking for, is an uncluttered, well thought out presentation , danced rhythmically, with all the necessary " ingredients " .
  15. elisedance

    elisedance New Member

    With this question surely it depends on some degree on the dance? While in foxtrot a perfect basic routine will get you noticed in spades and extra difficulty will help but will not have that much effect. On the other hand in quickstep if you do perfect basic on a floor where everyone else is doing open you will REALLY stand out, and not in a good way! :banana:

    By the way, I read the thread as Yanka did and thought the comment was on track - though what you say does make excellent sense.
  16. tangotime

    tangotime Well-Known Member

    ONE more time-- the point was--- essentially, whatever you dance in your sequences, take very good care of fundamentals-- also-- the axiom was meant to be applied to all the dances in your particular division- Foxtrot was used only to make a point .
  17. reb

    reb Active Member

    I agree with tangotime, and Kat.
  18. elisedance

    elisedance New Member

    Me too.
    [I don't see any disagreement]
  19. tangotime

    tangotime Well-Known Member

    L.D. and Sch-- you are both describing different divisions-- one Amer. silver, the other Intern br.
  20. Chris Stratton

    Chris Stratton New Member

    Perhaps what it really comes back to is in that in foxtrot, the characteristic movements are either literally syllabus or only trivially removed from it (example, continuous wave is just an illegal combination of syllabus pieces). But in quickstep, characertistic movement includes some brand new ideas that had only an obscure hint of foreshadowing in the syllabus.

    I'd point out though that one difference between early open competitors and real ones is that while the newly advanced may do only step-hop/chasse elements, real quickstep presentations also need to include the types of fully swung movements from which the syllabus is drawn.

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