After every audition, there are people who feel disappointed in their level placement.  There are always questions, always appeals, and occasionally even tears.  So to try and reduce the amount of sadness that follows auditions, I wanted to write a little about the reality of auditions/tracks, both from the perspective of a post-aha student and from the perspective of a teacher/judge. 

First things first: the advanced level of a workshop is not Advanced.  It's "the top x leads and follows who auditioned."  Not making the top x students doesn't mean you're not advanced.  Conversely, making the top x students doesn't mean that you are advanced.  Next time I have resources allowing, I'm auditioning all student except total beginner, and calling them shoe, toolbox, windex, and candle.  The different tracks, rather than serving as a global indicator of your dancing, give you an idea of where you are relative to the other students at that workshop.  That is all.  

Also, consider this: once your dancing gets past a certain point, people become delighted to discover you.  You regularly get comments like, "that was awesome!" "you follow everything/everything you lead works" "you're so much fun!"  That point is not the advanced student threshhold.  It feels that way, I realize.  Dancing suddenly works, people give you nothing but positive feedback... rainbows sing and puppies fly.  I know.  That's a really beautiful place.  But it doesn't equal advanced.  When (or if) it happens depends on the dancer, but please don't think it means anything about your level.  And even if it did, remember my first point.

The judges are not amateurs.  Before you decide that a judge simply can't tell how good your dancing is, consider this: dance instructors make their livings by learning to see dance.  We have learned to diagnose connection issues visually.  We can also see move choice, rhythm, posture, musicality, control, balance, and quality of movement.  For follows, don't be fooled by the idea that if you only get average leads, we can't see you shine.  A beautiful dancer will make simple movements shine- they have control, quality and richness of movement.  A lesser dancer will lack the same control, even on nicely led fancy moves.  Quality of movement matters, y'all- it's more than a style thing.  For fun (by which I mean education), go watch the SYTYCD auditions on youtube.  Not only can you pick out stronger dancers during the choreography, where everyone gets the same movements, but you can see on movements as simple as a step, or a hand gesture, during their solos.  Go look!  And then give your judges a little more credit.  


On that note, leaders, what judges want to see at an audition are your.... basics.  We want to see your fundamentals.  We're not looking for which leaders have the fanciest moves.  We're looking for solid leaders.  And, might I mention, it would be nice to see the follows do their fundamentals, but that's reliant on you, boys.  



When I was at Herrang in 07, I was sorely disappointed to be left out of Advanced I.  But after a few days, it dawned on me.  Yes, I had followed just fine.  But the difference was that while Advanced II follows could follow everything, Advanced I follows made it look like art.  And there, children, lies the rub- dancing is about more than just connection.  At some point, very late in the learning process, the visuals matter.  No, I don't care about your styling (yes, judges can see past styling to fundamentals).  What I care about is that after you reach a certain point in connection, the sorting variable becomes about aesthetics, and taking you art past something purely social, and turning it into art.  Don't lose the social- connection is always important- but on top of that, make it yours.  Have control over every bit of your body (and control involves relaxation as well as engagement).  


If at this point, you say to me, "But I don't care how my dancing looks- I only care about connection" then be satisfied with what level you get placed in.  Don't place stock in a placement (such as between the top two levels) that involves a variable you don't care about.  By your metric, your level should be as good as the next, so be happy- and that's not me being snarky.  I truly wish people would enjoy their levels, and make the most of them.  Every moment you think about being in the wrong level is a moment you're not open to learning.  It suddenly becomes about preconceptions and ego.  Some of the best classes I've ever had were in tracks that were too low, or that I thought were too low (which looking back, were right on).  


One last point: it's not only unkind to your possible classmates to put you in the wrong level.  It's unfair to you.  We as instructors want to give you the best chance to learn the most possible.  The instructors are just as good in a lower track, but they're fine-tuning the material to the needs of that group. 


Yes, misplacements occasionally happen.  But they're very, very rare.  And if you're open and working hard, you'll get more out of being placed too low than too high.


With love and good will,
-Mike

This year, come July, you won't find me at Folketshouse.  You won't find me in the Laundry Pit, or even at the Kugen.  In '05 and '07, that's where I'd be, and since this is an odd year (aren't they all, though?), I'd originally planned to try and make Herrang happen.  But this year, something has come up.  Something wonderful.

This year, from July 12-17, I'll be teaching blues dance at the Augusta Heritage Center.  Located in Elkins, WV, Augusta Heritage is home to a 5-week long music camp, each week offering a different theme.  You can probably guess which week is blues.  So what makes this so exciting?  Partly, there's still the thrill of going to camp, in a way.  Partly, there's the fact that everyone at that camp is there because they love blues music in the same way that I love dancing.  And partly, there's a chance to be surrounded by some of the most talented blues musicians on the planet. 

Not to brag, but here's a sample:
Fiona Boyes: About Fiona Boyes
She's the first Australian to win the Blues Foundation's International Blues Challenge.  She's also the first woman to win it.

Phil Wiggins: Wiggins's music
W.C. Handy Ward for Blues Entertainers of the Year and Best Traditional Blues Album of the Year

Saffire- the Uppity Blues Women: Saffire's Songs

Louisiana Red: Louisiana Red's Songs
He's played with some ok guys... like John Lee Hooker.

Courses offered during blues week include: Fiddle/Mandolin and Vocal Repertoire, Guitar, Harmonica, History of the Blues, Mandolin, Piano, Songwriting, Teen Band, and Vocals.  Since my class is a mini-course at night, it doesn't conflict with any of these courses... guess where I'll be spending my day.

Aside from the obvious, there's something else here.  There's opportunity.  If we could get together this many blues musicians, and a bunch of blues dancers, in an environment where everyone's working and learning and generally hanging out... I feel like good things, great things, are bound to happen. 

So, if you're interested in learning blues music and/or dance, and want to be part of something, but don't have the cash to fly to Sweden, think about dropping by West Virginia.  Fiona and Iverson are doing it....

For more information: Augusta Heritage Blues Festival

See you on the dance floor,
-Mike