How is the competitive ballroom dance?

ballroom dance classes toronto

How is the competitive dance?

ballroom dance classes toronto

Criteria on which the judge could assess, too many to detail to consider each in the amount of time that’s allotted, moreover, at least six pairs are judged at the same time. Therefore, the judge relies on the overall impression that leaves the pair. An experienced referee sees estimate the dance complex and can quickly evaluate all the factors.

POSITION IN the PAIR is one of the most important moments. Good position gives a pair of elegance and ease, improves balance, facilitates maintenance and allows the partner to maintain contact, especially in swing dancing. The result of the competition often depends on correct posture. Hence the old adage, “always working posture – the key to perfection”.

RHYTHM if the couple does not dance to the beat with music, no skill in any other aspect cannot hide or compensate. Music is everything!

LINE – by this we mean the length and tension of the body from head to toe. Beautiful and well executed lines, directly or indirectly, increase the volume of figures.

FRAME – fixed right hand position, installed in closed dance. The line of the hands of the partners must be a straight line from elbow to elbow. Hands should form a sort of oval shape that when the volume of the frame must retain the form for partners remained in the correct position relative to each other, not out. The couple must be beautiful.

BALANCE. There are two types of balance – neutral and Central. At the Central balance the body weight evenly distributed on both feet. When a neutral – body weight on one leg. The whole dance is a transition from the neutral balance in the Central and Vice versa. If the pair is not in equilibrium, the dance becomes a heavy broken line, in the end you can just fall off.

The distance BETWEEN the PARTNERS should be sufficient to ensure that partners do not interfere with each other. When it should not be forgotten that at too great a distance partners will be hard to find the balance – dance will lose easily.
MUSICALITY – all movements in dance must meet the specifics of the music to stand out in a strong share, smoothly worked out weak. For example, in Rumba step accounts for the impact and duration of the notes (“and”) is decreasing, the work of the hips. The longer the account and the faster and virazitelnee Rumba. In tango dancing feet quite viscous, and head movements are very active. This is achieved and the speed and smoothness.
SUBMISSION – couple dancing emotionally, by showing the audience their relationship to the music, or they gritting his teeth with an intelligent expression, trying not to forget the song?
ENERGY – Energy dance captures the audience. I noticed that Jive always have the most striking pair that wins this dance. But the energy must be managed. For example, a powerful movement is very useful in the waltz and Foxtrot, but only if it is achieved at the expense of the swing, and not only by the length of the step. Traffic must match the music. For example, in a slow waltz accumulation of energy occurs due to the decrease between accounts “three” and “time”. And the release of energy at the expense of “time” should be managed (so as not to slip the expense of the two, often than sinning your obedient servant A. I.) and be supported by the growth in “two” and “three”. It is the same in the rest of the dance.
The footwork AND FOOT – slide (like skiing) foot on the floor in the Foxtrot gives smooth; intentional lifting of the foot in tango emphasizes staccato; correct operation of the knees gives Rumba some “trendy”, and the tension of socks is not a foot support, and an increase in the length of the line. Using these four techniques and correct operation of the foot support legs allow you to achieve a powerful and quick step.
The SHAPE is a separate conversation. He needed to elegantly show your partner the spectators and judges (for example in traditional Paso Doble figure “cloak” or after the pivots in tango – examples). The shape is achieved in various ways. The standard shape is achieved by stretching the partner up and right from the partner.
DOING Well, then I think everything is clear. The only criterion was that the partner should be easy. When improper conduct of ease to achieve the impossible. Each person is an individual, so learning partner is long and difficult, but very necessary work. To reach a full understanding it is difficult (such couples become great), most of the partners simply adjust to each other.
FLOORCRAFT – Vision “parquet” this concept includes not only the ability to avoid collisions, but also the ability to dance without stopping, surrounded by other couples, when it seems to go nowhere. Here is stancanelli pair – partner should choose the right direction and lead partner, and that, in turn, must understand that she wants a partner in a particular situation.
The STYLE of the PAIR As the pair put together, the costumes, the behavior on the floor. This is also not the most recent evaluation criterion.


The judges give different assessments of the above criteria. One may be interested in technique, another choreography, third artistry or composition. All these factors are important and should be evaluated. In practice, sometimes the couple receives a disproportionate assessment from 1 to the last place. Dancers, asking themselves: “what is the judge saw that she had set such a high (low) score?” – must understand that could affect any of the criteria. Sometimes the correct operation of the foot will not give such high ratings as accurate picking up feet in the 6 position.

The judge sees a couple just a few seconds. At this point, a strong pair can make a mistake and get low scores, while weak pair can clean and no errors show multiple items and get high. There is an element of roulette.

Dancers, please be assured that every qualified judge will score you based only on your work. Most of the judges valued reputation and does its job faithfully. Judges, of course, trying to pull her, but the professionals do it within reasonable limits. Anyway, no judge will be able to definitely pull you in the first place or to fill up. Using the evaluation criteria described in this article usually guarantee a correct result.



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