Beyond the Numbers: Why Dance Competition Scores Aren’t Everything
As the number of dance competitions has exploded over the past two decades, so has the selection of scores and marking systems to go with them. Navigating the marks—especially when they vary from one event to the next, even within the same competition—can be confusing. As a result, preparing yourself as a dance educator, and preparing your dancer(s) for a memorable and motivating experience can be more challenging than ever.
Shine Dance Festival Adjudicators
Unlike some sports (think soccer, swimming, or skiing) where outcomes are based on clear win/lose scenarios or the fastest time, dance competition outcomes are based on the SUBJECTIVE opinions of adjudicators/ judges considering an array of skills and performance qualities. How subjective you ask? There must be clear criteria for assessing each performance and providing fair scoring over the course of an entire dance event, right? Well…this is where things become more complex.
Most competitions today require judges to score each routine out of 100. In other words, each judge must assign a single score based on their overall impression of a routine they’ve seen only once, often making this decision in just 2-3 seconds. Now, some competitions do use multiple criteria, but in a compressed amount of time this can actually result in less accurate scoring (which I know from plenty of experience). It is also important to consider that dance is both technical AND artistic, requiring adjudicators to consider many, many variables in each count or movement on stage. They cannot always see all of the dancers on stage at the same moment, or notice upper body alignment while paying careful attention to the use of the feet. As the director of Shine Dance Festival for 20 years, I have tried various marking systems and found that the most important factor in adjudicator success is for competitions to provide clear expectations of highest and lowest scores to be awarded at an event along with clear definitions for each standing (see our current marking system here). We. have opted to go with two criteria, SKILL and PRESENTATION which ensures that technique and artistry are factored into the final result and in a time-efficient manner.
In today’s world where video adjudication is the standard, most judges are also giving verbal feedback throughout the routine which requires a great deal of concentration on articulating effectively, which impacts how much of a routine they actually take in. Programs, like The Dance Leadership Institute’s Master The Art of Adjudicating training and certification program help dance adjudicators learn how to score effectively and consistently from the first to last routine of an event, as well as from one event to the next using different marking systems. But, credentials and experience aside, it must be remembered that each judge on the panel comes with a different background of training, performance, and teaching experience that informs what they notice and what they appreciate. And, just as we all have our own individual tastes in fashion, music, cuisine, and decor that often cannot (and need not) be explained, adjudicators, too, have their own personal preferences for what they find most compelling, impressive, and impactful. And, like anyone else, they are human—affected by factors like a poor night’s sleep, allergies, or personal circumstances that may be beyond their control.
So, why don’t we have a standardized scoring system, like in sports that balance technique and artistry, such as gymnastics or ice dancing? While a scoring system was developed for breakdancing in the Olympics (though not without controversy), mainstream dance competitions lack a governing body to regulate scoring across the board. Even if there were one, it would be difficult to create a system that judges all dance styles fairly since criteria should be weighted differently from one genre to another. For instance, while still important, dance technique in a Hip Hop or Variety routine should have less impact on the overall score than it would for a ballet or jazz routine. Personality and showcasing originality and a range of movement styles should be a major consideration when judging Hip Hop, while not as significant for a ballet variation or modern piece.
Given these complexities, wouldn’t it be simpler and more educationally beneficial to just have adjudicators focus on feedback and eliminate scores altogether? I’ve been returning to this question over the past few years and while I believe there could be a place for a feedback-only competition or festival, knowing where one stands in relation to one’s peers is an incredibly powerful motivator. Yet, while scores and rankings help us recognize strengths and areas for improvement I would suggest not placing too much emphasis on the actual numbers.
Every competition is different. At one event, an 85 might feel like you’re at the bottom of the barrel, but at another, it could be the norm. Some competition directors want to create a super chill, low-pressure environment where everyone gets a standing ovation just for showing up, while others push dancers to the limit, saving the platinum awards for the top 5-10%. Both approaches have their perks, and there’s no “right” or “wrong” way to do it. It all comes down to what you and your studio are looking for (and that’s a blog post for another day!).
In the end, scores are just one part of the experience. Dance competitions are about growth, learning, and the joy of performance—not just the numbers.
