Dance Buzz
Talking all things Dance every Wednesday.
Dance Buzz
Episode 1: Enhancing Dance Competition Feedback: Perspectives from Dancers, Teachers, and Judges
Are you tired of lackluster dance critiques at competitions? Join us on the very first episode of Dance Buzz as we tackle this hot topic and bring to light the different perspectives of dancers, teachers, and judges. We also dive into the financial aspect of competitions and the responsibility for providing meaningful critiques when dancers pay an entry fee for a solo performance.
As we explore the challenges faced by studios when providing critiques to parents, we discuss the benefits of having the same team of judges traveling together and their collective feedback. We also examine the potential benefits of having a fourth judge specifically for giving teacher notes and the importance of creating an open space for constructive criticism in dance competitions. Tune in to this insightful conversation on dance competition feedback and critiques, and discover how we can improve the dance competition experience for all involved!
Hello everybody, I'm Chelsea Godfrey. I'm Jonathan Godfrey and welcome to our very first official episode of Dance Buzz. We are going to be talking today about dance critiques at competitions.
Speaker 2:Yeah, the current status of competition to critique semi-hot topic. You know it's a big thing right now.
Speaker 1:Yeah, so we're gonna talk about the different perspectives of comments as well, which I think is important, because I think it's really easy just to think, just to get frustrated with one way or the other, whether you're the dancer, the teacher or even the judge. So, yeah, let's just jump on in. Go ahead, john.
Speaker 2:Yeah. So I think a big thing today is that at competitions I don't feel that the judges are giving enough critiques. You know personal experience, you know we've been to events where the judges are just like wow, nice. You know that's standard that everybody used to hearing. Or my personal favorite I love the costume. I'm like that's nice but like has nothing to do with like the dancing. Yeah, i think that's.
Speaker 1:I think that's also a way that, like, they just get people to talk because I think you can talk, like from your perspective, like when you were judging, like, like, if you weren't, like saying, if you weren't talking, it'd be like you have to talk.
Speaker 2:Yeah, the events definitely want the judges to say more and be talking a lot of time, which is fair. I mean they should be. You know, the parents, the studios are investing a lot of time and money into going to these events And if you're receiving little to no feedback from the judges, it's definitely frustrating. Yeah, i mean, my personal experience was, you know, getting a comment of you're not talking enough and I felt like I was talking a lot.
Speaker 1:I mean that's a good thing, though the competition is really pushing a percent.
Speaker 2:Yeah, you definitely want that.
Speaker 1:So I think we should start like our main topic. To start, we should just talk about frustrations as a studio owner, dance teacher, which I know you kind of started with with just Getting receiving comments and then pretty much not being helpful at all. Yeah, and I think we need to just like talk about like is it On the competition, is it on the judges, like, who is that like, who is that on? and I think this kind of goes a little bit both ways between is It the competitions fall or is it the judges fall or the judges not like educated enough, because I think you can think that's a big Topic as well.
Speaker 1:Yeah, i think you can, I think Without saying too much about, like, the financial portion, because we know finances is a lot when you're running a big business, but I think it That's where they cut their money. Yeah, so I think that, i think the narrative falls to both.
Speaker 2:I think the responsibility falls to both the competition and the judges. I think the competition definitely needs to do a better job at hiring better trained instructors or more knowledgeable instructors. We were at one event and the judge constantly kept bringing up like pronating, pronating, and I was like you can't pronate in this particular area. So that judge clearly was not very educated in the field too much or not, even maybe, maybe not.
Speaker 1:I don't want to say like, not, like. I don't want to bash and be like they weren't educated. It was just like they just kept repeating the same word and it was like do know any other, do you know anything else?
Speaker 2:to the point where I think, i don't think they really knew what it was. Yeah, you know, I mean it we, you know, i mean our dancers are are quite technically advanced, you know, and I'm not saying our dancers are perfect, they definitely have their faults, but I just don't feel this judge really knew what they were talking about in that sense.
Speaker 2:So I think the comp definitely needs to look into hiring more knowledgeable instructors. And I think it's hard. You know when you're running certain events are running seven to ten events a weekend. You know when you're looking at three, you're looking at a minimum of 20 judges a weekend. That's a lot of people that you have to employ just to critique And I understand that the judge's job is hard. For sure. You're working very long hours, you're getting very little food, you're not in your own schedule. But I definitely think that Being a judge is not cut out for everybody, including myself like I did not enjoy my time judging And I definitely could not see myself doing it weekend after weekend and Being able to give the best feedback I possibly could yeah, i think too, like just taking into consideration, like the fact that I feel like if you're paying $200 for a solo, you should get Feedback that's valuable.
Speaker 1:That's valid. I don't. I don't know if I should say that's worth $200, because obviously there's It's more than just that yeah, for sure.
Speaker 1:Like you should be able to get more feedback. Then point your toes and straighten your knees, because there is a 99.9% chance that the teacher at home is already telling them to Straighten their knees and point their feet. And sometimes I get it. Sometimes like hearing it from somebody else is like, oh, maybe if someone else tells me, but at the same time it's kind of like It's like obviously like yeah, the point is you need to be.
Speaker 2:These comments are Not very usually.
Speaker 1:I would rather them tell me You know your feet are or no. Whatever, your feet or your knees are bent because of Ex-Y and Z, and this is what you can do 100%.
Speaker 2:I think that's a great way that judges can go into it Instead of just saying like do this, do that, give a little bit more explanation. I mean, i know the time is limited to two minutes or whatever, yeah on. But I mean, if you can give as much Valuable input in that short amount of time, why not do it? You know it doesn't have to be point your feet straight. You need to shut your arm.
Speaker 1:I'm sorry I'm gonna cut you off, john, but that's also something kind of talking about the timetable, because sometimes people only have two minutes and 20 seconds to you know. Say it so if they are saying like, oh your, your knees aren't straight, and then they kind of start to talk about why Sometimes they miss a lot of other things that they could probably comment on. So it's almost like you have to know in your mind Like quickly okay, if the dancers knees are bent, there's got to be a reason why, and then that way you can give valuable feedback pretty much immediately. And every dancer is gonna be different, but that way it doesn't like take like 30 seconds of the dance.
Speaker 2:Yeah, and everybody's different. I mean I wouldn't mind a judge going in explaining a little bit more into one particular thing And maybe bypassing another.
Speaker 1:I mean they're not gonna catch every single mistake as long as they don't tangent Like I don't want to and run off into a hole the tangenting. I'm kind of like, okay, we get it next, like I'm gonna the singing.
Speaker 2:Yeah, they're just like. I love this song. You've heard the Celine Dion song, yeah, bajillion times. Why are you continually?
Speaker 1:singing it.
Speaker 2:I know, i know but Yeah, i mean to wrap that up, i think it's it's on both. I think the competition needs to do a better job at hiring knowledgeable, you know, judges and maybe they go through a pre-screening process. I mean, i know Star Quest, for instance, when I was judging. They have a pre-screening process. You have to Verbally critique a YouTube video that they put out. So that definitely, and I remember one of them was specifically tap. You know, because that's a really hot topic as well as you know, the judges not educated in tap.
Speaker 1:They're not well-rounded, even like hip-hop, like I know, like we have a percent Yeah we have friends that are in like the hip-hop fields and even I can feel their frustration when they're like we're not getting like the comments, like about hip-hop, like nobody there's no hip-hop judges and Like hip-hop is like, not necessarily like our studio for today like for today or like go-to thing, but we still do a hip-hop.
Speaker 1:So I think if we got like valuable, valid response to it, it would maybe help us improve on rehearsal process better as well, and I think one of the biggest best ways that maybe We can improve like judge work and this kind of like goes into our next topic is, i think we've come to the agreement that we love the the three judges on one.
Speaker 2:Yeah, i definitely like when all three judges are talking on one video, if it's done well.
Speaker 1:I agree. I agree because we've had both. Yeah, it has to be done. Well, we've had both.
Speaker 2:Definitely had the extreme of both experiences, where we've gotten really valuable feedback from three judges on one particular critique instead of the individual versus Yeah yeah, i think we, just we, we think Tremaine does this very, very well. Tremaine super strong And I think I think it goes along to their whole company's kind of Ideology. They don't have 18 million different choreographers coming in different weekends, it's they have their set group of teachers and they travel together every weekend.
Speaker 2:So they Form this rapport, i think, with each other where they're able to have a conversation and bounce things off of each other during it. So I agree. I think Tremaine does an excellent job with their critiques.
Speaker 1:I also do want to say, from a studio on our perspective, i also prefer the three versus one because when I'm in my rehearsal, which is only 30 minutes long, i don't want to take up like ten minutes, ten minutes to listen to comments and critiques.
Speaker 2:Especially if they're not good.
Speaker 1:Yeah, exactly. So I usually just pick like whoever the lowest judge score, whatever the lowest judge score is, and I listen to that because you know I'm assuming that if their score is lower than everybody else, they'll probably have more feedback.
Speaker 2:Not always the case, unfortunately, but it should be that's my assumption, or what I intend.
Speaker 1:So, and then also, when people are getting people the parents and the kids they want these comments Like, they want these critiques because, rightfully, they've paid for them. But I gotta be honest, it's really a nightmare to download three different comments, attach them as files and then send them in an email One. It takes up so much storage, like in my-.
Speaker 2:It takes up a lot of room on the device, as well as a lot of times sending. It's so much time, so I know some of the systems have really made it easy to just email out the critiques the parents and they could-.
Speaker 1:I feel bad because sometimes I know people ask for them and like I want them, i want them And honestly it's just like there's so much happening that I'm just like this is gonna take like 10 minutes. Which is a long time, honestly, to download them and-.
Speaker 2:For every dancer.
Speaker 1:Yeah.
Speaker 2:I mean you got 40, 50 routines. It takes a long time.
Speaker 1:Exactly, and everybody wants their stuff, so it's just like it's a lot.
Speaker 2:Some of the systems, like I said, have done a really good job. Some of them are just really outdated in that sense. So if they're all on one particular critique, it definitely saves time as a studio owner or as the teacher who's sending it out. I mean, there's benefits to both. Don't get me wrong.
Speaker 1:Yeah.
Speaker 2:I mean, if you get a set three different judges on their individual own critique and they're all good at what they do, super valuable information If you have one, that's not two, that's not, it's kind of like just put them all together. But then some events we attended an event and they were all together And out of a two and a half minute solo, one judge and all three of them were all in the same thing said the word nice twice.
Speaker 1:Yeah.
Speaker 2:No valuable feedback from any of the judges And they were all in the same where, like we brought up earlier Tremaine, they talked to each other. Yeah, and I don't mind my work being critiqued. If you wanna make a suggestion and be like maybe that angle's not great, i'm totally fine with that Yeah, you are, yeah, yeah. Make that critique. I wanna make the dance better And I think most teachers are.
Speaker 1:Well, i also think too. It's interesting because when judges are commenting, i think subconsciously they have notes that they wanna give about choreographic choices And nowadays you can't. If you give it then it's like sometimes comes off like it says insulting. But so a lot of people are like don't comment on the choreo, comment on the dancer. But a lot of times they go hand in hand. If you're giving a kid not the best angle, that is gonna play a role on how rotated they look for sure.
Speaker 1:So just slight adjustments really make a big difference. I mean, i'm not saying to say like Change the whole dance. Yeah, like I'm not you know, but like, even if you're like, oh, i think this could be more quasi, you'll look more rotated versus it being profile. Like you'll have a better line, better look and stuff like that And those I don't think are, and like you know what, at the end of the day, the teacher has the opportunity to say no.
Speaker 2:I'm gonna make that change or I'm not, and that's fine.
Speaker 1:Yeah, so it doesn't really have to be that sensitive of a topic.
Speaker 2:I know certain events you know I'm not gonna say who because this is, i think, you know, a special program they're running have started to put a fourth judge on the panel specifically for the choreography and the teacher notes, and I think it's a great idea. I don't think the critiques we received from that one event specifically for the teacher were great, but I think it's a great idea, i think it's a really good start into the change.
Speaker 1:But I think it goes back to people are nervous to upset people And that kind of went back goes honestly back to our like our video the first one we made talking about how like we just like we expect our dancers to be open to feedback and criticism and so should wait.
Speaker 2:Yeah, the teachers have to be just as open to feedback as the dancers and, honestly, the parents, you know.
Speaker 1:Yeah, and honestly, at the end of the day, like I know, sometimes, like we say, like this is, you know, this is our business, we're gonna run it how we want to. But it doesn't mean that, like I don't mind hearing feedback from other professionals in the field. That's the difference. Like, if you're a professional in the field, like, not like a different kind of like, like if someone I don't know how to say this There's a difference between giving feedback to make the experience better for just your individual dancer versus giving feedback that you think will change the whole experience for everybody.
Speaker 2:You know, getting feedback like well, my dancer can't take this ballet class on this day, so like you shouldn't have it at all, and I'm like that's not valid.
Speaker 1:Yeah, but yeah, that's what I'm trying to say essentially, yeah.
Speaker 2:So I think, if events want to start running at the fourth judge. I think that's Valid and I think that's a good idea. But I think you need to put somebody on that panel in that position that is willing to. I Guess the best way is ruffle some feathers sometimes.
Speaker 2:Yeah, you know, I mean, the truth can be hurtful sometimes, but if you're open to it It can be a great way to grow yeah, i know absolutely especially in an industry where we're preaching to these young dancers like you have to be open to vet feedback and Criticism so that you can grow and get better.
Speaker 1:But if we're not willing to do it ourselves, Then it's kind of like hypocritical we definitely me and John also definitely have like a tough love approach to our teaching and our philosophy. So if that's not your philosophy, maybe you don't agree with us on that, but that's just always been how we have taught our teachers or taught our kids, i'm sorry. I always feel like I always say that I teach my kids the way I would teach my, teach my dancers, the way I would teach my own kids. Right, so that way I know they're getting the best, the best treatment and all that kind of stuff. But I'm kind of going off of that. I think we can say that the best, one of the best Ways to get the comments or the best systems is the break the floor.
Speaker 2:Yeah, i mean break the floor has done an excellent job with their system called, i guess, coda. Yeah, I believe that's how you. I don't know if it's an acronym for something, but well, coda means finish like in music.
Speaker 2:Yeah, i don't know. I mean maybe they dove deep into that there, but I think their system is great for a lot of reasons. I mean one they it's very easy to share the comments, like we talked about earlier, to parents or to our faculty. So I definitely like that about it. I really enjoy their. I guess the way, best way to do it is a check mark and exclamation Point. I don't know if they have a name for that particular part, but for each judge and each dance they go and they give check marks for things They feel like the dancer did well, as well as exclamation points for things that they don't feel like the dancer did well, which are in yellow, which are in yellow?
Speaker 2:Yeah, check marks. And green exclamation points in yellow.
Speaker 1:But it also has things for choreography and costuming and spacing and and like appropriateness and they also have Like off of that they have. Videos that they attach and like I don't always watch them, but I think if I send them to the kids then they can watch them.
Speaker 2:Yeah. So if, like, one of the critiques is poor transitions, Yeah, i was just gonna say that, you know one of the videos that they put at the bottom is, you know a phrase work, specifically working on improving your transitions, and I'm like it definitely took so much time to put this whole system together and so much investment. But you know what that? what is what makes this system so great?
Speaker 2:Yeah, yeah, you could tell that they put like the thought process into it, the love into it, to make it what it is, where a Lot of times you just get a verbal critiquing or like what am I gonna do with this?
Speaker 1:Yeah, for sure, and I think it helps. Even like the dancers, who are Maybe a little bit more like recreational, i want to say, or like more beginner, and they're just like learning about their bodies and how to transition and weight shifts and directional changes and Like that kind of stuff, like those videos could be really, really helpful.
Speaker 2:Yeah, and it's good to see it from a different instructor's point of view.
Speaker 1:No, yeah, i mean we. Yeah, that's what we were. Yeah, i mean that's what we were kind of saying before, like everybody's point of view is is is different. That's why we, when we even when we sit next to each other, we watch each other's dances Like in like while they're on the stage, we critique the dances. While we're watching, we critique each other. We don't, yeah, yeah we don't necessarily critique the kid, we just we critique each other, critiquing both.
Speaker 2:Well, yeah, if it's our own kid, we're not gonna sit there. No, of course. Yeah, yeah, yeah, but you know watching our own dances. We're sitting there saying like you know, x dancer needs to do this and Susan needs to do that, but then we're sitting there saying like maybe we should take out that turn, or like you're too much over to the stage right.
Speaker 1:Somehow you got to get over to stage left, or the movement is too stationary. Figure out how you're gonna transition it or, like, just move through the phrase work a little bit better. And we, we openly have those conversations with each other and I think because we're just so used to it, maybe why we're more open to That feedback from other people.
Speaker 2:I think it's a big respect thing as well. I mean, if you're getting feedback from somebody who maybe you don't respect it, It definitely isn't taken the same way as getting it from somebody you do respect and have You know a true opinion about in a good way. You know like I take what you say with value not you don't know what you're talking about. I'm just gonna ignore it and do whatever I want. Anyway, sometimes I might. I might just ignore what you say and be like no, i think it's better this way.
Speaker 1:You brought that up earlier.
Speaker 2:You know I mean, but you're giving me the option of taking it and looking at it objectively. I guess the best way to say it is.
Speaker 1:So, to kind of flip this, i think we should talk a little bit about the judge's perspective because, as you mentioned earlier, it is not easy to be a judge and it is not for everybody.
Speaker 2:Yeah, It's not easy, it's definitely not for everybody, and I think that's the part where it falls onto the individual judge to make that decision. Like am I cut out for judging? Not, i'm gonna take this job just to get a job. You know, you're not just getting a job at McDonald's and flipping burgers.
Speaker 1:Yeah, but sometimes when people go like, when people start to judge, it is a nice leeway into getting people into the community more.
Speaker 2:I agree.
Speaker 1:Because I mean not always, because it's like I'm not necessarily going, like I do read about the judge's bios but I think not always like when you're judging, like sometimes maybe it could lead to like an employable position, but also maybe not really, cause if I believe, if a comp is doing it right, the judges should not be anywhere in the area from anywhere in the area, with the exception of, obviously, like the tremaine the break the floor. It's like we all know that those like there's a possibility that those judges have also set work on those students.
Speaker 2:Yeah, which I think is another big topic that I'm just gonna dive into really quick, because I know like break the floor. For instance, when you do group dances, they're putting four judges on the panel And if one of those judges does choreograph, they're removing their score. You're still getting feedback, which I love, because you're getting four pieces of feedback versus three, but they're removing that judge from the panel and your score.
Speaker 1:Yeah, cause you have to put the choreographer.
Speaker 2:Yeah, you have to put the choreographer when you're registering these dances. So I know it's a big thing of like, oh well, this teacher judge there and so they're gonna win. You know, and I mean we've been to events and we've had choreographers that are on that event and we haven't won.
Speaker 1:Yeah.
Speaker 2:You know, it is what it is. Okay, sorry, Jumping back into the judges here. I was like I just had to jump into it, that's okay.
Speaker 1:But I think I think I'd unfortunate, because the judging hours are just so excruciating.
Speaker 2:Yeah, i mean 16 hour days.
Speaker 1:sometimes They're so long There's no time to eat, there's no time to even like to use the restroom Like it's like kind of a project I feel like sometimes.
Speaker 2:Yeah, I know the one event I judged, for they had set bathroom times and you were not allowed to switch from them, yeah, where other ones. You know they're like all right, we're gonna have a little bit more free roll. So if you have to use the bathroom, they give you post-it notes. You were on the post-it note and you use the bathroom, you pass it down the line and we'll take a break.
Speaker 1:Yeah, i. Just it's unfortunate because I understand, i guess from the business perspective, like not every event can hire.
Speaker 2:The best judges.
Speaker 1:Not the best judges, but like they can't bring six, six or seven judges in, fly three in, fly three out, fly three in, fly three out. Like where, when you're going to like the convention events, they're able to rotate those judges because they have like.
Speaker 2:They already have all that faculty. They're already.
Speaker 1:Yeah, so it's hard when you're going to solely the regional like competition events that are just comps, no convention, because you're literally getting those three judges for the entire weekend and they're exhausted by the end.
Speaker 2:Yeah, they're working 40 hour weekends. Anybody who tells you differently is lying.
Speaker 1:They're definitely tired.
Speaker 2:I mean us as teachers and parents are the same way. by the end of the weekend you're like wow, i'm tired in that Monday competition hangover And remember we get to go home.
Speaker 1:So like from like, if we don't have something in that division, we get to go home.
Speaker 2:We get to leave and take a break.
Speaker 1:They're still there. So I think that's a big thing that gets forgotten about and it's unfortunate, because I think what? ha? not, i think, but what happens is it sacrifices the quality of what's coming in, because the judges are really tired And yeah, which is why I always feel like they put senior solos at the end of the night, because I feel like when they do senior solos, like if you're a senior, there's probably less most of the time, there's less to comment about, because by that time you know when you're a senior, you should have, should have better technique. Yeah Well, but you know what I'm saying. So it's like they get to enjoy that, you know? does that make sense?
Speaker 2:Yeah, I don't know if I agree.
Speaker 1:Well, I'm just saying. Sometimes I feel like the seniors usually go at the end of the night.
Speaker 2:No, I agree that part.
Speaker 1:The seniors are typically at the end of a night, maybe not the weekend, but of a night.
Speaker 2:I feel like a lot of times they are at the end of the weekend for competitions, Inventions. They're typically a little earlier, but Yeah, yeah, i guess so. Competitions, but it's long days. So you know, i definitely do cut the judge's some slack and have an understanding, because when I did it I mean it was it's long days. You know it's poor food too. I mean they're not going to sit there and give you, you know, something hearty and healthy to get you through. You're going to eat something quick that you know Like a steak.
Speaker 2:I'm definitely going to eat a whole filet mignon on your dinner break right there, oh yeah, but I don't mean to cut you off.
Speaker 1:I just want to say that I feel like, since we've done the online dance critiques, like now that we have begun that process with that, i love it so much because one obviously it's on my like, on our time. And two, it gives me, like, the opportunity to really say things that I wouldn't get to say in two and a half minutes, to be honest.
Speaker 2:Yeah, i mean you get to stop the video, scroll back in the video, like really dive deeper into the dance. So I think anybody that offers online dance critiques is super helpful for a dancer, a teacher, a parent, and I would Definitely implore everybody to check those out.
Speaker 1:Yeah, i think that and that's like that's the hardest part, i think, because I Know just from sitting on my end of the chair my videos end up being 15 minutes long, like my Critics back end up being 15 minutes on a two minute and 30 second dance. But, as you're saying, it's because I keep going back and forth and back and forth And obviously judges can't give 15 minute critiques on a two minute and 30 second dance. But they also are going in knowing that, like they know that, like I know that I can sit and scroll back and forth And do what I want because I have 15 minutes.
Speaker 2:Yeah, we have the luxury of that time. Yeah go back and forth, but the judges there don't. And Not saying it's unfortunate, but you definitely. You know a good judge wants to give as much feedback and information as possible. So some judges are good, some judges are bad, just like anything else.
Speaker 1:Yeah, so ultimately I mean, my preference would always be like convention Comments I listen to more because I feel like The judge rotation helps substantially.
Speaker 2:Yeah, that rotation of judges, you know, switching out from, say, junior solos, a teen solos into junior, do it like they're rotating every, every division. A lot of times gives the judges a mental break, yeah, but that's not to say that we haven't had some good ones from regular comps too, agreed.
Speaker 1:It's not to say we haven't had bad ones from conventions. Corcorrect. Very much it goes it goes always. Yeah, yeah. So I hope that this gave a little bit of insight to our personal perspective and experience with, i guess, judges, comments, critiques, from different perspectives. We've never gotten any feedback from like parents, to be honest, on like this kind of topic and dancers. They just say that like if they're not gonna give me, they're like, well, if my score is not perfect, something's gotta be wrong. So I want to hear something.
Speaker 2:What? you're not perfect, though. Like nobody, i yeah.
Speaker 1:We don't really believe in perfect scores.
Speaker 2:I definitely do not believe in perfect scores but Yeah, like, and I get that.
Speaker 1:That's valid. They're like, so tell me what I did wrong. Like, why didn't I do that? I agree with yeah. If you're not, if you're not going to give a higher score.
Speaker 2:I'm not gonna say perfect, but a higher score, but you're gonna have nothing to say then. Oh my gosh.
Speaker 1:I have to say this to. It blows my mind when, like, like, we know, like sometimes you have a dancer that is not as, like, technically sound and they're competing against a dancer that has more technique and they get the same score, like or not the same score, but the same education level, that's a different topic. Don't drive who do be into that. Yeah, i'm like, i'm like what it just it just wild. We'll talk about that another time, but anyway. But yeah, we want to hear your story.
Speaker 2:Yeah, i'm like, i'm like what I'm like, what I'm like, what I'm like, what I'm like, what I'm like what, i'm like, what, i'm like, what, but anyway, but yeah, we want to hear your story. So if you guys have any competition critique stories, send us a message, let us know, because we want to hear all about it.
Speaker 1:And we want to talk about it.
Speaker 2:Definitely want to talk about it.
Speaker 1:All right, guys. See you next time on Dance Buzz. Bye.
Speaker 2:See ya.
