By Emily Yewell Volin.

Dancers have a love/hate relationship with corrections. How can you make sense of the corrections you receive and advocate for your own progress? Dance Informa spoke to pro teachers and adjudicators about how to make the most of corrections.

Are corrections really a compliment?

Daniel DeFranco
Artistic Director, Groove National Dance Competition, Youtube.com/GrooveDanceComp
Corrections are absolutely the highest form of compliment! It’s the idea that if there is someone in your field who is more knowledgeable than you, you should definitely be open to their criticism.

How can a dancer best receive a correction?

Brandon Cournay
Dancer with Keigwin + Company, adjudicator for Headliners
There is so much information available; you just have to choose to receive it.

Daniel DeFranco
There are so many people who will never accomplish what they want because they stopped when they got criticized. You are never going to do anything first time out and be perfect at it. This applies to anything you love or do in your life. Everything is a learning process. Learning to listen to someone else’s opinion and not take it emotionally – that’s a great skill.

How are corrections given in a competition or audition setting?

Brandon Cournay of Keigwin + Company. Photo by Matthew Murphy

Brandon Cournay
I look at a dancer’s overall movement quality instead of judging the choreography and give them information about overall stage presence.

Arleen Sugano
Ballet teacher/coach who has taught at 2010 IBC USA School and is co-author with Dr. Kenneth Laws of The Physics of Dance, 2008, Oxford University Press. Suganosystem.com
If a dancer is witnessed only once, the correction may already be something that is being addressed, so it would serve to substantiate their current work. However, it may be something that the dancer has never heard of or considered and therefore, the dancer may need an open mind to accept a new point of view.

Daniel DeFranco
An adjudicator has three minutes to give a one-way correction. You are not going to change the way a dancer dances in three minutes. If the adjudicators like the choreography, that’s great. If they like the costume, that’s great. But if they feel the choreography and the costume detract from the dance, we want them to focus on the student. They are scoring the piece that goes before them on the stage, but the comments in the critique are for the students. We recommend that all students watch their video critiques with their teachers. Having a teacher there to interpret and talk through the corrections is valuable.

A competitor at Groove National Dance Competition. Photo by Tom Pagut

What are you looking for when critiquing a dancer’s performance?

Daniel DeFranco
I’ve seen good dancers do bad choreography and it looks amazing and I’ve seen bad dancers do good choreography and it looks horrible. Dance is the perfect marriage of art and athleticism. Technical corrections are mostly what we compete upon. You can say, ‘point your foot’ and ‘pull up through your center while you are turning’. These are very easy things to say to a dancer and deduct points.

Brandon Cournay
When you are critiquing a performance, you are talking about focus, stage presence, use of your space and communication – not just dancing through the music.

Is it ok to ask for additional coaching?

Arleen Sugano
As a general rule I do not solicit private training/coaching unless asked. I think students must understand their needs and goals when considering additional work. 

Brandon Cournay
While I am adjudicating, especially now with Facebook, I’ve had several students reach out to me. I do not feel it’s appropriate to accept them. If a teacher approaches me to teach a Master Class or work with his/her students, I am very open and willing to do that.

Daniel DeFranco
Every one of our events has free master classes with our judges. The mornings have a two-way interaction with the judges. This two-way conversation is way more valuable than a one-way conversation from a judge to a student.

Photo: Arleen Sugano corrects student Connelly Weeks. Photo by Jonathan Bostick

Are you preparing for a dance competition? Do you find that you dance well in the studio but nerves often get the best of you when it comes to performing on stage? Dance Informa recently talked to two dance professionals to help you come up with an action plan for dealing with nerves so your talents can shine through.

Alexandra Cownie

Alexandra is a former professional dancer and the author of How To Be a Ballet Dancer. Having performed extensively in Europe, she now lives in Australia where she is a renowned master class and classical repertoire teacher.

What are your top three tips for dealing with stress and nerves at a competition?

“1. While you warm up, think about a time when you danced really well and felt very confident. Visualise how you felt and use that feeling to pump yourself up. Smiling, shaking your limbs dynamically and looking upwards will help you do that.

2. Practice positive thinking. The quality of your self-talk can literally make or break your performance.  Watch out for negative thinking that comes up by watching the other competitors. These thoughts are very harmful to the quality of your performance, so stay positive and be there for yourself.

3. Keep in mind that everyone is nervous and wants to do their best. If you can be calmer than them, with only the ‘good’ stress, you will be way ahead of the competition.”

What can we do to combat negative thinking when nervous?

“Think of something funny! You can even have your favorite funny video ready to go on your smart phone (or your mom’s) in case you start to feel too tense. Laughter will help you let go of the unnecessary pressure. Once you feel in a brighter mood, take a moment to refocus on your dance with a short meditation.”

Dancer and author Alexandra Cownie

Is there an optimum diet and time to eat leading up to a competition?

“Eating is something that needs to be tested to suit your specific needs. However, here are some tips:

-      Eat a healthy dinner the night before

-      Never skip breakfast, no matter how nervous you are

-      Test in rehearsals when is the best time for you to eat before you go on stage so you can be ready for the big day

-      Drink small sips of water all day long

-      Eat smaller meals and snacks, but eat them more often to keep your blood sugar regular”

What happens when something goes wrong on stage?

“Every single dancer in the world has made mistakes on stage. From memory loss to falling, how you deal with the issue will impact the outcome of the competition. Keep going, keep smiling and focus on what is to come instead of what went bad. As long as you are on stage, you still have a chance to impress.”

As a dancer, did you have any pre-competition rituals or routines?

“I would always visualise my dance routine done perfectly in my head before going to bed the night before and again while warming up before the show. It helped me focus on doing things right instead of worrying about what may go wrong.”

“I would also always take a moment to look quietly at the stage from behind the curtain, take deep long breaths and remind myself why I am doing this and how much I love dancing. This helped me give to the audience, because even in competitions, dance is dance and the judges are your audience – you have to dance for them and not only perform technical moves. That is what makes a real dancer.”

Aaron Smyth and Alys Shee compete at Varna IBC 2010. Photo courtesy of Aaron Smyth.

Aaron Smyth

Aaron Smyth is a Genee Gold medal winner who is currently dancing as a guest artist throughout the USA and South Africa, as well as performing with The English National Ballet. He has previously worked with American Ballet Theatre II and The Royal Ballet and has been a medalist and finalist in many international ballet competitions.

Skill and artistry aside, what do you think gave you the edge to do so well in competitions?

“I take a lot of pride in my stage presence and charisma on stage and making sure I portray whichever character I am dancing spot on. I think that really sorts the boys from the men.”

Is there a particular win that you are most proud of?

“Yes, winning the Gold Medal at the Genee International Ballet Competition, as well as the Bravo Audience Choice Award. It was a very special win as I had been planning to compete in this competition ever since I was a young boy. Also, hearing about all the previous winners going onto exceptional careers was very inspiring. There was also a lot of excitement as the Genee was on at the same time as the Beijing Olympic Games, so when I got Gold I felt like I did Australia proud. Also, Dame Antoinette Sibley was a judge and she doesn’t give Gold Medals easily!”

What are your tips for staying calm in a big competition?

“To breathe and treat it like a performance. Really just try to have fun and learn from your other competitors.”

Do you have a pre-show ritual?

“Not really, I just like to have a nice warm up, iPod stuck in my ear and stay focused. I also have a special hand shake with my mum before I go on stage.”

How do you spend the day before a competition?

“By this time I am feeling excited, anxious, nervous and stressed. I try to be surrounded by family and friends and try to distract my nerves and have one last run through of my variations.”

In general, do you feel nervous before a competition or performance?

“Yes, I get very nervous before a comp or just a normal performance. I think it’s a good thing, because when you hit the stage adrenaline kicks in and it’s all okay.”

Have you had any onstage mishaps, and if so how did you deal with them?

“YES! In the first round at the USA International Ballet Competition we were dancing the pas de deux from Coppelia and there was a panel of the most prestigious judges from major companies around the world. We weren’t even half way through the pas de deux when the cuff of my costume got caught in the back of my partner’s dress and it was stuck! We had to literally re-choreograph the pas de deux whispering to each other, with me attached to her. We ran off stage screaming ‘scissors!’ and I had to be cut from her costume. Then I ran on for my solo and it was fine from then on. We thought we were going to be cut, however, we ended up winning the Silver Medal at the end.”

Good luck readers! May you perform exceedingly well in your upcoming competitions, learn a lot and enjoy the experience.

Photo (top): Aaron Smyth performing with Jacqueline Kennedy Onassis School.  Photo courtesy of Aaron Smyth.

By Rebecca Martin.

From a small town competition to the international Prix de Lausanne, there is a ballet competition for every age and every level of dancer. Whether you’re a young ballet student, in full-time training, or are a seasoned professional, the benefits of ballet competitions are numerous. However, there are some drawbacks, and the ongoing question of whether ballet should even be competitive. If you’re weighing whether or not to enter the world of ballet competitions, or are already a regular on the competition scene, Dance Informa has put together a guide to ballet competitions to help you navigate the tutus, tights, tears and trophies.

For younger dancers, competitions expose them to the fun of stage lights, costumes, make-up and prizes. For parents, it can mean long car rides, tantrums and endless sewing of sequins. Yet the pros far outweigh the cons, and the skills and discipline learned through competing can be carried on to other aspects of the dancer’s life, making them a more focussed and mature adult. Personally, some of the fondest memories of my childhood involve ballet competitions. I formed great friendships, developed an affinity for the smell of backstage, learned to be organized and to perform even when nervous. Importantly, I learned the spirit of sportsmanship. It wasn’t about winning; it was about performing on stage in front of an audience, having fun and being friendly with fellow competitors.

If you’ve ever seen an episode of the television show Dance Moms, you will be forgiven for thinking that competitions are cut throat events that involve screaming teachers and complaining mothers. While that may happen from time to time, it’s important to find a ballet teacher who is encouraging and selects students for competition who are able to handle the pressure and are up to standard. Competitions are not the be all and end all of ballet training. If a teacher is putting too much emphasis on competition and neglecting the technique and enjoyment aspects, then consider trying other ballet schools.

For older dance students, ballet competitions can mean scholarships to prestigious schools, prize money or even job prospects. While bringing home a medal or wad of cash is fantastic, the greatest benefit of competing can be the connections dancers make to ballet companies and their peers. Competitions are reshaping the way dancers audition for companies. Rather than attending multiple auditions at what is often a great financial expense, major ballet competitions are used by ballet company directors to source new recruits. Directors can see the dancers both in class and on stage, something they cannot do in a regular studio audition. USA’s International Ballet Competition (IBC) is basically an audition for attending company and school directors. According to Stanton Welch, who is currently Houston Ballet’s Artistic Director, competitions augment the audition process and are a great way for directors to shop for talent.

Joel Woellner competes at Prix de Lausanne 2013. Photo by Gregory Batardon.

The Prix de Lausanne, one of the world’s greatest ballet competitions for pre-professional dancers now schedules networking into the program. An afternoon is set aside for schools to set up booths to talk with potential new students, so dancers don’t have to be a prize winner to be awarded a scholarship or offered a place in a training programme.

For dance students of any age, it is important to keep expectations realistic. Judging is subjective, and things can go wrong on stage. No matter how much dancers rehearse, they still may fall out of a pirouette or fluff their balance in arabesque, and no matter how well they perform, they still may be beaten at judging time. It is important to value the quality of the learning experience and the performance itself over the number of medals or prizes won. Students can return to class after competitions with inflated egos after winning or become overanxious about their dancing if they aren’t as successful as they hoped. Some dancers receive scholarships and job offers after being eliminated from competitions, which is far more beneficial in the long run than a medallion or prize money. Both dance students and parents, as well as teachers, need to keep things in perspective and not focus on a gold medal.

For dancers in a ballet company, their career is going to consist of constant auditions, so the practice early on is extremely beneficial. Every time a visiting choreographer comes in to watch company class and cast for their next work, they will be auditioning for them. The competition doesn’t end once a dancer gets a contract with a company.

Most local competitions allow entry through an application form. Some may request a photo or video. The bigger competitions will require dancers to attend an audition class or series of elimination rounds, and international competitions will first need to see an audition video.

DO:

• Speak to your ballet teacher about local competitions and check Dance Informa’s listings for upcoming opportunities.
• Do your research. Visit the website of the competition and carefully read the entry form and guidelines.
• Make sure you are eligible. There are often age restrictions and sometimes even syllabus restrictions.
• Pick a routine or variation that compliments your abilities. Don’t do something that is too difficult for you.  It’s better to do a simple routine well than fumble through a tricky number.
• Make the most of every experience. Listen to the judges and teachers and apply their feedback.
• Enjoy the experience! You’re on stage in front of a supportive audience.
• Talk to as many people as possible.
• Have a make-up kit that you take with you to every competition. Include needle and thread, resin, hairspray, hairpins and spare tights.
• Be prepared! Rehearse, practice in your costume, test out the stage before you go on, get plenty of rest, and fuel your body.
• Have a back up copy of your music.
• Remember that people are not only watching your dancing, but also the way you behave. Be professional, attentive and courteous.

DON’T

• Give up!  The more competitions you do, the more confident you will become.
• Let your nerves get the better of you. What is the worst that can happen?
• Be negative or critical of others.
• Put anything extra on your application form or audition DVD. Follow the guidelines.

Remember that the process is the prize. Here is a listing of various ballet competitions around the world:

-  www.rad.org.uk

-  www.prixdelausanne.org

-   www.ballet.org.au

-   www.jjgp.jp

-   www.yagp.org

-   www.usaibc.com

-   http://moscowballetcompetition.com

-   www.bda.edu.cn

-   www.theamericandancecompetition.com

-   www.concorsointernazionaledanza.it

-   www.wbcorlando.com

-   www.danceuponadream.com

Photo (top): Promotional image from dance documentary First Position about the Youth America Grand Prix - a must see dance film.

By Chelsea Thomas.

Kati Smasne, 16, never dreamed she would win the first global competition of Dance Upon A Dream, a new online dance competition founded by international performer and judge Joshua Horner.

Horner, a judge for Dancing with the Stars Australia and a choreographic consultant for Disney, launched the competition alongside co-host Emily Loftiss, professional dancer, singer and choreographer, to offer competitive dancers a place to compete on an international scale without ever leaving the comfort of their homes.

Smasne was just one of hundreds of dancers to apply under the ‘senior’ division (16 years old or older), with the other divisions being ‘mini’ (7-10 years old), ‘junior’ (11-12 years old) and ‘teen’ (13-15 years old). She said she was “amazed” and “overwhelmed” when she found out she was awarded the Solo Ultimate Overall Winner. Her submission, titled “White Blank Page”, was a video of her dancing a contemporary solo choreographed by her friend Rile Reavis at the competition Dance Magic in Oregon in August 2012.

“I honestly couldn’t even believe I won and that now I’m going to study in New York at Broadway Dance Center. I come from a small town so it’s just amazing. I feel so lucky,” Smasne said.

Smasne was a standout to judge Elizabeth Parkinson who remarked, “Kati represents my favorite kind of dancer! She has a strong technical foundation with a dynamic plié and beautiful line. On top of that she is a performer and fantastic mover so rather than focusing on her technique we get to enjoy the pure joy of her personality!” Judge Peter Gregus of Jersey Boys on Broadway said, “Kati has unerring technique, which she doesn’t let overshadow her presence in her performance. She manages a beautiful marriage of both.”

Young Kati even caught the eye of judge Christopher Gattelli, Tony Award winning choreographer of Disney’s Newsies, who expressed, “Kati is a beautiful dancer with incredible facility and her own unique quality, that shows fantastic potential.  She was the perfect choice to represent Dance Upon A Dream’s premiere overall winner.”

Smasne, who has been awarded a three-month scholarship to attend Broadway Dance Center, has big dreams that come from humble origins. She was raised for most of her life in Spokane, Washington, a medium-sized city of about 200,000 residents. At age seven, she began dancing with her older sister, which spurred her on because of their “sisterly competitiveness.” While her sister eventually stopped dancing, Kati kept going, taking jazz and later ballet.

Kati Smasne. Photos by Scott Martinez Photography

“When I was young I discovered I really loved dancing. I loved being on stage. My dance teacher told me that if I wanted to get better I should take ballet. Soon after, I started,” Smasne said.

Kati began her ballet training at the Ballet School of Coeur d’Alene under owner and instructor Ceci Klein, who danced with American Ballet Theatre in the 1950s and 60s. For almost a decade, Klein has been guiding and teaching Smasne, providing her foundational technique and poise. Klein, who also instructed Andrea Cooper, who went on to be a dancer at Oregon Ballet Theatre, also encouraged Smasne to pursue additional summer training and intensives.

For two summers Smasne participated in Pacific Northwest Ballet’s student intensives. She said, “I really loved that and I knew from that I wanted to be a dancer.” Another experience that inspired her and stayed with her for years was her young participation in the musical CATs. Now, Smasne says her attention is on getting to Broadway and finding her niche in jazz or theater.

“In the last two years my focus has been on jazz and theater because I really enjoy it,” Smasne said. “I’ve come to realize my personality is geared toward jazz – being sassy and expressive. I like the freedom of being able to make a piece my own.”

In her Dance Upon A Dream submission, Smasne’s passion for jazz and theater is evident in her obvious, theatrical expressions and her exposed, vulnerable emotions. The work, originally a duet restaged to be a solo, shows off her excellent technique, undeniable vision, charismatic energy and balanced self-confidence.

And her self-confidence is merited. It seems everything Smasne does she does well. A high school junior with a 4.0 GPA, Kati juggles her dance schedule with attending college classes. She is on track to finish her associate’s degree at the same time she graduates from high school. She plans to pursue nursing when she can no longer dance or perform.

Smasne’s jazz instructor, Judy Reavis of the studio Dance Unlimited, said she is proud of Kati’s award.

“We are thrilled at the opportunities Kati will receive as the winner of Dance Upon a Dream. Ceci Klein and I are very proud of Kati. We celebrate her commitment and dedication to the art of dance. It has been a blessing to witness her passion for movement and to nurture her gift,” Reavis said.

After recently competing at New York City Dance Alliance in Portland, Oregon, Smasne now looks forward to preparing for her summer at Broadway Dance Center.

For other dancers looking to compete for this chance with Dance Upon a Dream, the process has been created to be as easy as possible. It’s as simple as uploading a video of a solo, partner or group piece from a dance competition to youTube, selecting an age division and performance category on the Dance Upon a Dream website, and copying and pasting the video link from YouTube to the competition website. For more information, visit www.danceuponadream.com.

Whereas other dance competitions provide dancers with a sense of where they place in their state, their region or their country, Dance Upon a Dream allows participants to see where they rank throughout the whole world. Smasne said she is so thankful for a competition like Dance Upon a Dream.

“Thanks so much to Dance Upon a Dream for the amazing opportunity they have given me. I am so excited to train in New York at Broadway Dance Center. Wow, a dream come true,” Smasne gushed.

Dance Upon a Dream and its array of world-class industry judges, offers various awards for all solo, duo/trio and group winners, including partial scholarships to the Hollywood Summer Tour, a Just Dance 4 game from UBISOFT or a Dance Upon a Dream One’Z to wear. Group winners will also receive a personal invite to the Dance The Magic showcase on Broadway this summer, as well as Disneyland Resort, Walt Disney World, Disneyland Paris and Disneyland Hong Kong.

Smasne said dancers should not underestimate the importance of competition in challenging and inspiring themselves.

“It pushes you to be better,” she summarized. “When you compete, you have to be much more refined. Everything has to be disciplined and perfect, so you work harder. You never know where that extra effort or exposure will take you.”

To see Kati’s winning entry visit www.danceuponadream.com/entry/10129.

Entries opened for the next round of Dance Upon A Dream on January 31st. Get your entry in now!

Dance Upon A Dream Season 1 Winners:

Ultimate Winner: Kati Smasne, USA

People’s Choice: Kloe Burke, Australia

Judges Choice: Rhiannon Tringas, Australia
Judges Choice: Harrison Lee, Australia
Judges Choice: Michael Dameski, Australia
Judges Choice: Michelle Quiner, USA
Judges Choice: Maddison Weiley, Australia
Judges Choice: Cassandra Clarke, Australia
Judges Choice: Kelly Webster, New Zealand
Judges Choice: Kayla-Maree Tarantolo, Australia

Mini – Solo – Musical Theatre: Isabel Lacon , USA
Mini – Solo – Lyrical/ Contemporary: Shontaya Smedley, Australia
Mini – Solo- Ballet: Ashleigh Brant, Australia
Mini – Solo – Hip Hop: Manaia Davies, Australia
Mini – Solo – Jazz: Tia Buell, USA
Mini – Solo – Acro/ specialty: Lexie Brown, Canada
Mini – Solo – Tap: Grace Gellie, Australia
Mini – Boys Award: Ashton Schier-Mason, Australia
Mini – Duo/ Trio – Jazz: Alex Burghardt, Meredith Page, Skylar Podziewski, USA
Mini – Duo /Trio – Acro / Specialty: Kailin and Lexie Brown, Canada
Mini - Duo Trio - Lyrical/ Cont: Grace Gellie and Brooke Ainsworth, Australia
Mini – Duo/ Trio – Tap: Grace Gellie and Shanae Holland, Australia
Mini – Duo/ Trio – Musical Th: Cody Ettingshausen & Sophie Piggott, Australia
Mini -Small Group- Hip hop: Zyannna, Xeryus, Justine, Amik,
Alexias, Kaylinda, Dominique, Canada

Junior –  Solo – Jazz: Clare Billson, Australia
Junior – solo – Lyrical/ Cont: Sophia Kaloudis, Australia
Junior – Solo- Ballet: Madison Ayton, Australia
Junior – Solo – Tap: Rudi Palmela, Australia
Junior -Hip Hop – Solo: Chantelle Redzeposki, Australia
Junior – Solo -Musical Th: Hamish Briggs, Australia
Junior – Solo – Acro/ Specialty: Kailin Brown, Canada
Junior – Large Group – Lyrical: Sans Souci Public School, Australia
Junior – Duo/ Trio – Hip Hop: Chantelle Redzeposki, Claudia and Chelsea Robertson, Australia
Junior – Duo/ Trio – Lyrical/ cont: Harley Rodrigue, Mackenzie Van Natta, Darian Callais, USA
Junior – Duo /Trio – Jazz: Jemima Smith and Laurence Neuhaus, Australia
Junior – Boys award: Hamish Briggs, Australia

Teen – Solo – Jazz: Marie Spieldenner, USA
Teen – Solo – Lyrical/Contemporary: Kloe Burke, USA
Teen – Solo – Tap: Zoe Barbera, Australia
Teen – Solo – Musical Theatre: Rachel Moore, Australia
Teen – Solo – Hip Hop: Carla Celesti, Australia
Teen – Solo – Acro/ Specialty: Megha Budhrani, FL
Teen – Duo/ Trio – Musical Theatre: Jason Kidd and Kiarra Vacek, USA
Teen – Duo/ Trio – Lyrical /Cont: Briana Collova & Nicholas Cruse, Australia
Teen – Duo/ Trio – Tap: Matiu and Marie Samuel, New Zealand
Teen Boys Award: Thomas Dilley, Australia
Teen – Small Group -Hip Hop: Madison, Rachelle, Jordan, Migo, Jasmine, Paige, Cassandra, Canada
Teen – Small Group – Lyrical/ Cont: The McDonald College, Australia
Teen-  Large Group –Jazz: RG DANCE, Australia
Teen – Large Group – Ballet: The McDonald College, Australia

Senior – Solo- Acro/ Specialty: Samantha Rybka, Australia
Senior – Solo – Hip Hop: Axel-Roman Allioux, Canada
Senior – Solo- Lyrical/ Cont: Kati Smasne, USA
Senior – Solo- Jazz: Emma Swannie, Australia
Senior – Solo – Tap: Kiana Smith, Canada
Senior – Solo – Musical Theatre: Kiana Smith, Canada
Senior – Large Group – Acro/ Specialty: Lee Academy, Australia
Senior Boys Award: Matt Antonucci, Australia
Senior – Duo/ Trio -Jazz: Tasmin & Eliza Cummins, Australia
Senior Duo/ Trio – Lyrical / Cont: Meg Scheffers and Tiffany Browne, Australia

We all know Christopher “Lil‘ C” Toler as a verbose judge and hip hop specialist on So You Think You Can Dance. A pioneer of Krump and a well-known performer and choreographer in the hip hop scene, Lil’ C may be a man of many words – but he knows what he’s talking about. Lil C will once again be a judge on the SYCTYD panel this new season and Dance Informa spent a few minutes with him during the auditions to talk about his time with the show.

What are you looking for when you’re judging Season Eight?

When I’m judging I’m looking for a number of things. I’m looking for authenticity, for individualism and a connection to the music and heart. Technique only goes so far. Technique is taught, but ‘essence’ – that’s not taught. It’s discovered, developed, learned and honed.

Lil' C with fellow judges for Season 8 of SYTYCD

SYTYCD has been a television phenomenon. What do you think is SYTYCD’s secret to success?

I don’t even think there’s a secret, it’s think it’s just a success! The things that have been going on in dance have always been going on, but SYTYCD has created a funnel to showcase this and make people aware of what is going on in dance. There are so many revolutionary things going on in this industry that people haven’t even caught up to yet.

The fact that SYTYCD is now on the radar of middle America and reaching the masses makes people aware of what we are really doing. We as dancers are athletes. We are just as athletic as Kobe and LeBron. The things that we can do with our bodies are amazing like our muscle elasticity and our rhythm – it’s crazy. The fact that SYTYCD showcases that makes it a success.

How do you think SYTYCD has changed the street dance scene?

It’s definitely opened eyes to what is going on in the ‘urban culture’. It is urban dance – it’s under the radar and people are oblivious to it. Having a platform that showcases urban dance only strengthens the education about it. SYTYCD is educational as well as entertaining and that is a recipe for impeccability!

What is the highlight of being a part of SYTYCD for you?

The highlight is being able to do all three things – being able to choreograph, judge, and perform as well. Whether I’m hitting the stage with Russell or dancing with Twitch, it’s great. And then to see these dancers grow into the amazing artists and physical expressionists that they become, it just warms my heart. It’s being more than a judge; you’re helping them develop themselves.

Watch Season 8 of SYTYCD on Fox!

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