BritRock '09 Independent Modern Jive Competition
Hove Centre Brighton - 30th & 31st October 2009

Judging

A competition can only be taken seriously if the judges are competent, know what they are doing and what they are judging. So we're bringing in the experts.

Judges

We are proud to announce the Modern Jive judges this year are:
 

The Judging Method

Click here for a printable version (opens in a new window)
The "McGregor Method" for Judging Modern Jive Competitions. Version 001/04

Changes may be made to this Method up to the closing date of the Championships. Any and all updates will be placed on this website. In addition, copies of this Method will be displayed at the Competitions. Those wishing to print a copy of The Judging Method may do so as often as they like on the condition that they do so in full and make complete copies of the whole document.

Introduction

1.1 How this Method Came About – Plus Thanks for Assistance
This method is named after two Granny McGregors – Nina Daines and Andy McGregor both had a Granny McGregor who were both great judges of people.

This Method has been written with Modern Jive Competitions specifically in mind. As well as a number of new elements it has pulled together items from many other judging and scoring systems from around the world. These judging systems studied are used in Ballroom, Ice Dance, Swing Competitions and some other Modern Jive Competitions. In addition to reading many other sets of rules, Mr McGregor has had many, often heated discussions with Modern Jive competitors who have come up with suggestions, some of which have been incorporated here. The author would like to thank those dancers for their suggestions and would like to offer special thanks to the World Swing Dance Council for their explanation of the Relative Placement Scoring System and to the John Eastman of the Leroc Federation for input into the final version of this Method.

1.2 Discussion About and Objectives of the Method
It may seem obvious but it does no harm to say it, the objective of the Judging will be to select the best performing competitors on the day for each category. This is a simple statement of an objective, which should be easy to achieve. However, spectators will all have different opinions of who is best as they have different ideas about what makes a good dancer. And judges will be no different, there are some basic factors like being on the beat that everyone
can agree on but there are other factors like how the moves are done and showmanship that judges will have different opinions about. There needs to be a reasonable number of Judges to ensure a good mix of opinion. The selection of judges is therefore an important consideration. Judges will be experienced modern jivers selected who have different styles of execution of modern jive and possibly come from different dance backgrounds, i.e. Hip-Hop, Ballroom, Ballet or even a Modern Jive alone background.

It is important that one strong willed judge doesn't influence the others. With this in mind, judges will each make their decisions on their own. They will not discuss their decisions with the other judges until all scores have been collected.

For all rounds up to the semi-final stage progress to the next round will be based on a 'call-back' system. Judges will decide individually whom they think should be promoted to the next round. Those competitors receiving the most 'calls-backs' will move on to the next round. For the finals and for all rounds of the Showcase category judges will score competitors for 6 aspects of their dancing from being properly on the beat to showmanship. These raw scores will be added to find a Relative Placement for each judge. These Relative Placements will be used to ascertain the 1st, 2nd, 3rd, etc., places for the competitors using a formula, which is covered in this document.

Judging Factors

2.1 Timing
Timing is to do with measured movement, which is the control of the speed of each action. Being in time or on the beat requires the transference of the weight and the centre point of balance onto the receiving foot on the precise beat of the music. The foot alone, landing on the floor, in time with the beat of the music but not involving the transfer of weight is not enough to be considered 'on time'.

2.2 Musical Connection/Musicality
Musical Connection or musicality is the ability to dance in the character and style of the music. Couple must clearly demonstrate the start of a move
or pattern at the beginning of each major musical phrase. The expertise of the dancers to transmit what they hear and feel to the audience and to each
other. This is the extra quality, which moves an audience as they observe the connection between what they see and what they hear. This makes the
dancers appear as the lead instrument in the band – which could even be the vocal.

2.3 Content
This is simply what you do. What moves are chosen, how well their choice fits the music and their variety of form? The use of contrasting moves such as round to sharp ones or fast to slow.

The choice of start and finish will contribute to the score in this section.

2.4 Technique
This is how well you do what you do. For the individual, how well are the feet placed in relationship to each other? Are lines created by posture and the extremities? How is the free hand placed or used? How is the dancer balanced? how well do they spin?

2.5 Lead and Follow
For the partnership how is the connection between the individuals? Is there a centre point of balance between them? Is there an obvious lead and follow between the partners? do they respond to each other in an appropriate and complementary way? Are lines created between the partners which are created by posture and extremities?

2.6 Showmanship
This is how well you sell what you do. This is the extra polish that makes a couple look professional. This is the ability to entertain, excite and inspire the audience. This entertainment value is in addition to good dancing, not instead of it. There is an energy in the live situation that travels from the performer to the audience. The audience should react to this positively. No category of marks will be awarded specifically for clothing, however, marks will added to the Showmanship score for appropriate and attractive clothing.

Vulgarity is not a substitute for good dancing. It is not good showmanship. Points may be deducted from the Showmanship score for vulgarity. N.B. The ability to interact with the audience will not be so obvious in a video of the dancers as it, to some extent, requires a connection between the performer and the audience. When viewing a video of the day it should be remembered that a recording of the dancers would not effectively capture this.

2.7 Scoring
To enable judges to have a reference point to base their scoring on a recommended score for the demonstration of elements of each factor has been produced (see Appendix 1).

For example, considering Musical Connection, judges will be guided to score marks out of 10 as follows:

This is only a guide and it is up to the judge to use his or her judgement about the actual performance of contestants within the guidelines.

Promotion Through to the Final

3.1 Call-Back System
A call-back system will be used in all rounds up to the final. The Chief Judge will choose the number of people to be promoted to the next round. The judges will choose who they think should be promoted to the next round. They will not rank the competitors in any particular order, they will judge for each dancer if they should be

1. Promoted
2. Possibly promoted

Competitors will then be ranked by the total number of 1s received from the judges. The chief judge chooses where the break will be made. This will either be a predetermined number or percentage or where a natural break in the rank occurs.

If this method does not produce a clear result, and only then, will the "2"s be used to make the decision about where the break will fall.

An example of the Call-Back system is given in Appendix 2 of this document.

Relative Placement Method

4.1 Rationale
The Relative Placement method of scoring assigns an equal numerical value to each Judge's raw scores. This means that each judge has an equal vote in the final outcome. If each judge's raw scores were used, a high scoring or generous Judge would have a greater influence over the eventual result than a low scoring or cautious judge. Also, a Judge who scored one couple very highly and gave all the others a low mark would influence the result unfairly and in an undemocratic way.

4.2 Scoring
For the finals the Judges will submit raw scores. The Scorer will convert them into ordinals (1st, 2nd, 3rd, etc) for Relative Placement. Duplicate placements are not permitted. If a Judge provides duplicate placements the Scorer will alert the Scrutineer who will request that the Judge in question provide a unique placement for each couple.

4.3 Final Placement
Couples with the majority of Judges votes will be awarded a final placement. If no couple has a majority of votes the next placement is added to the previous placements. This is the number of judges placing couples 1st, then 1st and 2nd, then 1st, 2nd and 3rd, etc. until a majority is reached.

In the event of a tie a numerical value will be assigned to each place given by each judge. 1st place will receive one point, 2nd place 2 points etc. At the point where the competitors are drawn the scores will be added together. The lowest scoring competitors will be given the higher place.

As a final tie-break, if, two couples are tied in the number of judges placing them in that position and still tied when the scores are added, the couple placed highest by the Chief Judge will receive the higher place. An example of Relative Placement is given in Appendix 3 of this document.

Judging Lifts, Drops and Aerials

In categories that allow lifts, drops and aerials (tricks), it should be remembered that those alone couldn't win a competition. The dancing is an important issue and will be taken into consideration. Judges will not be dazzled by the tricks and pass over poor dance presentation. For this reason, categories containing lifts, drops and aerials (tricks) competitors will be judged using the same criteria as the other categories. However, there are other considerations when judging dancers using tricks.

5.1 Timing and Musical Connection
Dancers should not alter their timing on the entrances and exits to and from tricks. They will go up on time or enter the trick on time and exit on time. Couples will be marked higher for achieving this objective. Dancers will lose marks if the leave the rhythmic flow of the music and get back into it when the trick has ended.

5.2 Content and Technique
This is what you do and how well you do it. In tricks, Judges need to judge the degree of difficulty of a move. It is important to give credit for difficult tricks that are made to look effortless and easy. Some tricks look flashy and only take one thought process whilst other more difficult tricks may contain many dance elements on each partners part to complete, but may not look as flashy. The latter done well should receive a higher score than that of the former done well.

5.3 Lead and Follow
It is tempting in tricks to develop a routine, which ignores the particular music being played and shows no evidence of lead and follow. Couples must clearly demonstrate lead and follow in tricks.

5.4 Presentation and Showmanship
This is arguably the most important element of categories containing tricks. Dancers must 'show off' their tricks to the audience to get their reaction.

Judging the Showcase and Team Cabaret Categories

6.1 Directionality of Performance
The performance of the Showcase and Team Cabaret is to be judged as if it were performed on a traditional theatre stage. Therefore, there will be a 'front' to be performed to. The judges seating will be placed together for these sections and all performances will be judged from that direction.

6.2 Scoring of Performance
In the Showcase and Team Cabaret sections, the most important element is Showmanship. This factor is most likely to be where the competition is won and lost. In the Team Cabaret, extra marks will be awarded for groups that interact as a Team, for example, change partners or form patterns from more than one couple. Teams that interact will receive higher marks than Teams that dance a synchronised, choreographed routine as separate couples. This does not mean a team that, for example, consists of 4 couples dancing the same individual 'Showcase' cannot win. If they are better dancers dancing a brilliant routine they could still be judged to have performed the best Team Cabaret.

6.3 Order of Competitors
By its nature, the Showcase and Team Cabaret sections are the most difficult to judge consistently. Competitors perform to their own choice of music. There is a need for each to be judged consistently against the others. For this reason all the Showcase and Team Cabaret competitors will perform in succession. The order of performance will be decided at random by the drawing of lots.

N.B. Plagiarism rules apply - The choreographer must be either one of the competitors, or if the choreographer is not one of the competitors the entry must be accompanied by a written permission from the choreographer to perform the routine.

Judges

7.1 Number of Judges
There will be an odd number of judges including a Chief Judge so that a majority decision can be reached. For example, with 7 judges, 4 would be a majority decision. The judges will all be highly experienced Modern Jivers. The Chief Judge will, in addition, be an experienced Competition Judge. The Chief Judge will have the final decision in the event of any ties. In addition to the judges there will be a Professional Scrutineer who ensures that the judging rules are complied with at all times. Also, there will be a Scorer who takes the raw scores and converts them to positions.

7.2 Judging Activities
Judges will make their judging decisions as individuals. Judges will not confer over their decisions as a strong willed Judge might sway the decisions of other Judges. During the Competition itself the Judges will not enter into conversations with Competitors regarding the actual Judging of the Competition. They may, however, talk with Competitors about anything else. If Competitors would like to discuss the Judging they should speak to a Scrutineer.

7.3 Scrutineers
The Scrutineer's responsibilities are to ensure that the Judging Rules and Competition rules are adhered to on the day of the Competitions. If anyone has any concerns about Judging or other Competition activities on the day of the Competition they should speak to a Scrutineer. At all other times queries should be directed to the organisers.

7.4 Scorer and Assistant Scorer
The Scorer will record the raw data and the assistant scorer will double-check the correct entry of this data. Once the data has been checked it will be posted on the Competitors Notice Board.

7.5 Influencing Judges
As the Judges are in close proximity to the audience during the heat it is important that members of the audience do not influence them unduly. It is up to the Scrutineer to ensure that this rule is not broken.

7.6 Judge's Marking
At the end of each round Judges will have time to finalise and check their judging forms whilst the next round is being called to the floor and checked in. The Assistant Scorer will collect all the completed forms from the judges before the next round is started.

Copyright Notice

The Judging Method (this document) is Copyright Andy McGregor 2005. The author, Andy McGregor, freely gives permission for the copying of this document on the condition that the whole document in copied in full. This is to ensure that the Method is applied in its entirety.

Appendix 1 – Scoring Template

Scoring of couples will be done in finals to pick the relative position of each competitor. This scoring template is intended as a guide to judges and competitors. As competitors will be able to demonstrate greater or lesser ability for more than one factor it is left to each judge to decide how to interpret the template. (Judges will be given a graphical representation of this template to work from). Judges will award scores out of 10 for each factor. Judges may, if they wish, score to one place of decimals e.g. 6.2.

1. Timing
1-3 points - Dancers commence moves on the beat.
3-6 points - Dancers finish moves such as spins at the end of a beat.
5-10 points - Couples are both on the beat and start and finish moves, such as spins, together.

2. Musicality
1-4 points - Moves regularly start at the beginning of a bar.
3-7 points - A series of moves start and finish at the beginning and end of a musical phrase.
5-8 points - Dances in the style of the music and uses breaks and pauses in music.
7-10 points Dances in a way that interprets the lead instrument in a way that is obvious to the judges and the audience.

3. Content
1-5 points - Uses intermediate moves.
4-8 points - Uses advanced moves.
7-8 points - Uses new and innovative moves.
8-10 points - Moves chosen in a way which makes them flow well together.

4. Technique
1-5 points Does intermediate moves well.
4-7 points - Does advanced or new/innovative moves well. Spins and turns in time and is balanced. Creates lines with extremities
7-8 points Dances moves with style and flair in a way which makes difficult moves look easy. Double spins (or more!) are in time and balanced.
8-10 points Dances moves with style and flair in a way which makes them flow easily from one to the other.

5. Lead and Follow
1-5 points - Partners on the same beat and a clear leader and follower. No difficulty in follower reading leaders signals or lead. No obvious incorrect anticipation of moves by follower. A clear balancing tension between partners.
4-7 points - Footwork coordinated between leader and follower. Demonstrate an obvious dynamic tension between partners.
8-10 points - Lines created between extremities of both partners. Partners bodies creating obvious and attractive dynamic patterns.

6. Showmanship
1-3 points - Well dressed to perform and entertain.
4-8 points - Sells moves to the audience and Judges.
7-10 points - Reacts to audience feedback, or shows awareness of audience reaction i.e. are very entertaining.

Appendix 2 - Example of Call Back System

Firstly, the individual are told how many people they should 'call back' for each section.

In the example below there are 3 heats with 12 couples to be promoted. The judges will be instructed to select 12 couples for promotion plus a number of couples who could possibly be promoted – in this case 4. The couples to be promoted will receive a mark of 1, those possibly promoted will receive a mark of 2.

Individual Judging Sheet – one to be produced by each judge

These individual judging sheets are then collated by the scorer and scrutineer to produce the list of those to be promoted (see next page). This will produce a list of those to be promoted to the next round.

To calculate who should be promoted the number of scores of 1 received by each couple will be calculated. If this produces 12 couples with a higher count than the others no further calculations will be made. If there is no clear break in the rank which gives 12 clear winners the number of votes of 2 will be taken into account. The Chief Judge will break any ties if this fails to produce a clear result.

In the example below, scores collated from all judges:

Therefore, we need to select 2 couples for promotion from the couples receiving 3 1s. To do this we count the number of 2s given to them. In this example (with seven judges) couples 129 and 108 are promoted as they, respectively, received 4 and 3 2s from judges, the other two couples receiving less.

Sheet for calculating those to be promoted to the next round.

Appendix 3 - Example of Relative Placement

Firstly, the individual judges raw scores for each if the 'Judging Factors' are used to calculate for each judge who they placed 1st, 2nd, 3rd etc. The example below is for one individual judge.

These relative placements are then collated to produce the table below titled 'Judges Ranking of Competitors'. This table shows the position given to each couple by each judge.

The 'Final Placement' Table below is then used to find the position for each couple. As there are 7 judges, each couple must receive at least 4 votes to be placed by the majority of judges.

To find the 1st Placed couple looking at the example above, the first column does not show any couple receiving 1st place from any four judges. This means that we need to move on to look at those couples receiving 1st and 2nd places. Couple 4 has received 4 1st and 2nd places (2 x 1st and 2 x 2nd) and is therefore the overall winner.

To find the next placed couples we need to look at the total for couples judges placed 1st, 2nd and 3rd. In this case, both Couples 3 and 5 receive 4. Therefore it is necessary to add the ordinals (the numerical value) for each place and award the higher position to the lower scoring couple. In this example couple 4 has a score of 8 and is awarded 2nd place, the 3rd place given to couple 5 who scored 9.

To find the 4th place couple we need to consider the total for 1st, 2nd, 3rd and 4th. In this case couple 4 and couple 6 receive 4. As in the previous example, the ordinals are calculated and as couple 2 scores 9 points they are given 4th place with couple 6 scoring 13 points and being placed 5th. It might be argued that couple 2 should be placed higher as 2 judges put them in 1st place, however, it should also be noted that 4 judges (the majority of judges) placed couple 2 in 4th place or lower. Finally, 6th place is awarded to couple one as the only remaining couple.

N.B. In the unlikely event that the use of ordinals for two or more competitors still results in a draw the tie is broken by applying the relative positions given by the chief judge.

BritRock 2009 - Making the South Proud