As a choreographer, dance teacher, and adjudicator, I’ve experienced the competition world from every angle. I’ve seen the highs, the growth, and—unfortunately—one of the most frustrating parts for dancers and studios alike: adjudications that simply don’t add up.
There’s nothing more discouraging than watching your dancers leave a competition confused. The score doesn’t seem to match the performance, and the verbal critique offers little clarity. No teacher wants to sit beside their students listening to feedback that amounts to repeated phrases like “great job,” “point your feet,” “good energy,” or worse—long stretches of silence. These moments are missed opportunities for real growth.
That said, judging is no easy task. Sitting through hundreds of routines over a weekend is mentally and physically exhausting. Even the most experienced adjudicators can feel performances start to blur together. That’s a larger conversation about competition structure and hiring practices—but it doesn’t change the fact that dancers and studios deserve thoughtful, objective, and actionable feedback.
It’s also important to acknowledge something that often goes unspoken: judging is inherently subjective. Even with scoring rubrics and guidelines in place, each adjudicator brings their own training, preferences, and perspective to the table. If the same piece were performed for three different judges, you would likely receive three different scores—and three different critiques. That doesn’t necessarily mean one is right and the others are wrong. It means dance, as an art form, leaves room for interpretation.
Understanding this can help shift the mindset from “Was this fair?” to “What can we learn from this?”
So what should you expect from a critique?
A judge only has a few minutes, but within that time, they should still provide meaningful insight. Strong critiques don’t try to cover everything—they prioritize what will make the biggest impact.
At minimum, well-rounded feedback should touch on several key areas:
Technique – Are foundational skills being addressed clearly and specifically?
Performance quality – Is there emotional connection, projection, and intention?
Transitions and flow – Does the choreography move seamlessly?
Musicality and timing – Are dancers fully connected to the music?
Connection – Between dancers, and between dancers and audience
Strengths – What is working well, and why?
Actionable corrections – Specific, usable suggestions for improvement
But beyond just identifying what makes a good critique, there’s a bigger question: how can studios and dancers make the most of the feedback they receive—even when it falls short?
For Studio Owners and Teachers
Teach dancers how to receive feedback. Not every critique will be perfect, but there is almost always something to take away. Help students learn to listen critically and filter what’s useful.
Normalize subjectivity. Remind dancers that different judges will see different things. One score does not define their ability or progress.
Fill in the gaps. If a critique is vague, use it as a starting point for your own discussion. Translate general comments into specific corrections your dancers understand.
Advocate for quality events. Support competitions known for strong adjudication. Your attendance and feedback as a customer matter.
Debrief after competition. Build time into your schedule to review critiques as a team and create an action plan moving forward.
For Dancers
Stay open, not defensive. Even unclear feedback can point you toward growth if you’re willing to reflect.
Focus on patterns. If you hear the same correction across multiple competitions, it’s something to prioritize.
Don’t chase scores. One judge’s opinion is just that—an opinion. Growth matters more than placement.
Ask questions. If your teacher is available, use them to help break down and apply what you heard.
Take ownership of improvement. Judges can guide you, but progress comes from what you do in the studio afterward.
At its best, adjudication is one of the most valuable parts of the competition experience. It should inspire, challenge, and guide dancers toward growth—not leave them confused or discouraged.
Judges don’t need to say everything—but what they do say should matter.
And as a dance community—teachers, studio owners, adjudicators, and dancers alike—we all share responsibility in raising the standard.
See you in the dance studio,
Jess
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