By Beth Knoll
Welcome back to Beth's Soapbox Derby!
Each competition we attend, whether as spectators or participants, gives us something to ponder, occasionally question, and sometimes even complain about. Indeed while judging, which is supposed to be the most mindless of activities-simply look at what is being presented and either make a couple of helpful comments or rank in order of merit-we constantly question and take issue with certain things.
One of the dilemmas we face constantly, at every competition around the world and not just the small local events, is music. The most difficult job at the competition is that of the DJ's. They must be in the ballrooms before the event starts to set up the sound system, and are at work long before the judges or emcee or even some of the competitors, for how could we have a competition without music? What would we dance to? The dulcet tones of our teachers? There is a reason most of us teach DANCING. So their hours are long, their job is ignored for the most part (unless they do it badly), they are probably underpaid for the effort, and must perpetually strive to please the masses. This is a difficult, if not impossible, task.
The reason the job of a DJ is difficult is that everyone has different tastes in music. I once worked with someone who thought the Waltz "With Pen in Hand" was the most beautiful song ever written, and he would go out of his way to play it and/or dance to it. Well, I detest that song. Musically it's OK, except it's really draggy and slow, but it is about divorce and leaving a family broken! How can that be good? So you see, everyone has a different opinion. While I disagree with my friend for liking that song, it's his opinion, he's entitled to that, and I'll never tell him he's wrong for feeling that way. See? Different tastes.
Another problem the DJs have is providing variety. There are only so many songs. Some are outdated (and yet we hear them anyway-more on that later) and so others need to be repeated during the course of the event, and some are marginally acceptable for social dancing or practice but aren't of the caliber needed for competition. So the library of music is by necessity a little limited.
What are the elements that make a good DJ? The job itself demands that the DJ be aware of the schedule of the competition and be available at all times to provide music. In addition to adhering to the sometimes very strict time schedule, the DJ needs to make sure he has the right kinds of music. By that I mean if the competition organizer offers Peabody, he better have a few Peabodys in his collection! Even if no one enters the Peabody, JUST IN CASE he's got a couple. And what if someone requests one for social dancing? Unlikely, but it could happen, and since we are in a service industry, it's in the DJ's best interests to provide the service requested. If there are complaints about him to the organizer, he might be out of a job next time. So awareness of the schedule and dances offered by the organizer is crucial.
Following along with the awareness requirement is the understanding of rules governing music. How long is a song played? Well, international rules are different from domestic rules are different from amateur rules are different from professional rules. So it behooves the DJ to understand the KIND of event for which he plays the music. Is it IDST sanctioned? NDCA? Non-sanctioned?
Another rule the DJ must actually have memorized, and for which he must be prepared to adjust, is that governing tempo. How fast is each dance? At the end of this article will be a listing of the official tempi as set down in the current NDCA rulebook. But a short discussion of tempi is necessary here; not only should the DJ be aware of the official rules, but take into account the levels for which he's providing the music (awareness again). As an example, the prescribed speed for International Waltz is 28-30 measures per minute (MPM). It is commonly understood that it's more difficult to dance slowly than quickly, so the better dancers should get the slower speed. Less accomplished dancers should get the faster speed. What about an event such as Pre-Championship (or even Championship in some cases) Junior or Youth Standard? These kids have been dancing a while, been through the entire syllabus and graduated to "fancy open" choreography. I think they should have the faster speed simply because they do not have the maturity of muscle development to control the slows, eke out that elusive 2-3, defy gravity and suspend time balanced on one tippy toe. A Foxtrot played at 24 MPM simply does not work and is not appropriate at the Newcomer level! (That actually happened at a recent competition at which I judged. I timed the song.)
Finally, the most important attribute of a good DJ is a positive, active rapport with the MC, the chairman of judges, the dancers, the audience and the judges--in that order! The MC and chairman are actually the people responsible for running the competition in situ, and the DJ must comply with their decrees. The MC tells the DJ when to start the music, generally when to stop, and gives him the cues for which dances to play (if he doesn't already know, which he should), as well as preparing the interludes of social dancing. (Sidebar: social dancing is becoming a rarity at larger competitions. Please take advantage of this time to get out on the floor, stretch your legs and maybe dance with someone special.) The chairman of judges is responsible for monitoring the tempi, length and type of music played. His word is law. But above all else, judges, MCs and DJs all need to remember they are there for one reason only: THE DANCERS! Without the competitors, there is no event and no job for the officials. If the DJ provides good, correct music, the dancers (competitors and spectators alike) will return again and again. Good music makes good business.
There are several other qualifications for a DJ who provides music for strictly social dancing. While I will list them here, I won't go into them in great detail. For the most part, they are self-explanatory. Good variety, willingness to take requests, awareness of appropriate music (more actually on this subject later), sensitivity to popularity of dances (if no one is dancing Tango, don't play another one!), all of these contribute to the success of a DJ.
Back to competition music.
A further look at tempi must also include a discussion of characterization of the dance. Just because a song is written in 3/4 timing doesn't make it a Waltz. Oddly, there is a song off the soundtrack for "Strictly Ballroom" that is written in 6/8 time. You might, knowing math as you do, deduce that 6/8 = 3/4, so it's a Waltz, or maybe a Viennese Waltz. Wrong! It's actually the Paso Doble that is danced in the climactic dance competition scene (this movie is the clever Australian spoof of competition ballroom dancing…ooh, another sidebar: for those of you who will be attending the City of Roses 2005-that should be all of you-one of the demonstrators is Nick Kosovich. His amateur partner, with whom he was Australian 10-Dance Champion, was in that movie. She played Tina Sparkle. Don't remember her? Rush right out and rent it.).
So is any song that is written in 4/4 time a Swing or a Foxtrot or a Hustle or a Rumba or a Cha Cha or a Quickstep? No, you say, of course not! Each dance has its own character, as does the music. Correct. But at a recent competition I judged, the DJ played Frank Sinatra's "Come Fly With Me" in the Pro/Am Championship Rhythm competition for the Swing! He simply sped the music up. The chairman of judges (Peter Mant) and I ganged up and made him stop that one and put on a REAL Swing. "Come Fly With Me" is a classic Foxtrot. 4/4 timing, but a different character. Be aware!
Let's ask ourselves then if the theme song from "Harry Potter" is indeed a Viennese Waltz, or if some of the compelling music from Cirque du Soleil shows is really Paso Doble. Yes, indeed to the first; it is written in 3/4 timing, surprisingly at the correct tempo for American Viennese Waltz, has a nice flow, pulse and swing reminiscent of the finest Strauss Waltzes, yet it is modern and new. No, to the second, although I have seen superior dancers use that music quite effectively to create a different atmosphere. I think you have to be a fantastic dancer to take an unusual, unconventional piece of music and make it work: Don Johnson with Kasia Kozak and James with Janna Kunitz are classic examples of this ability. These songs should never be played in competition, though; they are too esoteric and most competitors' Paso Dobles are phrased to fit the customary Paso, "Spanish Gypsy Dance" (which has the weirdest phrasing in the world).
We are always on the lookout for new music. Dancing and teaching to the same versions of the same songs for 20 years or more gets old. DJs have to have the latest music, understand it, and make it work. Yet another challenge for them, as there will always be complaints: "THAT'S a terrible version of blah-blah-blah. Don't ever play that again!" Here is where outdated music comes in. Maybe we are all tired of hearing Ross Mitchell, Gunter Noris and the like. But they are still around for a reason! They are easy to teach to and easy to dance to. The beat hits you over the head with a 2x4, "Hellooooooo! I'm a Foxtrot!!!!!" Especially for Newcomers, children, or some of the older divisions, these might be an excellent choice. But please, don't choose them for the top divisions of Amateur or Professional competitions. Those guys, the really good ones, deserve really great music. You can even choose some obscure song with a really soft beat. The good ones can make it work.
Again, personal opinion comes into choosing "good music." I know a DJ who is a professional dancer. While, for the most part, his choice of music is excellent, occasionally he slips up and plays something for a Novice competition that HE would dance to. Well, again, the Novices are novices for a reason. Don't inflict great music, especially if it's a little different, on someone who has difficulty counting to 3. Vocal tangos are another pet peeve of mine. I think they should all be banned. But, again, there are only so many acceptable Tangos, and some of them are good dancing ones with good beats. I just can't stand hearing Nat "King" Cole singing phonetically in Spanish. Yuk. Curls my toes.
Is some of the modern, pop music we hear "good" music? Yes. Is it danceable? Maybe. Please listen to it. Is that great song Tom Jones (hubba hubba) sings, "Sex Bomb," a Cha Cha, a Swing or a Hustle? I've done all three. Is it acceptable for competition? I think not. And that segues us into the next subject:
Acceptability of music. At a recent competition, I was stunned, shocked and appalled (yup. All three.) to hear the Jive from "Burn the Floor" played. It is a good song to dance to: soft, but with a great beat and very Jivey, even if doesn't have a traditional sound. It's called "Would You…?" and that line is finished-in dead silence, although rhythmically correct-"…go to bed with me?" And this song was played for the Juniors. They were 12 and under. Danceable song? Yes. Correct tempo and timing? Yes. Appropriate? No, emphatically no. I have been at a number of competitions where "Hanky Panky" has been played for the Juniors or Youths. Danceable song? Yes. Correct tempo and timing? Yes. Appropriate? No, emphatically no. DJs, please listen to the content of the song and pay attention to the event for which you are playing it. We as an entire group (especially USABDA) are trying to promote ballroom dancing as a healthy, positive pastime and attract younger participants. Is this the way? No, emphatically no.
One final note about general dancing. We are so fortunate to have general dancing available to us. At a competition, however, we have to remember that general dancing is a filler between events. The focus of the MC, chairman and the on-deck captain is to organize the next heat of competitors. So, DJ, if there is a Latin event coming up and you have been playing lots of Cha Chas and Rumbas and Sambas to get the audience in the mood, then please please PLEASE for the last 2-3 dances play some smooth dances so the on-deck captain can do his job. It's very difficult to marshal competitors when they are sneaking on to the floor for one last practice run to music. Have pity on the time schedule. You are supposed to help the event run smoothly. Help subtly clear the floor of competitors and the next heat will run on time.
These are just a few (ha!) words and suggestions to help make DJs aware, and to help competitors and spectators alike understand the most over-looked job at an event. As difficult a task as judging is, I wouldn't trade it for the DJ's job for all the money in the world. Have sympathy for the DJs, appreciate them-and please TELL them you appreciate them. The judges, demonstrators, MCs hear all the time how they are doing….if you like the DJ, please tell him. He's human. He'd like to hear a compliment or two. Probably the chairman and the MC have been ragging on him all weekend. It's nice to hear a kind word.
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