Not exactly.. they still have to go thru the rigours of Exams ( which of course, should be simple for that calibre of dancer.. but.. not necessarily.. its book and theory work )

Terence. I can only quote from our rules of Dancsport Page 62. A coach should continue to develope his/her skills by attending seminars and workshops and keeping himself/herself informed on developments in technique, style and sound coaching principles.
What is wrong with that rule ?. What is wrong is using the word Should. It should read Must. Who doesn't agree with that ?.

Now to Page 57. A DSA coach's licence shall only be granted to a person who holds a current valid coaches accreditation issued by the Accreditation Commission.

I am assuming that an ajudicator must have a coaches licence.

I'm just digging up a few facts which aren't always adhered to.

yes, simple solution. There are a lot of judges out there. It is simply a matter of the comp organizers being willing to do what it takes to bring them in.

Most European judges haven't even seen most American competitors. They should be willing to travel back and forth over the pond. The organizers should be willing to pay for them with some of the money they make from the obscene amount they charge for entry into comps. Don't tell me they won't do it. My job takes me to Europe several times a year so I know it isn't an impossibility.

As far as personal taste and biases for certain couples and their styles...that will factor in because dance is an artform as much as it is anything else. When pros are competing most are so technically identical it is simply interpretation that defines them. There is always that one couple that is ridiculously better than the others but that doesn't happen all that often. You wouldn't get mad at an art critic because he like Chagall better than Modigliani. You have to know that is part of judging an art.

You need to check the panel for the US champ. 75% are europeans..and , there are several major comps that regularly judge in the US ( Ohio for e.g. )

terence,

Can you tell I'm comp. averse? Your right, I should have checked facts. I just based it on the comps I've been to and the judges I know. I do very well but it just isn't the reason I dance.

I hope its not the reason most people dance..

Belleofyourball,
Hmm. Maybe for really big competitions the cost could be absorbed and so maybe it could have a chance to work. But it has the potential to wipe smaller, less expensive competitions off of the calendar.

Terence. Didn't I see that it was announced that a rule had been put in place whereby no judge would be allowed to judge two consecutive US. Championships. That was about four years ago.

By sitting back and saying nothing has led us to this ridiculace position where an Amateur can teach without being qualified. Dont anybody try to tell me that the top Amateurs in the world do not teach. Soon why will anybody want to declare themselves a Professional unless one wanted to compete as a Pro.
Two years ago here a major IDSF Amateur Comp was held. Some of the top competitors taking part openly advertised that they would be available for lessons. The rules in their counties allowed this. Where will it end. I like the way it is in Germany where the clubs own the competitions. Within the clubs they do not cater for Social Dancers. The teachers outside the clubs can teach Socialy but never teach a competition dancer. Because to be a competitor one must be a member of a club. If none of this is correct please say so because this was how it was told to me. It would appear to be a good system