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YourAirtime has established a rating system that only exists to motivate artists to keep evolving.
We invite people from all around the world to rate all the dance, music and photographs featured – we are the internet generation that feeds of diversity… There is no better feedback that the one that derives from people with diverse backgrounds.
The highest rating you can give is.
Please take a moment to carefully study what the criteria are about & enjoy your time rating on YourAirtime.
Dance Technique is the art and way you perform each step. It refers to the anatomically correct movement which is achieved through each expression. In other words, it refers to the way in which the dancer uses basic physical movements in performance or the ability to use fundamental physical movements effectively. Dance Technique depends on strength (dynamic & static), flexibility, stamina, coordination, fluidity of movement, rhythmic & spatial clarity and gravity.
The General technique points that you should consider while rating are posture, centre of movement, spotting, jumps/elevation.
Musicality in dance has two main components. Receptivity & Creativity. Musical receptivity is ones ability to receive, comprehend, be sensitive to, and have a working knowledge of musical concepts like rhythm, tempo, phrasing, and even mood. Musical creativity (or musical artistry) is the ability to connect with accompanying music, interpret it, or phrase and add movement dynamics that relate to music even in the absence of accompaniment, in a way that is unique or interesting. Musicality in dance then might be considered a measure or degree to which a dancer is receptive and creative in his translation or rendering of music through movement. It is a key ingredient in a dancer’s display of artistry.
Choreography is the art of designing sequences of movements in which motion, form, or both are specified. Choreography may also refer to the design itself, which is sometimes expressed by means of dance notation. In dance, choreography is also known as dance composition. Dance compositions are created by applying one or both the choreographic techniques of Improvisation and Planned Choreography. In Planned choreography, a choreographer dictates motion and form in detail, leaving little or no opportunity for the dancer to exercise personal interpretation – in other words, the exact opposite of improvisation.
The goal of creative dance is to communicate through movement. The instrument is the human body. In creative dance there is no "right" or "wrong" way to do things, no routines to learn. What is important is that the dancer draws on inner resources to make a direct and clear statement. Granted, an increase in skill increases ability to communicate, but in creative dance the statement comes before the technique. Great dancers can communicate depths of feeling through movement, by making their craft and feeling one. A thorough knowledge of the basic elements of dance empowers the dancer to explore, experiment, and use the elements creatively.
This criterion addresses what we refer to as the WOW factor? Were the dancers synchronized? Was the interpretation of the music powerful? Were the dancers passionate? How did the overall outcome made you feel? Would you enjoy watching the dance piece for a second time?
Vocal instructors tend to define the vocal range as the total span of "musically useful" pitches that a singer can produce. This is because some of the notes a voice can produce may not be considered usable by the singer within performance for various reasons.
Another factor to consider is the use of different forms of vocal production. The human voice is capable of producing sounds using different physiological processes within the larynx. These different forms of voice production are known as vocal registers. While the exact number and definition of vocal registers is a controversial topic within the field of singing, the sciences identify only four registers: the whistle register, the falsetto register, the modal register, and the vocal fry register. Typically, only the usable range of the modal register, the register used in normal speech and most singing, is used when determining vocal range.
Whether the trait of originality is present is highly relative to choice of song, of musicians and most importantly to the artists’ vision. It is important that the music allows you to easily identify and connect with. As Billy Joel has said ‘music is an explosive expression of humanity.’ If you are touched by the music featured then you should give the artists high points on originality.
How enjoyable and innovative is the tune/beat of the music. Are the elements of fluency, accuracy, control and continuity apparent on the final song?
Arranging songs is like trying to think out of the box to:
FOCUS - a clear centre of interest?
In a strong photo, the viewer can immediately identify the subject. In a strong photo, the subject should dominate the image and form the viewer's first impression. If the subject is strong, the viewer's eyes may move to explore other areas of the image, but the eyes are drawn inevitably back to the subject. While the colours and cloud formations of a sunset are dramatic, they are seldom enough to create a compelling image. Beyond a quick, though perhaps appreciative first glance, most sunset photos are quickly forgotten. And in large numbers, they quickly become "ho-hummers."
However, when the photographer adds an element that gives the sunset context and interest, you have a sunset photo with impact, and one that is far more likely to capture and retain the viewer's interest.
To evaluate photos for a strong centre of interest, ask yourself these questions
When you look at the photo, what is the first thing you see? If you're evaluating your own image, is what you see first the subject you had in mind for the photograph?
What holds your eye the longest?
Do other elements in the image compete with the subject for attention?
Do technical aspects such as light and the direction of light, depth of field, focus, and so on add to or detract from the subject?
In a strong photo, there should be a sense of overall organization. While entire books are written on composition, at the most basic level, composition is the process of establishing a sense of order for the elements within an image. Note Composition rules or guidelines are a helpful starting point, but they are useful only as long as they enhance the overall image.
With the exception of photos that either intentionally show motion or are taken as soft-focus images (such as a portrait), tack-sharp focus is one of the first things that everyone notices first about an image.
Going a step further, the centre of focus should be on the centre of interest of the subject. In other words, if the picture is of a person, the focus should be on the person's eyes. The sharpest point of the picture should pinpoint what the photographer sees as the most important aspect of the image.
Questions that can help you evaluate whether focus and exposure settings are appropriate for an image include:
Is the sharpest point in the image on the centre of interest of the subject of the photo?
Does the depth of field enhance the subject, mood, or look of the image or does it distract from it?
Does the focal length or zoom setting enhance the subject and message?
Does the image have good overall contrast for the type image the photographer intended?
Does the colour appear natural and/or does it help set the mood of the image?
If the image is in colour, would it be stronger in black and white, or vice versa?
Does the photo tell a story? Most often, the difference between a photo you remember and one that you quickly forget depends on whether the photo tells a story. As a viewer, I want to see the story, and this is one of the most important evaluation points I look for in other photographer's images. It is also the element that I always try to include in my images.
In strong photos, the story is revealed at first glance, and it is self-contained. In the best images, the story evokes an emotional response from the viewer. I believe it's that emotional response that ultimately makes the image memorable. Try asking these questions as you evaluate images to decide if the image tells a story.
At a minimum, does the photo make a statement that you can articulate?
Does the photo elicit an emotion? In other words, can you relate to the subject or the situation?
What could be changed in the image to give it a stronger story or message?
Does the lighting enhance the subject and message? Like the composition, lighting is a subject that is worthy of book-length discussions. Whether in shooting or evaluating photos, light should be used to its maximum potential to reveal what's important in the image and to set the overall tone of the photo.
In masterful hands, lighting is used selectively to focus attention on specific areas of the subject while simultaneously demphasizing less important areas; to guide leading the eye through the composition, and to establish the overall mood and tone of the image by taking advantage of the different temperatures (colours) of light.
Light is another "design tool" that can be used to enhance the overall mood and intent of the image and subject. For example, when taking a portrait of a man, a strong, unfiltered white side light may be appropriate because it emphasizes the man's rugged and angular features. On the other hand, a soft, warm-colour diffused light is more appropriate for a portrait of a woman because it mirrors the delicate features of these subjects. And, of course, there are few photographers who fail to take advantage of the superb colours of light during sunrises and sunsets.
When evaluating the lighting merits of a photo, ask:
Is the intensity and colour of light appropriate for the subject?
Is the light too harsh, too contrasty, or is it too soft and too flat?
Are all important aspects of the subject well lit, or could the lighting be improved by using a flash, fill flash, reflector, or auxiliary light?
Does the light help convey the overall message of the photo?
In a colour photo, is the colour balanced or corrected for the light temperature (in other words, the overall colour should be natural-looking). And if it isn't, does the colour cast contribute to the photo?
Is the approach creative? In broad terms, I define "creative" as an image that goes beyond predictable techniques and treatments. In more specific terms, the best creative images show subjects through the photographers' eyes and perspective. In other words, the photographer reveals the subject in extraordinary ways: ways that the viewer otherwise would not have seen.
Creative techniques and subjects can range from bringing abstract ideas into a visual form, taking a concrete idea and making it abstract, relating or associating unrelated concepts into a visual space, or, in short, taking a fresh look at and lending the photographer's unique thinking and vision any subject.
When evaluating the creativity of a photo, ask yourself:
Does the photo disclose more about the subject, or show it in unexpected ways?
Does the photo relate visual elements in unusual and intriguing ways?
Is the photo interesting and fresh, or is it just too weird for words?
Depending on the day, and depending on the photo, I may add other criteria to my evaluation checklist, but I seldom delete one of these basic six points.
In the real world, I also know that if 10 people look at the same photo, approximately five may give it good marks and five may give it low marks. Photography is, of course, as subjective as individual taste.
But when everyone has had their say, the bottom line is that you now have evaluation criteria so that you can evaluate your own work. If an image is your best so far, enjoy the image and your achievement. Then go back in a month or two and evaluate the image against the six basic criteria again. If it still passes the test, frame it and hang it on the wall, and then go out and shoot a better picture.
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