Oratorical Declamation

The criteria that a judge might choose to consider are actually too numerous to examine individually in the brief time allotted, since at least six couples are being judged simultaneously. Therefore, the judge must rely on the impression each couple makes relative to the others . The experienced judge, having seen and studied dancing at all levels, can quickly assess these factors collectively:

POSTURE - one of the most important aspects. Good posture makes you look elegant and exude confidence. It improves balance and control, and allows your partner to connect well to your body in the smooth dances. One's competition result is often directly proportional to one's postural correctness. Hence the old adage, "Persistent practice of postural principles promises perfection."

TIMING - if a couple is not dancing on time with the music, no amount of proficiency in any other aspect can overcome this. The music is boss.

LINE - by this we mean the length and stretch of the body from head to toe. Attractive and well- executed lines, either curved or straight, enhance the shapes of the figures.

HOLD - the correct and unaffected positioning of the body parts when in closed dancing position. For instance, the line of the man's arms should be unbroken from elbow to elbow. Also, there should be symmetry of the man's and woman's arms coming together to form a circle, which, although changing in size, should remain constant in shape so that the dancers remain in correct body position relative to each other. The silhouette of the couple should always be pleasing.

POISE - in smooth dancing, the stretch of the woman's body upwards and outwards and leftwards into the man's right arm to achieve balance and connection with his frame, as well as to project outwards to the audience.

TOGETHERNESS - the melding of two people's body weights into one, so that leading and following appear effortless, and the dancers are totally in synchronization with each other.

MUSICALITY AND EXPRESSION - the basic characterization of the dance to the particular music being played and the choreographic adherence to musical phrasings and accents; also the use of light and shade to create interest value in response to these accents and phrases. For instance, in foxtrot, the stealing of time from one step to allow another to hover; or a quick speed of turn in an otherwise slow rumba; or the snap of a head to suddenly freeze and then melt into slowness in tango.

PRESENTATION - Does the couple sell their dancing to the audience? Do they dance outwardly, with enthusiasm, exuding their joy of dancing and confidence in their performance? Or do they show strain or introversion?

POWER - Energy is exciting to watch. I've noticed that, in a jive, it always seems to be the most energetic couple that wins this dance. But the energy must be controlled, not wild. For instance, powerful movement is an asset in waltz or foxtrot, but only if it is channeled into the correct swing of the body, and not just by taking big steps. The lilt of the music must be matched by the action of the body. In a waltz for instance, the dancers' body action must clearly show the influence of the one down beat and two up beats. So the release of power into the beginning of a figure must be controlled and sustained during the rise at the end of the figure.

FOOT AND LEG ACTION - the stroking of feet across the floor in foxtrot to achieve smoothness and softness; the deliberate lifting and placing of the feet in tango to achieve a staccato action; the correct bending and straightening of the knees in rumba to create hip motion; the extension of the ankles and the pointing of the toes of the non- supporting foot to enhance the line of a figure; the sequential use of the four joints (hip, knee, ankle, and toes) to achieve fullness of action and optimal power; the bending and straightening of knees and ankles in waltz to create rise and fall; the use of inside and outside edges of feet to create style and line all fall under this most important of categories.

SHAPE - Shape is the combination of turn and sway to create a look or a position. For instance, in Paso Doble does the man create the visual appearance of maneuvering his cape? Does the lady simulate the billowing flow of the cape through space? In foxtrot, does the man use the appropriate shape on outside partner steps to enable body contact to be maintained?

LEAD AND FOLLOW - Does the man lead with his whole body instead of just his arms? Does the lady follow effortlessly or does the man have to assist her?

FLOORCRAFT - This refers not only to avoiding bumping into other couples, but the ability to continue dancing without pause when boxed in. It shows the command of the couple over their choreography and the ability of the man to choose and lead figures extrinsic to their usual work when the necessity presents itself.

INTANGIBLES - such as how a couple "look" together, whether they "fit" emotionally, their neatness of appearance, costuming, the flow of their choreography, and basically whether they look like "dancers"; all have an affect on a judge's perception and therefore on his markings.

Different judges have different predilections in what they want to see, and weight these factors differently. One judge, for instance, might be especially interested in technique, while another wants to be moved by musicality and expression. While both factors are obviously important and need to be considered, it can result in couples getting widely disparate markings. Couples wondering what a judge saw to give them a particularly high or low mark should know that any one of the many factors listed in this article could be responsible. The use of a heel when a toe is warranted can just as easily hurt you in a judge's eyes as a meticulous closing of feet can help. Because the judge sees each couple for only a few seconds, anything that draws the attention, either positively or negatively, could very well be the deciding factor on how you are marked.

Competitors, please be assured that virtually no qualified adjudicator will mark you for any reason other than his or her honest evaluation of your performance. Most judges hold their own opinions highly, and try to do a conscientious job. Anyway, no one judge can make or break you. The use of a panel of these experts usually insures that the end result is the correct and equitable one.

At their peak, "Lumpy" Tim Herron, Craig and Kevin Stadler, John Daly and Darren Clarke.

• Judging criteria: modeling, personality, beauty, grooming, and fashion sense.

The Champion by Carman

In the vast expanse of a timeless place

Where Silence ruled the outer space

Ominously towering it stood

The symbol of a spirit war

Between the one named Lucifer, and the Morningstar, the ultimate of good.

Enveloped by a trillion planets

Clean as lightning, and hard as granite

A cosmic coliseum would host the end,

Of the war between the lord of sin and death

And the omnipotent creator of man's first breath

Who will decide, who forever will be.....

The audience for the fight of the ages was assembled and in place.

The angels came in splendor from a star.

The saints that had gone before were there, Jeremiah, Enoch, Job.

They were singing the song of Zion on David's harp.

The demons arived, offensive and vile, cursing and blaspheming God

Followed by their trophies dead and gone.

Hitler, Napoleon, Pharoh, Capone, tormented, vexed, and grieved

And waiting for their judgment from the throne.

Then a chill swept through the mammoth crowd

And the demons squealed with glee

As a sorid, vulgar, repulsive essence was felt.

Arrogantly prancing, hands held high, draped in a sparkling shroud,

Trolled by demons, Satan ascended from Hell.

Then Satan cringed, the sinners groaned, the demons reeled in pain

As as swell of power like silent thunder rolled.

With a surge of light beyond intense illuminating the universe,

In resplendent glory appeared the Son of God.

Then a persona, yes, extraordinaire appeared in center ring.

God the Father will oversee the duel.

Opening the Book of Life, each grand stand hushed in awe

As majestically he said, "Now, here's the rules:

He'll be wounded for their transgressions, bruised for iniquities."

When he said, "By His stripes they're healed," the devil shook.

He said, "Sickness is my specialty - I hate that healing junk."

God said, "You shut your face - I wrote the book."

Then the Father looked at His only son and said,

"You know the rules. Your blood will cleanse their sin and calm their fears."

Then he pointed His finger at Satan and said,

"And I know you know the rules,

You've been twisting them to deceive my people for years."

Satan cried, "I'll kill you Christ! You will never win this fight."

The demons wheezed, "That's right, there ain't no way."

Satan jeered, "You're dead meat Jesus, I'm gonna bust you up tonight."

Jesus said, "Go ahead, make my day!"

The bell, the crowd, the fight was on, and the Devil leaped in fury.

With all his evil tricks he came undone.

He threw his jabs of hate and lust, a stab of pride and envy,

But the hands that knew no sin blocked every one.

Forty days and nights they fought and Satan couldn't touch Him.

Now the final blow saved for the final round.

Prophetically Christ's hands came down and Satan struck in vengeance.

The blow of death fell Jesus to the ground.

The devils roared in victory, the saints shocked and perplexed

As wounds appeared upon His hands and feet.

The Satan kicked Him in His side and blood and water flowed

And they waited for the ten count of defeat.

God the Father turned His head. His tears announcing Christ was dead.

The ten count would proclaim the battle's end.

The Satan trembled through his sweat in unexpected horror yet,

As God started the count by saying, "...10..."

Hey wait a minute God,

"...9..."

Stop, you're counting wrong,

"...8..."

His eyes are moving...

"...7..."

His fingers are twitching...

"...6..."

Where's all this light coming from...

"...5..."

He's alive

"...4..."

Oh no...

"...3...2..."

Oh yes

He has won!

He has won!

He's alive forevermore, He is risen, He is Lord.

He has won!

He has won!

He's alive forevermore, He has risen, He is Lord.

Proclain the news in every tongue, through endless ages and beyond.

Let it be voiced from mountains loud and strong,

Captivity has been set free, salvation bought for you and me,

Cause Satan is defeated and Jesus is THE CHAMPION!

When I go on the ice, I think about skating, not the competition.

Its not the size of a man that matters but the size ofhis heart.

Football does not build character, it eliminates weak ones

The ideal attitude is to be physically loose and mentally tight

Take a cab

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The rules for rounduing off numbers are as follows :-

1) If the first figure to be discarded is 5 or more, then the previous figure is increased by 1.

Example : 5.1935 = 5.194 (4sf) = 5.19 (3sf) = 5.2 (2sf) = 5 (1sf)

2) Zeros must be kept to show the position of the decimal point or to indicate that zero is a significant figure.

1347 . . . when rounded to 3 significant figures then the 7 is discarded so 4 increases to 5. Thus, 1347 becomes 1350 (3sf).

When rounded to 2 significant figures it becomes 1400 and to one significant figure 1000.

An example of a who am I speech could start with some background information about where and how you grew up. Then the speech could name the things that influenced you and made you who you are today.

Duns are small hillocks of glacial till that are typically found in groups or clusters. They are common in regions that were covered by glaciers during the last ice age, such as parts of Scotland and Ireland. Examples of duns include the Duncryne Hill in Scotland and the Dunmore Hill in Ireland.

The six factors of verbal communication are:

The Referential Function

The Expressive Function

The Conative Function

The Poetic Function

The Phatic Function

The Metalingual Function

A small piece of something, like chocolate, could be referred to as a "bite" or a "morsel."

it depends how cold it is

When planning your garden you should consider the space you have, the sun conditions and the climate. This will help you decide what to plant and when.

Have an open and honest conversation with your parents about your feelings and try to understand their perspective. Show them that you are responsible and can make mature decisions. Negotiate boundaries and compromises that allow you some freedom while still respecting their concerns.

The answer is backcountry

A bagatelle is a short and light piece of music, usually written for the piano.

Lourdes Dy

Co-defendants can be sentenced differently. They do not have to all be found guilty or not guilty.