Competition point of view: Susan Jaffe shares her perspective.

Susan Jaffe, former American Ballet Theatre principal dancer, serve as artistic coordinator for Youth America Grand Prix last April. Jaffe was honored in 2003 with a Dance Magazine Award. Currently she is advisor to the chairman of ABT and co-directs the new Princeton Dance and Theater Studio in New Jersey. DANCE MAGAZINE'S Wendy Perron interviewed her about her experience with YAGP and her views on competitions in general.

DANCE MAGAZINE: WHAT IS YOUR PAST EXPERIENCE WITH COMPETITIONS?

Susan Jaffe: I've never actually done a competition as a dancer; I never felt like I had the stomach for it. And my career started so fast and so strong that I didn't have the time to think about competitions. But I have judged several, and what is so great about them is that we find some of the most amazing talent. After all, Gillian Murphy, Julio Bocca, Jose Manuel Carreno, Julie Kent, and Michele Wiles have won competitions.

WHAT STRENGTHS AND WEAKNESSES DID YOU SEE IN THE COMPETING DANCERS?

It was a mix this time. There were some who had a beautiful, refined quality, and others who had incredible technique, but not enough refinement in the upper body. In general, I find that the upper body needs more attention in American dancing. I don't feel that the torso, head, and arms are utilized as much as they could be.

WHAT ARE THE JUDGES LOOKING AT?

They definitely are looking at artistry. If someone doesn't have the perfect body type but gives a fabulous performance because of their personal energy or their artistry, that definitely affects the way a judge--or an audience--views that dancer.

SO THE JUDGES ARE NOT JUST GOING FOR TECHNICAL PERFECTION?

No, to go out there and just be technical isn't enough. This is an art form.

ARE THE JUDGES LOOKING AT THE DANCERS AS FINISHED PRODUCTS, OR AS POTENTIAL FOR THE FUTURE?

It's hard to say whether the judges should judge on what the potential is or on what is right now. That's a question that keeps coming up.

IF A CONTESTANT DIDN'T PLACE IN THE TOP CATEGORY BUT SHOWED A LOT OF POTENTIAL, WOULD YOU GO OVER TO THAT PERSON AND TELL. THEM THAT THEIR DANCING WAS REALLY GREAT?

Absolutely. And in this competition, we have scholarship awards. Some judges might say that person wasn't ready to win the competition, but another judge might want to give her a scholarship to their school. This year we gave out twenty scholarships. That way we recruit the wonderful potential that's out there and get them trained. During the [regional semifinals] throughout the year, we might guide students where to get better training. Then the kids aren't floating around, not being able to figure out what to do with their lives.

IS THERE ANYTHING YAGP DOES TO COUNTERACT THE COMPETITIVE NATURE OF THIS EVENT, TO MAKE THE CONTESTANTS FEEL MORE FRIENDLY TOWARD EACH OTHER?

The workshops are supposed to help with that, where everybody gets together to learn a variation from Kirk Peterson or Rebecca Wright or myself. But a competition is a competition. These dancers brought themselves to the competition, and they laced to have some strength inside. But we can guide them in their training, and we can help them financially. And if dancers get upset, they can come to us and ask for help.

WAS THERE ANYTHING NEW IN THE INTERNATIONAL MIX OF STUDENTS?

There are more Asians as time goes by, and this year there were more Brazilian students.

DID THE SARS SCARE HAVE AN EFFECT ON ATTENDANCE?

Yes, the Chinese students didn't come. We missed out [by not seeing] them, and we were all sad about that.

WHAT ADVICE CAN YOU GIVE TO PARTICIPANTS TO HELP PREPARE THEMSELVES EMOTIONALLY FOR A COMPETITION?

I would say that they should approach the competition with a sense of fun. It's a learning experience. It isn't about the winning, but about seeing what else is out there. It's a chance to perform under pressure, to be in New York, and to be around a lot of great dancers. It's an adventure!