NCCP Intermediate STARSkate / Provincial Coach Program Ice Dance Manual
04 260 0024E
Table of Contents
PARTNERS IN COACH EDUCATION The National Coaching Certification Program is a collaborative program of the Government of Canada, provincial/territorial governments, national/provincial/territorial sport organizations, and the Coaching Association of Canada.
The programs of this organization are funded in part by Sport Canada.
© This document is copyrighted by the Coaching Association of Canada (2011) and its licensors. All rights reserved. Printed in Canada.
High Performance Context Elite World/Olympic Coach World/Olympic Coach International Competitive Coach (Current Levels 4 and 5) Development Context National Competitive Coach (Current Level 3) National Development Coach (Current Level 3) Introduction Context Provincial Coach (Former Level 2)
Advanced Performers Context
Intermediate Performers Context
Intermediate STARSkate Coach (Former Level 2) Primary STARSkate Coach (Former Level 1 Phases 2, 3,and 4)
Beginners Context
CanPowerSkate CanSkate (Former Level 1 Phase 1)
Senior STARSkate Coach (Current Level 3)
COMPETITION STREAM
Figure Skating
INSTRUCTION STREAM
NCCP Model
Acknowledgments REVIEWERS/WRITERS:
Marijane Stong Richard Ostiguy Lynne Koper
CONTRIBUTORS:
Lynne Koper Paul Macintosh
EDITING:
Skate Canada Editorial Committee
TRANSLATION/LAYOUT:
Skate Canada Marketing Communications Department
PHOTOGRAPHY: Scott Grant 2003 Junior Nationals Participants
Spencer Barnes Jamie Britton Andrea Chung Brigitte Doiron-Sauvé Carol J. Lane
Juris Razquajeus Amy Saucke-Lacelle Steve Sugar Shawn Winter
We gratefully appreciate the efforts of those who worked on the original manual: Justin Bell Bernard Ford Steve Gilchrist Joni Graham Joyce Hisey
Lynne Koper Paul Lankford Chantal Loyer Eric Loucks Louis Nadeau
Carol Rossignol Brett Schrader Ann Shaw Barry Soper Janet Stewart
The Skate Canada Rules referred to in this manual are correct at time of printing. The current Skate Canada rulebook overrides any rule reference in this manual. Visit Members Only at www.skatecanada.ca to obtain a current Skate Canada Rulebook.
Updated March 2015 4
Table of Contents
Table of Contents Preface Elements of Ice Dancing
Holds and the Art of Partnering...................................................................................... 1-2
Stroking Techniques for Power and Flow..................................................................... 1-7
Tracking................................................................................................................................. 1-9
Basic Dance Positions......................................................................................................1-12
Music Rhythms..................................................................................................................1-13
Dance Terminology..........................................................................................................1-15
Technical Content
Standards of Evaluation for Tests................................................................................... 2-2
Senior Bronze Dances....................................................................................................... 2-3
Junior Silver Dances.........................................................................................................2-24
Creative Dances................................................................................................................2-48
Juvenile & Pre-Novice Competitive Dance
The Free Dance Component Definitions...................................................................... 3-1
Dance Spins......................................................................................................................... 3-3
Dance Step Sequences..................................................................................................... 3-3
Synchronized Twizzles....................................................................................................... 3-4
Well Balanced Free Dance Program Criteria............................................................... 3-5
General Technical Tips for Juvenile and Pre-Novice.................................................. 3-6
Music Selection................................................................................................................... 3-7
Preparation and Choreography...................................................................................... 3-7
General Comments on Evaluation Standards............................................................. 3-8
Appendix
The Training of a Dance Couple: Recipe for Success................................................. 4-1
Table of Contents
i
PREFACE Ice dancing has emerged as one of the most popular disciplines in the figure skating world. It is a form of skating in which skaters can continue involvement in the sport throughout their lives. There should be a noticeable increase in the quality of skating demonstrated by skaters after having completed the Junior Bronze STARSkate dances. The qualities of PEST (power, expression, style and technique) should also take on a new level of maturity. With each increasing test level, there should be a concurrent increase in flow, depth of edge, use of body and technical accuracy. Skaters should be encouraged to train all the dances at a test level and even learn the steps of those dances in the next level. Once a dance has been passed, it should not be ignored. The skills learned in every dance are transferable and will improve the skater’s dancing overall. The following topics will be covered in this manual: • Elements of Ice Dancing • Technical • Creative Dance and Free Dance • Component • Evaluation
Table of Contents
iii
Section 1: ELEMENTS OF ICE DANCING
2
Elements of Ice Dancing
ELEMENTS OF ICE DANCING In this module, the following topics will be reviewed and discussed: • Holds and the art of partnering - Hand-in-hand - Kilian - Reverse Kilian - Closed (Waltz) - Open (Foxtrot) - Outside (Tango) • Stroking techniques for power and flow - Foot placement - Knee action • Tracking - Closed position in one direction - Waltz (Closed) - Kilian/Reverse Kilian/Foxtrot (Open) - Tango (Outside) • Basic dance positions - Forward - Backward • Music rhythms - Waltz - March - Foxtrot - Tango • Dance terminology - Pattern - Axes - Lobe - Transition - Turns - Roll - Cross step forward - Cross step behind - Chassé
Elements of Ice Dancing
1-1
HOLD AND THE ART OF PARTNERING Types of holds: Hand-in-Hand The partners face the same direction and are side by side with their arms comfortably extended and their hands clasped. The lady stands on the right side unless otherwise indicated in the dance description. This hold is mainly used in introductions.
1-2
Elements of Ice Dancing
Hand-in-hand on a Curve (30o rule) - Forward Lady 30
o
M an
o All strokes push 30 off the circle
Lady
M an (open and undercut)
Lady sits slightly ahead of the man 30o off the circle
Arm s are extended at 30o off the circle
Hand-in-hand on a Curve - Backward
Same principles apply as forward stroking
Elements of Ice Dancing
1-3
Kilian Partners face the same direction, lady to the right of the man. The man’s right shoulder is behind the lady’s left. Lady’s left arm is extended across the front of the man’s body to his left hand while his right arm is behind her back, with her right hand on top of his right hand, resting at her waist over her hip bone and keeping the lady’s left hip against the man’s right hip. Make sure that the man’s left and the lady’s right elbows are held out in a strong open position, rather than being tucked in against the body or rolled forward. The hands should be held at about waist height.
Reverse Kilian The basic position is the same as that of the Kilian, however, the lady is to the left of the man.
1-4
Elements of Ice Dancing
Closed (Waltz) Partners face each other directly with shoulders parallel. Man’s right hand is firmly placed under the lady’s left shoulder blade with his elbow raised and bent sufficiently to attain closeness. Lady’s left hand is placed lightly, but firmly on the man’s right shoulder with her arm resting (but not leaning) comfortably on his elbow. (This position is vital in maintaining correct lead and follow.) The man’s left arm and lady’s right are extended (but not fully) at the lady’s shoulder height. The heels of both hands are against each other lightly, but firmly, with the elbows comfortably flexed and raised.
Open (Foxtrot) The holds and positions are similar to those of the “closed waltz” position except that the partners face the same direction and the outside shoulders open out to a limited degree.
Elements of Ice Dancing
1-5
Outside (Tango) The partners face in opposite directions - one partner skating forward; the other partner backward. However, unlike the closed position, the partners are offset with the man to the right or left of the lady so that the front of his hip is in line with the front of her corresponding hip. Tight hip to hip position is undesirable since it impedes flow. The shoulders remain in Waltz or closed position.
1-6
Elements of Ice Dancing
STROKING TECHNIQUES FOR POWER AND FLOW Foot Placement
Angled (V) Stroke Basic forward stroking along the continuous axis in which the free foot is placed close to the heel of the skating foot to form a “V”. The stroking knee bends so that the free foot makes contact with the ice and power is gained by pushing and extending the old skating foot backwards, extending the leg to become the new free leg. This stroke may also be used as a transitional stroke for inside edge to inside edge.
Tuck Stroke A forward stroke on a curve where the outside foot of the circle is placed on the ice slightly ahead of the skating foot and the power is gained by pushing the outside edge of the old skating foot under the new skating foot in a “tucking” action.
Elements of Ice Dancing
1-7
Open Stroke A forward stroke initiated from a “feet together” foot base whereby one foot is pushing and must “open” to 90° in order to do so.
1-8
Elements of Ice Dancing
Knee Action • The skating knee of a dancer is very rarely straight and is never locked and when it does rise for musical expression, it is similar to throwing a ball in the air - it comes right down again. Skaters should generally feel 4 inches shorter in height throughout their dancing.
One prominent national level dance coach has his skaters draw a parallel to starting a car when referring to the knee bend for a thrust. His “pre-ignition push” encourages skaters to bend the knee before thrusting.
TRACKING Tracking is one of the fundamental aspects of Ice Dancing with a partner but unfortunately it is not widely understood. By definition, tracking is “the spatial relationship of one partner to the other”. If proper tracking is achieved, the dancers are able to skate much more closely together and to improve their unison. • In order to achieve the correct lobe size and depth, in Kilian position, the person closer to the centre of the lobe skates a smaller circle than does the partner. • When skaters are in hand-to-hand position (ie. when performing introductory steps), again, the person closer to the centre of the lobe skates a smaller circle. • Dance patch is an excellent method to improve the positions and knowledge of tracking. Closed Position in One Direction
Forward Par tne Backward Par tne Directi of Travel
Elements of Ice Dancing
In closed position, the partners are slightly “off-set” with the forward skating partner beginning each lobe on the outside of the lobe. This gives the forward partner control over lobe size and shape and it also prevents knee bumping. The skater going forward should be aware of tracking at all times. For example, the first and third steps of the chassé and progressives aim between the partner’s feet. The forward partner’s second step is to the outside of the lobe and the backward partner’s feet. Swing rolls also start between the other partner’s feet. This tracking position should be executed in all progressives and chassé steps travelling on the same curve.
1-9
Waltz (Closed) The following article is reprinted with permission from the March/April 1992 issue of Skater’s Edge, an international publication that offers how-to advice from the top coaches and pros. Authors include Robin Cousins, Evy Scotvold, Peter Dunfield, Ron Ludington and others. For subscription and back issue information, contact: Skater’s Edge, Box 500, Kensington, MD 20895, USA; Phone/Fax: (301)946-1971. Push the Wheelbarrow, by Robert Kaine Tracking your partner is an important element of ice dancing; you must stay properly aligned while following and crossing each other’s tracings as you swirl around the ice. Years ago, Irene Muehlbronner taught me an image that I’ve found particularly effective in teaching the Fourteen-Step and the Swing Dance. When you’re skating with your partner, think about what happens when you push a wheelbarrow. Your feet have to follow the movement of the handles as you turn to the left or the right. Your hands are not out to the side - they’re holding onto the handles. The same applies to dancing with a partner. If you and your partner are skating in a closed position, for instance and you’re doing a left forward outside (LFO) progressive, your left foot would be aiming for the space between the “two handles of the wheelbarrow” your partner’s feet. Your right foot would be on the outside of the wheelbarrow’s handles and your shoulders would be offset.
1-10
Elements of Ice Dancing
Kilian/Reverse Kilian/Foxtrot (Open) When both partners are skating in the same direction, the skater on the outside of the circle has a slight toe to foot lead.
Both par tners are skating wards for H
R
L
L
R
Directi of trav
T
Tango (Outside) When the partners are not both skating in the same direction in Tango position, the partner who is skating forward, skates to the inside of the circle. The partner who is skating backward is in advance of his/her partner. This indicates that the backward partner’s feet are further advanced around the circumference of the circle being skated. Backward partner
Forward partner
H L
T
R
R
T
Directi of trav
H
Elements of Ice Dancing
L
1-11
BASIC DANCE POSITIONS The first skill that the beginner must learn is the basic dance position, both forwards and backwards. This was covered in Primary STARSkate training and will be reviewed again because it is critical. • • • • •
the head, chin and eyes are up (try balancing a glove on the head); shoulders should be relaxed and down; back is straight; hands and arms are held in a natural extended position just below the shoulder level; pelvis and hips are tilted upward, similar to a layback spin and are over the skating foot; • skating knee should be over the skating toe; • free leg is always straight and turned out from the hip; well extended by use of the skating knee and thigh. The free foot is turned out, parallel to the ice with the toe pointed. Forward Dance Position • • •
The free leg is extended behind. The toe is held slightly outside the tracing. The free toe is turned out.
Direction of
Skating foot
Free foot (30o angle)
1-12
Elements of Ice Dancing
Backward Dance Position
• The free leg is extended forwards to counterbalance the body weight (leaning back). • The free heel is held slightly outside the tracing. • The free toe is turned out. • The free leg should be turned out from the hip with the ankle slightly open to the sky. • The heel of the free foot is held over the tracing to the outside of the circle when skating an outside edge. On an inside edge, the free heel is held over the tracing, with the remainder of the foot inside the circle as in a progressive. This method enables unison to be developed in closed position and avoids tripping the partner in Kilian position.
MUSIC RHYTHMS In the intermediate level dances, several different rhythms are used. As a coach, it is important to understand the timing, flavour and interpretation of these different rhythms. In this module, the following rhythms will be discussed:
• Waltz • Foxtrot
• March • Tango
Waltz It is believed that the waltz originated about the middle of the 18th century. The German word “Walzer” came to be associated with a new dance in 3/4 time in which the couples held each other in a close embrace. The lilting accentuation of the first beat of the bar and slight anticipation of the second are recognizable particularly in the European Waltz. The American Waltz is a more stately, deliberate waltz.
Elements of Ice Dancing
1-13
March
The movement of groups of people, in the militia and in parades, has often been regulated by marching music. Marches have strong pulsating beats and must be performed in a distinctively sharp fashion. Marches can be written in 6/8, 4/4, 2/4 and C time signatures. The Fourteenstep is an example of a march.
Foxtrot Between 1912 and 1914 the dance that eventually became known as the Foxtrot developed. The Foxtrot originated from ragtime music but has since been refined to the foxtrot we know today. It is an easy going dance which must be skated smoothly with good pace and strong edges.
Tango The word “tango” dates from Spanish Colonial times. All movements of the feet and body in the Harris Tango are deliberate and should convey an atmosphere of pride. The Tango is a colourful dance of compelling rhythm and uninhibited emotions. Tango means “to touch”. The “quick, quick, slow, slow” rhythm of steps give the dance the Tango feeling.
1-14
Elements of Ice Dancing
DANCE TERMINOLOGY Some of the following terms do not appear in the compulsory dances, but you may wish to incorporate them into a Bronze Rhythm dance or Creative dances. Pattern The pattern of a dance is the design of the dance on the ice. The diagram of a dance includes all of the information needed to execute one complete pattern of the dance.
Set Pattern Dance A dance for which the location, direction and curvature of all edges to be skated are designated in the diagram. This diagram must be followed as closely as possible.
Optional Pattern Dance A dance for which the pattern may be altered by a couple provided that the original step sequences, positions and timing are maintained. Each repetition of the altered pattern must be executed in the same manner.
Axes Longitudinal Axis A straight line that divides the ice surface into two halves lengthwise (midline). Transverse Axis An imaginary line intersecting the continuous axis of a dance at right angles. Continuous Axis An imaginary line running around the ice surface that serves as the basis for the dance pattern. Usually the continuous axis consists of two lines running parallel to the long axis and the sides. These lines are joined at each end of the ice surface by a semi-circle. These semi-circles are flattened in some dances so that they run almost parallel to the ends of the ice surface. In circular dances, such as the Kilian, the continuous axis approximates a circle. The continuous axis of the Paso Doble is an oval. Short Axis A straight line that divides the ice surface into two halves crosswise.
Elements of Ice Dancing
1-15
Lobe Any sequence of steps on one side of the continuous axis that is approximately semi-circular in shape. Transition The change of weight from one side of the body to the other, performed by turning or by changing feet, edge or lobe. Turns A rotational movement in which the skater moves from forward to backward or backward to forward. • Three A turn executed on one foot from an outside edge to an inside edge or an inside edge to an outside edge, with the exit curve continuing on the same lobe as the entry curve. The skater turns in the direction of the curve. • Touchdown Three Turn A three turn in which the weight is almost immediately transferred to the free foot as it becomes the skating foot for the next step. The turn is made from a forward outside three to the backward outside edge of the opposite foot without full weight transfer, then the skater immediately steps forward onto the original foot (example: Austrian Waltz steps 1-2). Such a sequence may be skated with the forward or backward, inside or outside three turns. May be skated alone or as a couple side by side. • American Waltz Type Three Turn A three turn from an outside edge in which the free leg is extended and the toe and hop are well turned out and held over the tracing. The instep of the free foot is drawn close to the heel of the skating foot as the turn is made. After the turn onto an inside edge, the free foot is extended back of the tracing before being brought back beside the skating foot in time for the next step. • European Waltz Type Three Turn A three turn which begins as in (3). After the turn the back inside edge is held for the one beat before the weight is transferred to the free foot as it becomes the skating foot. • Swing Rocker A type of rocker in which the free foot swings smoothly past and close to the skating foot before the turn. The foot is either moved past the skating foot and held behind over the tracing or allowed to swing forward. • Pivot A rotation on the toe point of one skate with the other tracing a circle. • Mohawk A mohawk is a turn from one foot to the other in which the curve of the exit edge continues the curve of the entry edge. The change of foot is from outside edge to outside edge, or from inside edge to inside edge. Three types of mohawks are shown. 1-16
Elements of Ice Dancing
1. OPEN MOHAWK A mohawk in which the heel of the free foot is placed on the ice at the inner side of the skating foot; the angle between the feet is a matter of personal preference. Following the weight transference, the immediate position of the new free foot is behind the heel of the new skating foot (eg. Fourteenstep).
2. CLOSED MOHAWK A mohawk in which the instep of the free foot is held at the heel of the skating foot until the free foot is placed on the ice behind the heel of the skating foot. Following the weight transfer, the immediate position of the new free foot is in front of the new skating foot (eg. Rocker Foxtrot).
Elements of Ice Dancing
1-17
3. SWING MOHAWK An open or closed mohawk in which the free leg swings forward closely past the skating leg and then back to the skating foot to execute the turn (eg. Harris Tango).
• Choctaw A choctaw is a turn from one foot to the other in which the curve of the exit edge is in the opposite direction to the curve of the entry edge. The change of foot is from outside edge to inside edge, or from inside edge to outside edge. Unless otherwise specified in rules describing a dance, the free foot, in becoming the skating foot, is placed on the ice close to the skating foot. The entry and exit edges are of equal depth. Three types of choctaws are shown. 2. OPEN CHOCTAW A choctaw in which the free foot is placed on the ice on the side of the skating foot. Following the weight transference, the immediate position of the new free foot is behind the heel of the skating foot (eg. Kilian).
1-18
Elements of Ice Dancing
2. CLOSED CHOCTAW A choctaw in which the free foot is placed on the ice behind the heel of the skating foot, free foot instep to skating foot heel. Following the weight transference, the position of the new free foot is in front of the skating foot (eg. Blues).
3. SWING CHOCTAW A choctaw, either open or closed, in which the free foot moves forward closely past the skating foot before being brought back to the skating foot for the turn (eg. Quickstep).
Elements of Ice Dancing
1-19
• Progressive (Run) A step or sequence of steps in which the free foot passes the skating foot before it is placed on the ice, thereby bringing the new free foot off the ice trailing the new skating foot. Roll A short or long, forward or backward edge which curves in the opposite direction to the preceding edge, thus creating the rolling movement that gives the step its name. • Cross Roll A roll started forward with the foot crossed in front or backward with the foot crossed behind. The impetus is gained from the outside edge of the skating foot as it becomes the free foot. (Note: the legs cross above the knees.) When executed correctly, this step will cause the skater to change from one lobe to the other. This step is done from an outside edge to an outside edge.
• Swing Roll A roll held for several beats of music during which the free leg is lifted and extended away from the direction of travel. The free leg then swings past the skating leg and is returned so that the feet are placed together in order to initiate the next stroke.
1-20
Elements of Ice Dancing
Cross Step Forward A step in which the free foot is placed on the ice on the outer edge side of the skating foot with the free leg crossed in front of the skating leg. (Note: the legs cross below the knees.)
Cross Step Behind A step in which the free foot is placed on the ice on the outer edge side of the skating foot with the free leg crossed behind the skating leg. (Note: the legs cross below the knees.) Chassé A step combination during which the free foot is placed beside the skating foot, but not ahead of it, with the new free foot leaving the ice beside the new skating foot. The free foot is lifted vertically so that the blade is kept parallel to the ice.
• Crossed Chassé A chassé in which the free foot is placed on the ice crossed behind the skating foot when skating forward, or crossed in front when skating backward. • Slide Chassé A chassé in which the free foot slides off the ice in front when the skater is skating forward and behind when the skater is skating backward. Elements of Ice Dancing
1-21
Section 2: TECHNICAL CONTENT
2
Technical Content
TECHNICAL The Preliminary and Junior Bronze level dances were discussed at the primary STARSkate training. In this module, teaching points and standards for the following tests will be discussed: • Standards of evaluation for tests • Senior Bronze Level Dances - Standards for tests - Fourteenstep - Ten-Fox - European Waltz • Junior Silver Level Dances - Standards for tests - Keats Foxtrot - Harris Tango - American Waltz - Rocker Foxtrot • Creative Dances - Bronze - Silver Note: The above dances will be covered during the course, however, coaches are expected to arrive prepared and able to do both the man’s and the lady’s steps of these dances.
Technical Content
2-1
STANDARDS OF EVALUATION FOR TESTS These tests continue the basic progression of skill development that began at the Preliminary and Junior Bronze levels. The rhythms incorporated in these tests continue to foster the learning of skating to music. The dances now incorporate two new dance positions, Foxtrot (open) and Tango (outside) added to those already learned. New turns (ie: outside Mohawks) increase the skater’s repertoire of steps. In marking these dances, an evaluator considers Dance Rhythm and Execution as before. Passing Requirements - Senior Bronze Dances It is mandatory that the skater receives Satisfactory or better in Timing and in Accuracy/Flow plus Satisfactory in two other components to achieve a pass. Passing Requirements - Junior Silver Dances It is mandatory that the skater receives Satisfactory or better in Timing and in Accuracy/Flow plus Satisfactory in three other components to achieve a pass. Dance Rhythm • Timing The skater must demonstrate the ability to skate in time with the music. If the skater cannot, then he/she is not dancing. • Expression This is the feeling that the skater can create by use of knee bends, lean, etc. to reflect the rhythm of each dance. At this level, expression should be evident and the skater should demonstrate some feeling for the music. • Unison This is the movement of the body, head, arms, legs, etc. in time with the partner. The dance holds now are more varied than the simple Kilian hold experienced at the Preliminary level. Correct unison also requires that the partners match the depth and direction of edges and the timing of each push.
2-2
Technical Content
Execution • Accuracy/Flow This requires that the skater perform the correct edges as indicated in the Skate Canada Rulebook. These edges should be skated with consistent flow and speed. Edges should be skated with depth, lean and control. Footwork should be distinct. • Style/Form This refers to bodyline and carriage of the skater. The body should be upright, free leg well-extended and toes pointed in a pleasing line. Body lean should now be evident. • Placement This requires the skater to place the steps on the ice in accordance with the Skate Canada Rulebook. There may be some deviation regarding the number of lobes and/or 3-turns executed in the European Waltz.
SENIOR BRONZE DANCES General Standards for Senior Bronze Dances The following chart will give a general overview of the standards required for the Senior Bronze dances.
Technical Content
2-3
2-4
Technical Content
S enior B ronz e G enera l St and a rd s
3658 FOURTEENSTEP (SENIOR BRONZE DANCE TEST) Music
- March 6/8 or 2/4
Tempo
- 56 measures of 2 beats per minute - 28 measures of 4 beats per minute - 112 beats per minute Pattern
- Set Duration
- The time required to skate 4 sequences is 43 sec.
During steps 1 to 7 the lady and man are in closed hold with the lady skating backward and the man forward. The dance begins with a progressive sequence of three steps forming a lobe curving towards the midline. Step 4 is a 4 beat swing roll curving towards the side barrier. It is important that the free legs match on the swing roll and that the partners remain close together. This is followed by another progressive sequence for both partners during steps 5 to 7. Step 7 is skated slightly less deeply than step 3, after which the lady steps forward on step 8 and skates close beside the man in open hold until he completes his mohawk. Steps 1 to 7 should be skated along the continuous axis of the ice surface with steps 8 to 14 curving around the ends of the pattern. After the man’s open inside mohawk on step 9, he should check his rotation with his shoulders and both partners’ shoulders should remain approximately parallel to the tracings around the end. During steps 8 to 12, the partners skate in an offset closed hold with the lady’s right hip beside the man’s right hip with the lady now skating forward and the man backward. Step 9 for the lady is a crossed behind chassé and step 11 is a progressive. On step 10 the man steps close beside the skating foot, steps 11 and 12 are a progressive sequence, then step 13 is crossed in front. The lady gradually moves ahead of the man to skate an open outside mohawk during steps 12 and 13. At the conclusion of step 13, the man steps forward for step 14. On step 14 the partners return to the original closed hold. Soft knee action with the rhythm of the music and easy graceful flow are necessary so that the Fourteenstep will be danced rather than walked or raced. A strong lean is necessary to achieve the required edges at a good pace. In tests and competitions the dance must be skated as specified in the rules, but for dance sessions, when many couples are on the ice at the same time, it is recommended that there be two rolls along the side if the ice surface permits. Inventor
- Franz Schöller
First performance - in Vienna, 1889, as the Ten Step or Schöller March
Technical Content
2-5
Fourteenstep Teaching Points
Teaching Progressions
• The Fourteenstep is a dance that requires power and flow. It requires the skater to perform strong edges with good lean and quick, neat footwork. The pattern has to be symmetrical with the skater maintaining strong even lobes. The end steps must be on a definite curve to ensure continuing flow and edges.
The following progressions can be done solo and then with a partner - without music/with music • repetitive progressives around a circle in order to emphasize holding strong edges on the last step of the progressive • progressives around the perimeter of the rink - balancing them on either side of the axis
• It is essential for the man and lady to do correct Mohawks while keeping them on the natural curve across the end of the rink. The man must aim his Mohawk down the ice and avoid allowing the pattern to curve around too soon. The long swing roll for both the man and the lady must be deep and not have a “hook” on the end of it. The progressives must be performed on the proper edges and the lean on the curve maintained.
• swing rolls around the perimeter of the rink - balancing them on either side of the axis • repeat the end pattern steps over and over on a large circle for correct technique of steps and turns and to improve power • sculling or skiing around the rink for knee rhythm and ankle pushes
• The Fourteenstep is skated to brisk, lively music and this must be interpreted in the expression. The edges should be strong and the changes of lean should accentuate the lively, march-like rhythm of the dance. • After the man does his Mohawk and the lady steps forward, both partners’ shoulders should remain parallel to the tracings across the end of the rink.
2-6
Technical Content
Fourteenstep Technical Tips • When first teaching this dance work on less than half a circle for progressives and swing rolls.
• When the technique, pattern and timing are accurate and consistent increase the dept of edge. • When teaching the mohawks extend the free leg slightly wide (30° off the circle) while pushing into the turn. The foot placement during the turn will then be easier, more accurate and smooth.
Technical Content
2-7
Fourteenstep Men’s / Lady’s Steps Hold
Closed
Slightly off- set
Step No.
Man’s Step
Number of Beats of Music
Lady’s Step
1
LFO
1
RBO
2
RFI-Pr
1
LBI-Pr
3
LFO
2
RBO
4
RFO-SwR
4
LBO-SwR
5
LFO
1
RBO
6
RFI-Pr
1
LBI-Pr
7
LFO
2
RBO
8
RFI
1
LFO
OpMo Closed
9
LBI
1
XB-RFI
10
RBO
1
LFO
11
LBI-Pr
1
RFI-Pr
12
RBO
1
LFO Op Mo
Closed
13
XF-LBI
1
RBO
14
RFI
2
LBI
2-8
Technical Content
3658 FOURTEENSTEP International Dance - Set Pattern
Music Tempo
- March 6/8 or 2/4 - 56 measures of 2 beats per minute - 28 measures of 4 beats per minute - 112 beats per minute Reproduced with permission of the International Skating Union
Technical Content
2-9
2-10
Technical Content
F ourteens tep - S tandards
Technical Content
2-11
SATISFACTORY
NEEDS IMPROVEMENT
• shoulders parallel topattern across ends
• headdropsand some lunging, particularly on end sequence
• swingrolls executed witha deep, • wellextended freelegon swing • occasional bent freeleg or • no extension; insufficie trueleanand well-extended free rolls but less lean unpointed toe; adequate lean leg
• erect carriage typical ofa March, • carriage upright buteye focus • upright but shoulders rounded • constant lunging andbreaking at head held high occasionally down hips
GOOD
(continued)
Pattern/Placement • well-rounded end pattern • prescribed pattern withshallower • pattern distorted on onesequence, • pattern hasmany straight lines edges and less rounded end restart pattern is shifted well down ice especially across end • deep,balanced lobeswithlobe transition s atmid-point between • constant and majordeviation long axis and barrier from set pattern
Style/Form
EXCELLENT
FOURTEENSTEP
F ourteens tep - S tandards ( continued )
3657 TEN-FOX (SENIOR BRONZE DANCE TEST) Music -Foxtrot 4/4 Tempo -25 measures of 4 beats -100 beats per minute Pattern -Set Suggested Introductory Steps: lady starting on right side of man Man: RFO (2), LFO (2), RFO (2), LFO (1), RFI (1); Lady: RFO (2), LFO (2), RFO (2), LFO3 (2). The Ten-Fox, as the title suggests, is mainly a combination of parts of the old Tenstep and the Foxtrot. Most dancers seem to find it easier and therefore more enjoyable than either of those dances. The dance begins with a progressive sequence of three steps, the partners being in closed hold. On step 4 the lady does a four-beat left backward outside swing roll and then turns forward on step 4b for a two-count right forward inside edge, which brings the partners into open hold. Step 4 for the man is a six-beat right forward outside-inside change edge. The change from an outside to an inside edge takes place on count one as the lady turns forward. It is very important that the lady makes a smooth transition at this point, as she turns from the backward edge to a forward edge. Steps 5, 6 and 7 are another progressive sequence followed by a four-beat right forward outside edge for the lady as the man skates a right forward outside three turn and then a two-beat left backward outside edge, bringing the partners again into closed hold. As in the Foxtrot, the lady accentuates count one of step 8 (8 begins with count three) with a knee bend as the man takes step 8b, a two-beat left backward outside edge. Step 9 is a left forward outside three for the lady as the man skates a right backward outside edge. He then turns forward onto a left forward outside edge, the lady being on a right backward outside edge, as they begin another progressive sequence of three steps leading into steps 13 and 14, which is an open mohawk for the man while the lady skates from a right backward outside edge to a left forward outside. As in the Fourteenstep, it is important that the partners’ shoulders be parallel to each other and to the tracings, and that the man checks his rotation with his shoulders after his mohawk on step 14, so that both partners’ shoulders remain approximately flat to the tracings around the end of the rink. Following the man’s mohawk, there is another progressive sequence across the end of the rink leading into the lady’s mohawk on steps 17 and 18. Step 19, which is the end of the dance is a left backward inside for the lady and a right forward inside for the man. This has always been a dance that most skaters have enjoyed. Let us keep it so by remembering to have soft knee bends, no pushing, and to lend an ear to the rhythm of the music. Inventor
-George Muller
First Performed
-Philadelphia Skating Club and Humane Society, 1939
This has always been a dance that most skaters have enjoyed. Let us keep it so by remembering to have soft knee bends, avoid toe pushing and skate to the rhythm of the music. 2-12
Technical Content
Teaching Points
Teaching Progressions
• The Ten-Fox should be skated with soft knee action, good lobes and carriage.
LADY • Practice Steps 4a and 4b on two circles.
• The lady’s LBO 4-beat swing roll (Step 4A) should be deep but not retrogressed. A strong lead by the man will assist the lady’s step forward onto a strong RFI edge.
MAN • Practice Steps 5, 6, 7 and 8a in foxtrot hold on two circles. MAN AND LADY • Divide dance into thirds and repeat each section over and over - do sections to music - first solo and then with a partner.
• The lady’s steps 17 and 18 must both be outside edges to ensure the mohawk is correctly executed. • It is important to maintain a strong Foxtrot position on the RFI edge.and ankle pushes. • The next progressive (Steps 5, 6 and 7) requires the man to move himself slightly forward to enable him to do his RFO 3-turn (Step 8a). • The lady’s 4-beat RFO roll (Step 8a) must be held with a strong upper body position (good male lead) as she performs a double knee bend to match the man’s. The lady must not allow the edge to retrogress. • The pattern across the end must be kept well rounded (progressive and mohawk sequence). • The shoulders of both partners after the man’s mohawk must remain parallel to each other. • Good relaxed expression of the music makes this dance a joy to do and a joy to watch.
Technical Content
2-13
Ten-Fox Man’s / Lady’s Steps Hold Closed
Step No.
Man’s Step
Number of beats of Music
Lady’s Step
1
LFO
1
RBO
2
RFI-Pr
1
LBI-Pr
3
LFO
2
RBO
4a
RFO
4
LBO
change to Open
Closed
4b
RFI
2
RFI
5
LFO
1
LFO
6
RFI-Pr
1
RFI-Pr
7
LFO
2
LFO
8a
RFO 3
8b
LBO
9
RBO
10
LFO
1
RBO
11
RFI-Pr
1
LBI-Pr
12
LFO
2
RBO
13
RFI
1
LFO
14
LBI
1
RFI
15
RBO
1
LFO
16
LBI
1
RFI
17
RBO
1
LFO
18
XF-LBI
1
RBO
19
RFI
2
LBI
1+1
4
RFO
2 2
OpMo
2-14
1+1
LFO 3
OpMo
Technical Content
3657 TEN-FOX Set Pattern Dance
Music - Foxtrot 4/4 Tempo - 25 measures of four beats - 100 beats per minute
Technical Content
2-15
2-16
Technical Content
Ten-F ox - Sta nda rds
Technical Content
2-17
Ten-F ox - Sta nda rds ( c ontinu ted )
3659 EUROPEAN WALTZ (SENIOR BRONZE DANCE TEST) Music
- Waltz 3/4Tempo - 45 measures of 3 beats per minute - 135 beats per minutePattern
- SetDuration - The time required to skate 2 sequences is 48 seconds. The basic steps of the European Waltz are a cross roll three turn, a backward outside edge and a forward outside edge for the man, while the lady skates a backward outside edge, a three turn and another backward outside edge. Semicircular lobes of these three steps are skated along the sides of the ice surface, the first lobe starting towards the midline; the second toward the side/long barrier. Care must be taken to ensure that these lobes are full semi-circles so that each starts directly towards or away from the midline.These lobes are connected across the ends of the pattern by larger lobes that consist of a series of three turns and back outside edges. A normal end lobe sequence contains four three turns for each partner, but on a wide ice surface, more are permissible. (For the ISU Judging System the sections of the dance will remain the same, regardless of the number of three turns skated on the end pattern). This is the only pattern option permitted. The man’s three turn at the beginning of each lobe must be skated as a cross roll. The lady’s back outside edge, however, is started as an open stroke. All threes are turned on the count of 3. These types of turns are known as “European Waltz Type Three Turns”. All edges are 3 beats in length. The dance is skated in closed hold throughout and the partners must remain close together. The rotation of the partners should be around the same axis, should be continuous and reverses its direction at the start of each new lobe. For example, in lobes aiming toward the side barrier of the ice surface, the couple rotates to the left; in lobes aiming toward the midline, the couple rotates to the right. All rotations must be well controlled, which is best accomplished with the free foot kept close to the skating foot. On all three turns checking is necessary to prevent over-rotation. Erect posture, consistently powerful stroking, even free leg extension, and a regular rising and falling knee action give this dance its waltz flavour. Inventor
- unknown
First Performance - before 1900 but the exact date and location are unknown
2-18
Technical Content
European Waltz 9 LFO3
10 RBO
2+1
8 RBO
3 Teaching Points 3
11 LFO3 2+1
•
Teaching Progressions
2+1 7 LFO3
It is important to keep the semi-circular lobes of12 the dance symmetrical. This can be achieved 3 6 RBO RBO 3 by directing the transition between each completed lobe and each new lobe2+1along the 3 5 CR-LFO3 3 short axis line of the2+1rink. 13 LFO 4 RFO
14 CR-RFO3
•
All steps are three beats 3in3length. LBO
•
CR-RF03 towards the The 3-turns must be skated2 directly 1 LFO 2+1 16 RFO partner. 3
15 LBO 3
17 CR-LFO3
•
•
3
2+1
18 LFO3
2+1 Checking of the shoulders and maintenance of Start Start pressure in Waltz hold must be maintained to Man Lady 3 18 RBO prevent over-rotation and swinging (especially 3 3 on the end 3pattern). 17 RBO
16 LBO
3
1 RBO
2+1 LBO be The end pattern2 must kept rounded with 15 RFO3 3-turns placed properly.
3 RFO3
lady
4 LBO
5 RBO 3
6 LFO3
2+1
14 LBO
3
3
3
2+1
2+1
7 RBO
13 RBO
3
3 2+1
8 LFO3
3
9 RBO
repetitive 3-turns on a circle in both directions
•
repetitive cross rolls for man down an axis
•
repetitive backward transitions for the lady down an axis (can be done on a line with lobe to lobe transitions)
Teaching Tips: 1. Work on the three turns and pushes afterward until they are absolutely accurate and consistent. 2. Work lobes on the side pattern diagonally and gradually progress to a 90° transition. 3. It is supremely important to keep lobes balanced: a) for control, b) for timing, c) for rhythm and expression.
12 LFO3
11 RBO
2+1
10 LFO3
•
In order to achieve continuous flow on the 3-turns across the ends, the lady must maintain pressure on the man’s right hand which is on her back by applying pressure/strength through her left shoulder.
•
The cross rolls are a key part of the dance for the man following the thrust. He must turn out his free leg and point his toe. The cross rolls provide power.
•
This waltz should be expressed through strong knee action and a change of body lean throughout the transitions. Matching of free leg extensions, maintenance of good carriage and an accurate waltz position are also essential elements in the over-all performance.
Technical Content
•
2-19
European Waltz Man’s / Lady’s Steps
Hold Closed
Step No.
Man’s Step
1
CR-RFO3
2
LBO
3
RFO
4
CR-LFO3
5
RBO
6
LFO
7
CR-RFO3
8
LBO
9
RFO
10
CR-LFO3
11
Number of Beats of Music
Lady’s Step
2+1
3
LBO
3
2+1
RFO3
3
LBO
2+1
3
RBO
3
2+1
LFO3
3
RBO
2+1
3
LBO
3
2+1
RFO3
3
LBO
2+1
3
RBO
RBO
3
2+1
LFO3
12
LFO3
2+1
3
RBO
13
RBO
3
2+1
LFO3
14
LFO3
2+1
3
RBO
15
RBO
3
2+1
LFO3
16
LFO3
2+1
3
RBO
17
RBO
3
2+1
LFO3
18
LFO
3
2-20
RBO
Technical Content
3659 EUROPEAN WALTZ International Dance - Set Pattern
Music
- Waltz 3/4Tempo - 45 measures of 3 beats per minute - 135 beats per minute Reproduced with permission of the International Skating Union
Technical Content
2-21
2-22
Technical Content
E uropean Waltz - St and ar ds
HOME
CLUB
COPY
SENIOR BRONZE DANCE TEST EVALUATION SHEET
Day
Club Holding Test Candidate Home Club of Candidate
Year
Coach
Male/Female (circle one) Male/Female (circle one)
Steps Performed on Test
Month
Evaluator Partner
Signature of Evaluator TEN-FOX Pass
Retry
FOURTEENSTEP
Pass
Retry
EUROPEAN WALTZ Pass
Retry
BRONZE CREATIVE DANCE Pass
Retry
SENIOR BRONZE DANCE TEST EVALUATION SHEET Candidate
Day
Evaluator E = Excellent
G = Good
S = Satisfactory
TEN-FOX E
G
S
FOURTEENSTEP NI
E
G
S
NI
Month
Year
NI = Needs Improvement
EUROPEAN WALTZ
BRONZE CREATIVE DANCE
E
E
G
S
NI
G
S
NI
Retry
A. DANCE RHYTHM: *Timing
C A N D I D AT E ’ S
C O P Y
Expression ** Unison B. EXECUTION:
*Accuracy/Flow Style/Form Pattern/Placement
RESULT:
Pass
Retry
Pass
Retry
Pass
Retry
Passing Requirement: 4/6 must be Satisfactory or better including: *Timing and *Accuracy/Flow ** A satisfactory evaluation in the unison criteria is a requirement for partnered / shadowed dances only. COMMENTS
Catalogue 13-470-0066E (July 2010)
Technical Content
EVALUATOR IS EXPECTED TO MAKE COMMENTS
2-23
Pass
JUNIOR SILVER DANCES At this level, the dancer should be competent, using strong edges and correct body positions. Timing is essential and dancers should be showing evidence of differentiating dance rhythms. Overall physical conditioning becomes more important, in order to produce the power and flow necessary to achieve good ice coverage. In addition, a higher standard of intricacy of steps and dance positions has been introduced with the Junior Silver level dances.
General Standards for Junior Silver Dances The following chart will give a general overview of the standards required for the Junior Silver dances.
2-24
Technical Content
Technical Content
2-25
Junior Silve r G eneral S tandard s
3660 KEATS FOXTROT (JUNIOR SILVER DANCE TEST) Music
- Foxtrot 4/4Tempo - 25 measures of 4 beats per minute - 100 beats per minutePattern
- Optional Duration -The time required to skate 4 sequences is 1:07 min. The dance begins with the partners in open hold with their shoulders and hips close together. Step 2 is a crossed behind chassé for both partners. Step 4a is a cross rolled three turn for the man after which the partners are in closed hold. Step 4 for the lady commences with a cross roll then she extends her free leg behind for the full 4 counts, accentuating count 3 with a knee bend corresponding to the man’s knee action for his change of foot. She must be careful to avoid lunging. On steps 4b and 5 the man’s free foot leaves the ice in front and is then drawn down beside the skating foot in preparation for the next step. Step 5 is a cross roll three turn for the lady while the man skates a RBO edge. Step 7 is a progressive for both partners. The partners remain in closed hold until the end of step 8. Then the man should be at the side of the lady (almost in outside hold) with their right shoulders opposite for his cross roll three turn (step 9). The closed hold is resumed for step 10. The man skates a progressive during step 11 while the lady prepares for the mohawk. On step 11 the lady does not swing the free leg, but after extending it behind, merely brings the free foot down beside the skating heel (keeping the free foot well turned out), then performs an outside closed mohawk on count 1. To facilitate the lady’s mohawk, good edges must be skated on steps 10 and 11. On step 12, the free legs of both the partners swing up together, then are drawn down evenly so that, by the end of count 4, they are at the heel of the skating foot ready for step 13. Step 13 should be stepped close to the heel of the skating foot. Step 14 is an open stroke stepped close beside the skating foot. Steps 13 and 14 should be strong inside edges. The Foxtrot must be danced, not stepped. There must be soft knee action and flow. The free foot must always be placed on the ice close beside the skating foot. The dance is designed to be skated on deep edges with semi-circular lobes. Inventors
- Eric van der Weyden and Eva Keats
First performance - London, Westminster Ice Rink, 1933
2-26
Technical Content
3660 KEATS FOXTROT Hold Open
Step No.
Man’s Step
Number of Beats of Music
Lady’s Step
1
LFO
1
LFO
2
XB-RFI
1
XB-RFI
3
LFO
2
LFO
4a
CR-RFO3
4b
LBO
2
5
RBO
2
6
LFO
1
RBO
7
RFI-Pr
1
LBI-Pr
*
8
LFO
2
RBO
Closed
9
CR-RFO3
10
LBO
11a
RBO
1
11b
LBI-Pr
1
12
RBO
4
RBO
13
LFI
2
LFI
14
RFI
2
RFI
Closed
Open
1+1
1+1
CR-RFO
1+1
CR-LFO3
2 2
*Partial outside hold at end of step 8
Technical Content
4
2-27
CR-LBO RFO
2
LFO ClMo
Keats Foxtrot Teaching Points
Teaching Progressions
• The foxtrot is a dance that requires soft knee action, good lobe changes and very relaxed expression.
• Review X rolls and X roll three turns around perimeter of rink - repeat, repeat.
• To enable the man to do his RFO 3-turn (Step 4a), the lady must tuck in behind his hips (tracking) and then continue on the same curve on the next edge so that she gets to the correct position.
• Practice the side pattern tracking over and over.
• The setting of the pattern after the lady’s LFO 3 turn is very important. The pattern must continue down the ice in order to maintain placement of the end pattern.
• Practice transition into Mohawk for both man and lady (using 1/2 circle to 1/2 circle pattern to practice. • Repeat forward inside edges in partnership over and over for proper tracking.
• As the lady steps into her outside closed Mohawk it is imperative that she stay close to the man’s right hip. A strong hold must be maintained through this sequence. • The rise and bend of the skating knee during the RBO edge of the Mohawk is one of the highlights of the dance. • The left and right forward inside edges before the cross chassé should be true, strong edges. • Good lean, edges and knee bend are essential at this level. Key Elements • Cross rolls • Closed Mohawk
2-28
Technical Content
3660 KEATS FOXTROT International Dance - Optional Pattern
Music
- Foxtrot 4/4Tempo - 25 measures of 4 beats per minute - 100 beats per minute Reproduced with permission of the International Skating Union
Technical Content
2-29
2-30
Technical Content
Ke at s F oxt rot Sta nda rds
3661 HARRIS TANGO (JUNIOR SILVER DANCE TEST) Music
- Tango 4/4Tempo - 27 measures of 4 beats per minute - 108 beats per minutePattern
- OptionalDuration - The time required to skate 2 sequences is 58 seconds. Very erect carriage must be maintained throughout this dance. The partners should skate close together. Neat footwork and good flow are essential. The pace must be maintained without obvious effort or visible pushing. The dance consists of quick crossed steps skated on shallow curves interspersed between slower rolls skated on strong curves, followed by a promenade skated in open position. At the end of the introductory steps the partners should be in outside hold with the lady to the right. The man makes two quick cross steps (steps 1 & 2), the first crossed in front, the second crossed behind (a crossed chassé sequence). The lady skates a similar sequence, the first crossed behind and the second in front. These quick steps are followed by a 4 beat roll (step 3*) during which the couple assumes closed hold. During or at the end of the roll, the partners return to outside position but this time the lady is on the left. The next lobe consists of the same sequences skated on the opposite feet. The third lobe starts with a shallow front-crossed right outside rocker for the man on step 7 followed by two quick cross steps (steps 8 & 9), the first crossed behind, the second in front. The lady crosses behind on step 7, then steps forward for two steps, crossing on the second step. Step 10 is another roll in which the couple assume closed hold. During or at the end of the roll, the partners return to outside hold with the lady on the left. The next lobe consists of another double cross step and roll sequence. * The couple does not need to be in closed hold for the full 4 counts of steps 3, 6, 10, and 13 but may change sides from outside to outside in the middle of these rolls, be in closed hold for fewer counts or even briefly. Either technique/interpretation is acceptable. On step 14 the lady skates a cross roll into a three turn. The man also skates a cross roll before stepping forward onto an RFO swing roll (step 15) into closed hold while she skates LBO swing roll. The promenade follows with the partners in open hold, skating two quick and then two slow steps. Each partner then executes a closed swing mohawk (steps 20 & 21), inside for the man and outside for the lady, with each edge held for 4 beats. On step 22 the lady steps forward to execute an inside three turn after one beat, holding the exit edge for 5 beats. The man skates a chassé sequence followed by a 4 beat roll (steps 22 a, b, c). The first part of step 22 is skated in open hold. After the lady’s three turn the partners are in closed hold but they complete the step in outside position ready to restart the dance. Inventors
- Paul Kreckow and Trudy Harris
First Performance - London, Hammersmith Ice Rink, 1932
Technical Content
2-31
Harris Tango Teaching Points •
The Tango is a beautiful dance to watch when executed properly. It is, however, quite difficult to do and it takes much concentration on the lobes and steps to achieve the power and flow required to maintain accuracy in all of the partnering positions.
•
The four-beat edges of the man and lady in closed position should be kept on true outside edges. These are then followed by quick crossed chassés that must be kept on the proper lobe (outside, then inside edges) with neat feet. The long edges followed by quick cross steps (1-1) give the “quick-quick-slow” tango effect.
•
The man’s shallow rocker turn can be achieved more easily if there is a strong upper body position. A strong lead and constant pressure in the hold is necessary to keep the couple close during and after the turn.
•
The progressive sequence prior to the swing Mohawks should be power strokes and much care should be taken not to cross these steps. These steps generate flow for the Mohawk. Step 20 is an open stroke and must not be crossed. During the mohawk, the free leg swings through close to the skating foot with the man leading slightly ahead of the lady. During the backward edge, again the free legs pass closely by the skating foot.
•
A strong thrust is required for the lady’s RFI 3-turn. This is a key area where flow can be easily lost. During the cusp of the 3-turn, the free foot is beside the skating foot. With a partner, the man assists in the turn by providing slight pressure with his lead in order to help the lady turn and maintain the flow of the partners.
•
The expression of this dance is an important contributing factor to the overall execution of the dance. Action of the free leg on the four-beat outside edges should be sharp and deliberate. All steps should be skated with “neat feet” and precise changes of position in order to ensure the crispness needed to convey the “tango” feeling. 2-32
Technical Content
Harris Tango Teaching Progressions 1. Practice the quick cross steps followed by the four beat edge around the perimeter of the rink both forward and backward, first solo and then with the partner. 2. Practice the man’s rocker section and lady’s response over and over. 3. Repeat promenade, swing mohawk and lady’s inside three to rest of dance, repeat. Repeat until consistently correct. TECHNICAL TIPS 1. The accepted and current Tango position: • shoulders stay in closed position • hips only change from side to side 2. Take the promenade to the diagonal only and then step to the axis for the swing Mohawk - this allows the man to take the hip lead and the lady follow into the swing mohawk. It makes it easier to place the turn on the top of the lobe. Angled steps for man
Angled step into mohawk 3. Finish the Mohawk on the axis and then direct the lady’s three turns down the ice. This aids unison and power.
Man step 90o Lady steps on a slight diagonal
Key Elements: • cross chassé steps followed by strong rolls • man’s rocker section • swing mohawk
Technical Content
2-33
3661 HARRIS TANGO Hold Outside
Step No.
Man’s Step
Number of Beats of Music
Lady’s Step
1
XF-RFO
1
XB-LBO
2
XB-LFI
1
XF-RBI
Closed to
3
RFO
4
LBO
Outside
4
XF-LFO
1
XB-RBO
5
XB-RFI
1
XF-LBI
Closed to
6
LFO
4
RBO
Outside
7
XF-RFO-Rk (shallow)
8
XB-LBO
1
RFO
9
XF-RBI
1
XB-LFI
Closed to
10
LBO
4
RFO
Outside
11
XB-RBO
1
XF-LFO
12
XF-LBI
1
XB-RFI
Closed to
13
RBO
4
LFO
Outside
14
CR-LBO
Closed
15
RFO- SwR
4
LBO – SwR
Open
16
LFO
1
RFI
17
RFI
1
LFO
18
LFO
2
RFI
19
RFI
2
LFO
20
LFI
4
RFO
1+1
2
2
1+1
Sw-ClMo
Closed
XB-LBO
CR-RFO3
Sw-ClMo
21
RBI-SwR
4
22a
LFO
1
22b
RFI-Ch
1
22c
LFO
4
2-34
LBO-SwR 1+5
RFI3
Technical Content
3661 HARRIS TANGO International Dance - Optional Pattern
Music
- Tango 4/4Tempo - 27 measures of 4 beats per minute - 108 beats per minute Reproduced with permission of the International Skating Union
Technical Content
2-35
2-36
Technical Content
H ar ris Tang o - Sta nda rds
3662 AMERICAN WALTZ (JUNIOR SILVER DANCE TEST) Music
- Waltz 3/4Tempo - 66 measures of 3 beats per minute - 198 beats per minutePattern
- SetDuration - The time required to skate 2 sequences is 58 seconds. The American Waltz consists of a series of semi-circular lobes skated towards and away from the midline. These lobes are joined at the ends by 6 beat outside swing rolls. The lobes nearest the end/short barrier are positioned so that their ends are closer to the midline, making it possible for a single 6 beat roll to connect them. All steps should be of equal curvature so that each group of three steps forms a large semi-circle with each lobe starting directly towards or away from the midline. The steps of each lobe are the same except that they are skated alternately left and right depending on the direction of the lobe. Although the sequence of steps is the simplest of any ice dance, because of the amount of rotation generated by the couple it is among the most difficult to skate correctly. In order to rotate smoothly, it is necessary for the partners to keep their shoulders parallel with the center of rotation between them, rather than having one partner whip around the other on the swing three turns. The rotation must be continuous and even, rather than sudden jerks with pauses between. Each step of the American Waltz is held for 6 beats (2 measures) which gives considerable length to each step. The swing of the free foot/leg must be from the hip without any bending of the free leg knee. The threes must be turned with the feet close together, but without pause in the motion of the free foot. The free foot should not pass the skating foot before the three is turned. While maintaining close waltz hold throughout, the partners must synchronize their free leg swings with each other as well as with the music, turning the swing threes on count 4. These types of turns are known as “American Waltz Type Three Turns”. The transition from one foot to the other is accompanied by a bending of the skating knee. This action coincides with the major accent (count 1) and serves to emphasize it. The knee action that adds lilt to the dance must be well controlled and gradual or the dance may become bouncy with the skater losing flow and balance. The dancers must stand upright using a nicely controlled body weight change when simultaneously starting a new lobe. The expression of waltz music is characterized primarily by evenness of flow between points of major. The points of major emphasis, count 1, are marked by the change of feet and bending of the skating knee. Some of these points coincide with the start of a new lobe and are also emphasized by the change of direction of rotation and lean. The points of minor emphasis (count 4) are marked by turns but are not otherwise emphasized. Inventor
Technical Content
- unknownFirst Performance
- unknown
2-37
American Waltz Teaching Points •
Teaching Progressions
This dance is one of the few waltzes where the 3-turn is done on the count of “four”; this is imperative to the character of the dance and correct timing.
•
Practice free leg swings on the roll, first at the boards and then on circles.
•
Review free leg position on the 3-turns.
•
It is a very stately waltz; it is important to maintain a deep rise and fall of the knee in order to portray the character of this dance.
•
Practice three turns on a continuous circle with the music, solo and then with a partner (both directions)
•
Unison with a partner is essential and is most noticeable on the free leg swings for the many six beat rolls. The partners must maintain a constant upper body position in relation to each other.
•
The lobes of the American Waltz must be symmetrical.
•
Crossing the mid-line while performing the side lobes is permissible only in a very narrow arena when the skaters have excellent flow and depth of edge.
•
The lobes must not be retrogressed or hooked.
•
The 3-turns are open but care must be taken that the free leg is close to the skating foot at the cusp of the turn. Not only does this permit matching with a partner but it prevents swinging of the entire body because of the check required. The leg swings should be easy with the free leg open and extended evenly forward and backward (similar to clock pendulum).
•
Key Elements • waltz threes, technique, timing and style • pattern Teaching Tips: 1. Use the “T” foot placement for all pushes to ensure unison. 2. Pass the free leg through the “T” position on waltz or swing threes - pass the free leg through the “T” position on swing rolls as well - this will stop swinging and loss of control. 3. The lady must learn to centre the backward lobes to aid in pattern control.
This is one of the few dances that is truly like a school figure in its symmetry of pattern. 2-38
Technical Content
3662 AMERICAN WALTZ Hold Closed
Technical Content
Step No.
Man’s Step
Number of Beats of Music
Lady’s Step
1
RFOSw3
3+3
6
LBO-SwR
2
LBO-Sw R
6
3+3
RFOSw3
3
RFO-SwR
4
LFOSw3
3+3
6
RBO-SwR
5
RBO-SwR
6
3+3
LFO Sw3
6
LFO-SwR
7
RFOSw3
3+3
6
LBO-SwR
8
LBO-SwR
6
3+3
RFOSw3
9
RFO-SwR
10
LFOSw3
3+3
6
RBO-SwR
11
RBO-SwR
6
3+3
LFOSw3
12
LFO-SwR
6
RBO-SwR
13
RFO-SwR
6
LBO-SwR
14
LFOSw3
3+3
6
RBO-SwR
15
RBO-SwR
6
3+3
LFOSw3
16
LFO-SwR
6
LBO-SwR
6
RBO-SwR
6
6
2-39
LBO-SwR
RBO-SwR
3662 AMERICAN WALTZ International Dance - Set Pattern
Music
- Waltz 3/4Tempo - 66 measures of 3 beats per minute - 198 beats per minute Reproduced with permission of the International Skating Union
2-40
Technical Content
Technical Content
2-41
Am eric an Wa ltz - St and ar ds
3663 ROCKER FOXTROT (JUNIOR SILVER DANCE TEST) Music
- Foxtrot 4/4Tempo - 26 measures of 4 beats per minute - 104 beats per minutePattern
- SetDuration - The time required to skate 4 sequences is 1:05 min. The Rocker Foxtrot starts at the midline at one end of the ice surface and makes three lobes towards the edge and two towards the midline along each side. Thus one circuit of the ice surface requires two sequences of the dance. Steps 1 to 4 that are the same for both partners are skated in open hold and consist of a crossed behind chassé followed by a progressive. Step 5 for the lady is a 4 beat LFO swing rocker skated while the man performs 2 outside edges. The swing rocker is executed with a swing of the free leg and is turned after the free leg has passed the skating foot and is extended forward. The turn should be executed on clean outside to outside edges on beat 2 of the step so that the lady’s sinking onto a softly bent knee afterwards will coincide exactly with the man’s knee bend for his RFO edge on beat 3. After the swing rocker the lady’s free leg must be swung forward to match the man’s free leg. After the lady’s swing rocker the pattern continues to approach the midline before curving away and care should be taken that both partners are on outside edges. During the swing rocker the couple changes to closed hold which is maintained until step 7b when the couple resumes open hold for the remainder of the dance. The man must skate an open stroke for step 6 and should be in a position exactly opposite his partner at the beginning of the edge to execute his LFO3. Step 8 is a cross roll. Steps 10 and 11 are strong outside edges. Steps 11 and 12 are outside closed mohawks for both partners. The free leg is first extended behind turned out and then is placed beside the heel of the skating foot, arriving exactly in time for the mohawk. The man must be careful not to curve his step 11 too deeply since the lady must curve her edge at least as deeply in order to be in position beside him for the turn. To achieve the correct positions, the shoulders must be well checked entering the turn. The mohawk must be directed towards the side/long barrier to achieve a nicely rounded end pattern if the dance is to commence again at the midline. After the mohawk the partners continue a slow clockwise rotation through steps 12 and 13 so as to be travelling forward on step 14 for the restart of the dance. Both partners commence step 13 crossed in front approximately at the center line. The Rocker Foxtrot should be skated with good knee action, change of lean and flow to enhance the character of a Foxtrot. Inventors
- Eric van der Weyden and Eva Keats
First performance - London, Streatham Ice Rink, 1934 2-42
Technical Content
Rocker Foxtrot Teaching Points •
This dance is appropriately named for the lady’s rocker turn, which is one of the highlights of the dance and also for the way the body leans from one edge to another on strong curves and leans (edges).
•
The dance begins with the cross step. The progressive that follows must be powerful and skated on a strong curve aiming towards the centre of the rink.
•
The lady’s swing rocker turn should be executed with her free leg passing closely by her skating leg, accentuating the strong stretch at the moment just prior to the turn. The turn should be a real rocker turn and not a FO 3-turn that is followed by a change of edge. A good change of lean is required after the turn. The lady should however, keep her hips under her and the man should assist the lady by leading her through the rocker turn.
•
It is important that the man maintains a strong lead to assist the lady going into and coming out of her rocker turn as well as aiding him to step correctly into the left outside three turn.
•
The man’s LFO 3-turn should be aimed directly at the lady to help prevent whipping on the left step forward.
•
Unison and correct tracking are very important on the steps leading into the mohawk in order to set up good unison on the mohawk itself.
•
Gradual, continuous shoulder rotation into and out of the mohawk and checking as the dancers both step forward on Step 14 are imperative.
•
The step forward leading up to the restart of the next pattern should be maintained on the natural curve to prevent loss of flow and to enable the pattern to restart on the mid-line.
•
Maintaining the correct depth of edge is essential to prevent the pattern from shifting, which is a common error in this dance.
Technical Content
2-43
Teaching Progressions •
Practice the lady’s Rocker off of the pattern. Emphasize the correct leg position.
•
Practice the steps leading into the Mohawk on dance patch circles.
•
Practice the Mohawk turn, including the RFO to LFO transition before the turn.
Key elements: • lady’s rocker • mohawk sequence
3663 ROCKER FOXTROT Hold Open
Closed
Open
Step No.
Man’s Step
Number of Beats of Music
Lady’s Step
1
LFO
1
LFO
2
XB-RFI
1
XB-RFI
3
LFO
1
LFO
4
RFI-Pr
1
RFI-Pr
5a
LFO
2
5b
RFO
2
6
LFO3
1+1
2
RBO
7a
RBO
2
4
LFO
7b
LFO
2
8
CR-RFO
2
CR-RFO
9
LFI-Pr
2
LFI-Pr
10
RFO
2
RFO
11
LFO ClMo
2
LFO ClMo
12
RBO
2
RBO
13
XF-LBI
2
XF-LBI
14
RFI
2
RFI
2-44
1+3
LFO-SwRk
Technical Content
3663 ROCKER FOXTROT International Dance - Set Pattern
Music
- Foxtrot 4/4Tempo - 26 measures of 4 beats per minute - 104 beats per minutePattern
SetDuration
- The time required to skate 4 sequences is 1:05 min. Reproduced with permission of the International Skating Union
Technical Content
2-45
2-46
Technical Content
Am eric an F ox trot - S tandard s
H OM E
C L U B
C OPY
JUNIOR SILVER DANCE TEST EVALUATION SHEET
Day
Club Holding Test Candidate Home Club of Candidate
Year
Coach
Male/Female (circle one) Male/Female (circle one)
Steps Performed on Test
Month
Evaluator Partner
Signature of Evaluator KEATS’ FOXTROT Pass
Retry
HARRIS TANGO
Pass
Retry
AMERICAN WALTZ Pass
Retry
ROCKER FOXTROT Pass
Retry
JUNIOR SILVER DANCE TEST EVALUATION SHEET Candidate
Day
Evaluator E = Excellent
G = Good
S = Satisfactory
KEATS’ FOXTROT E
G
S
NI
HARRIS TANGO E
G
S
NI
Month
Year
NI = Needs Improvement
AMERICAN WALTZ
ROCKER FOXTROT
E
E
G
S
NI
G
S
NI
Retry
A. DANCE RHYTHM: *Timing
CANDI DAT E ’ S
CO P Y
Expression ** Unison B. EXECUTION:
*Accuracy/Flow Style/Form Pattern/Placement
RESULT:
Pass
Retry
Pass
Retry
Pass
Passing Requirement: 5/6 must be Satisfactory or better including: *Timing and *Accuracy/Flow ** A satisfactory evaluation in the unison criteria is a requirement for partnered dances only. COMMENTS
Catalogue 13-470-0067E (July 2010)
Technical Content
EVALUATOR IS EXPECTED TO MAKE COMMENTS
2-47
Retry
Pass
CREATIVE DANCES A number of revisions have been made to the STARSkate Dance test program. As of July 1, 2003 the Dance Variation, Bronze Rhythm Dance, Silver Interpretive Dance and Gold Interpretive Dance have been deleted. Four new dances have been introduced: Preliminary Creative Dance, Bronze Creative Dance, Silver Creative Dance and Gold Creative Dance. The following table is a summary of the dance tests in the STARSkate program: Dance Test Preliminary
Junior Bronze
Dance Dutch Waltz
X
Canasta
X
Baby Blues
X
Preliminary Creative Dance
X
Swing
X
Fiesta Tango
X
Willow Waltz
X
Senior Bronze Ten Fox
Junior Silver
Senior Silver
Gold
Diamond
Partner
Solo
Shadow
Passing Requirements (Rule 4303)
3/4 X
X 3/3
X
Fourteenstep
X
European Waltz
X
Bronze Creative Dance
X
X
Keats Foxtrot
X
X
Harris Tango
X
American Waltz
X
Rocker Foxtrot
X
Paso Doble
X
Starlight Waltz
X
Blues
X
X
Kilian
X
X
Cha Cha Congelado
X
Silver Creative Dance
X
Viennese Waltz
X
Westminster Waltz
X
Quickstep
X
Argentine Tango
X
Silver Samba
X
X
Gold Creative Dance
X
X
Ravensburger Waltz
X
Tango Romantica
X
Yankee Polka
X
Rhumba
X
Austrian Waltz
X
Golden Waltz
X
3/4
2-48
X
4/4
X
X
4/6
X
X
4/6
X
4/6
Technical Content
The Creative Dances are an option portion of completing a Compulsory Dance test. At the Preliminary and Senior Bronze level a skater must pass three of the four dances. At the Senior Silver and Gold level a skater must pass four of the six dances. For example, a skater on the Preliminary Dance test level has a number of options to obtain their Preliminary Dance test certificate (i.e. Dutch Waltz, Canasta and Baby Blues; or Preliminary Creative Dance, Dutch Waltz and Baby Blues). Creative Dancing gives coaches and skaters a chance to experiment with modern music (or to stay with the traditional if they prefer) and they have the opportunity to combine the skills they are learning in all disciplines including: the use of timing, rhythm and expression from dancing, the turns and movements of both Skating Skills and Ice Dancing and the freedom of composition and performance aspects of free skating. Since Creative Dances can be performed solo, the partner limitations are not the same concern that currently exists for skaters wishing to take the rhythm and interpretive dance tests. This approach gives more exposure to dance in a fun, less restrictive atmosphere for skaters and an earlier introduction to the creative aspects of dancing for coaches in a safe and positive environment. All of this equals skill development while having fun. A further benefit could be that skaters will stay in dancing longer or may choose dance as a competitive discipline earlier in their development. It also means that skaters will be ready to tackle an Original and/or Free Dance much quicker and easier with this early introduction to “free” dancing.
Shadow Dancing Creative Dances may be performed solo, shadow or as a couple. If the dance is skated shadow or with a partner, the couple composition is unrestricted. If a Creative Dance is shadow danced, both skaters shall perform the same steps (men’s or women’s). They shall skate side by side with no more than arms distance between them. The couple should try to maintain the same distance between one another. Tracking may be used in dance patterns where it is difficult for both skaters to maintain the same distance from one another when performing the same steps side by side. For example, in performing the crossed open choctaw in the Kilian, the skaters may use tracking to complete the step.
Technical Content
2-49
Evaluation Criteria Creative Dances are evaluated on the same two categories as Compulsory Dances: Dance Rhythm and Execution. These categories are further broken down into more specific requirements. A skater is evaluated on: 1. Dance Rhythm - Timing, Expression and Unison (if skated shadow or as a couple) 2. Execution - Accuracy/Flow, Style/Form and Pattern/Placement A skater who performs the dance solo is not required to receive a satisfactory evaluation on the unison requirement. For example, a skater performing the Gold Creative Dance (shadow or with a partner) must pass all 6 evaluation criteria. If a skater chooses to perform the Gold Creative Dance solo, they must pass all criteria except the unison criteria. For a detailed explanation of the criteria for evaluation, see regulation 4000 - D - 4.5 in the Skate Canada Rulebook. Please refer to pages 2-52 to 2-61 for the complete Creative Dance Standards. Equivalency There is no equivalency granted from the Dance Variation, Bronze Rhythm, Silver Interpretive and Gold Interpretive tests to the Creative Dance tests. The test prerequisite for each Creative Dance is the same as all Compulsory Dances. A skater must pass a minimum of the Junior Bronze Dance test to take the Bronze Creative Dance. A skater who has passed the Dance Variation, Bronze Rhythm Dance, Silver Interpretive Dance and/or Gold Interpretive Dance will maintain this test in their Skate Canada records. The Creative Dances are options for skaters to use in completing their Compulsory Dance tests. Evaluation Qualifications Creative Dances may be evaluated by evaluators with the appropriate Compulsory Dance evaluator qualification. The table below indicates the minimum evaluator qualification that is required.
Dance
Evaluator Qualification
Preliminary Creative Dance
Preliminary Dance Evaluators
Bronze Creative Dance
Senior Bronze Dance Evaluators
Silver Creative Dance
Senior Silver Dance Evaluators
Gold Creative Dance
Gold Dance Evaluators
2-50
Technical Content
General Guidelines for Composition • The dance may consist of an original series of steps and movements skated in time with the music. • The choice of steps, turns and rotations and changes of position are optional except for the specific requirements for each level. The skater is expected to incorporate steps, turns and movements that are included in other dances at the same level. Definitions of dance elements can be found in the Figure Skating Terms Defined Section of the Technical Handbook. • Introductions and endings are expected. The number of introductory steps shall not exceed the introductory phrasing of the specific music used. • There are no restrictions on dance holds, arm movements or hand clasp. Any new or known dance positions may be used and should reflect the character of the music. Handin-hand positions with outstretched arms are not permitted except in the introductory steps. The partners must not separate except to change dance hold, which must not exceed one measure of the music. Skaters are encouraged to use arm, postural and leg movements to interpret the music. • Clothing must be simple, modest and dignified. Costumes may reflect the character of the music, but show costumes are not permitted.
Technical Content
2-51
BRONZE CREATIVE DANCE Test Prerequisites • The skater must have passed the Junior Bronze Dance test. Music • The dance can be skated to one selection of music from either the Senior Bronze Dance music (Skate Canada or ISU) or a free choice of music. • If a free choice of music is chosen, it must be of the same character and correct time signature as an existing piece of music from the Senior Bronze Compulsory Dance music. Free choice of music may include the following characters and time signatures for the Bronze Creative Dance: Free Choice of Music Character
Time Signature
Foxtrot
4/4
March
6 / 8, 2 / 4, or 4 / 4
Waltz
3/4
Composition • Dance must move in a counter-clockwise direction. • Reverse direction, stops and loops are not permitted. • The pattern shall consist of a full circuit of the ice or a half pattern repeated. • The dance pattern must not cross the long axis except when crossing the end of the arena. Required Steps/Elements • Any new or known dance steps may be used. The skater is expected to incorporate steps, turns and movements that are included in other dances in the Senior Bronze Dance test. • The dance must include forward and backward dance steps. The dance must include at least one three turn and one mohawk. Passing Requirement • The candidate must obtain a “satisfactory” evaluation or better in timing and Accuracy/ Flow plus satisfactory or better in at least two of: Style/Form, Expression, Unison* or Pattern/Placement in order to pass. * A satisfactory evaluation in the unison criteria is only a requirement for dances that are performed shadow or with a partner.
2-52
Technical Content
Bronze Creative Dance Tips • Include steps from Junior Bronze & Senior Bronze dances as a guideline. • At this level, the pattern should cover at least ¾ of the ice. • Although the competitive dance music may be used, it will be more creative if you choose your own music (be sure the tempo is correct). • The freedom of step creation, complete body movement, character and expression must be evident. • Learn and understand the rules. • Encourage good quality edges and flow throughout. • One highlight should be evident. • Provide good balance between forward and backward skating. • Some two footed steps may add character or expression. • Count accurately so the repeat of the dance is on the count of 1.
Technical Content
2-53
2-54
Technical Content
(iii) Unison (if skated shadow or as a couple)
(ii) Expression
(i) Timing
DANCE RHYTHM
SKILL
rhythm of the entire dance expressed through the steps and body movements consistent evidence of soft knee action
•
•
•
•
complete synchronization in all steps, arm, body movements, dance holds dance steps/holds show the appearance of oneness arms and body movements well synchronized
no timing errors
•
•
exceptional ability to stay in time to the music, even through required elements/ highlights and difficult step sequences
•
EXCELLENT
•
•
•
• most steps, holds, arm, and body movements synchronized dance holds appear natural/relaxed skater shows ability to follow/take lead
•
•
•
steps, free leg, and body movements well matched/synchronized some minor spacing with dance holds
some expression of chosen rhythm some evidence of knee action
•
•
•
• •
•
one minor timing error
• •
•
in time throughout
•
rhythm of the dance expressed through the steps and body movements during the majority of the dance evidence of soft knee action
•
two unrepeated timing errors
•
uses the beat to express rhythm and character
•
•
•
some attention to rhythm
• •
steps not synchronized; partners skate individually dance holds struggle throughout free leg, knee bend, body lean does not match
rhythm of the dance not expressed not “danced” stiff knee action
lacks rhythm
losing beats
out of time; more than two timing errors
NEEDS IMPROVEMENT
uses the beat and rhythm correctly generally in time (does not lose or gain beats)
SATISFACTORY
APPENDIX A: CREATIVE DANCE STANDARDS
•
GOOD
PRELIMINARY/BRONZE CREATIVE DANCE STANDARDS
Prelim inar y / Br onz e C reative Da nce Sta nd a rd s
Technical Content
2-55
(ii) Style/Form
SKILL
interesting arm and postural movements appear throughout the dance multiple dance positions included throughout the dance, if skated as a couple appears to be a 50/50 balance of steps between partners, if skated as a couple
•
•
•
• •
superior carriage and body control throughout soft knees eye focus up
•
EXCELLENT
more than one dance position used, if skated as a couple majority of dance has soft knees and head up appears to be a 60/40 balance of steps between partners, if skated as a couple
• •
two or more varied arm or postural movements
skater shows consistent carriage and control free leg extended/toes pointed throughout arm/body movements do not distract minimum lunging, rocking or kicking up of heels
•
•
•
•
•
•
GOOD
PRELIMINARY/BRONZE CREATIVE DANCE STANDARDS
Prelim inar y / Br onz e C reative Da nce Sta nd a rd s
arm and postural movements are comfortable during dance dance position is definable, if skated as a couple minor lapses with posture in more difficult sections eye focus down appears to be a 70/30 balance of steps, if skated as a couple
• • • •
generally correct carriage throughout occasional bent free leg/head down or lunging
•
•
•
SATISFACTORY
dance positions are weak if skated as a couple complete imbalance of steps between partners if skated as a couple • •
no arm or postural change throughout the dance
poor carriage and lack of body control throughout; frequent lunging arm/body movements are a distraction stiff knees •
•
•
•
NEEDS IMPROVEMENT
2-56
Technical Content
•
definite ease of movement across the ice very well placed elements changes of curve and direction consistently evident No toe pushing/ widestepping interesting pattern neat footwork throughout Steps performed on deep lobes / edges Entire dance skated with balance / control Smooth glide throughout
EXCELLENT •
GOOD
(iii) Pattern/Placement
SKILL
(i) Accuracy/Flow
•
•
•
EXCELLENT steps vary in direction (lobe) throughout the dance pattern varied, interesting and balanced with effective use of required elements/highlights choreography (steps and moves) original and appropriate for rhythm selected •
•
•
GOOD some step variation in direction pattern balanced with well placed highlights/required elements most choreography (steps, turns and moves) generally appropriate for test level and rhythm selected
reasonable flow and good ice coverage • • well placed elements • • reasonable curves and changes of direction • toe pushing • • occasional instances of l widestepping during required • elements • • One minor error during dance required elements/highlights; • otherwise most footwork is neat and tidy throughout • • Most steps performed on deep lobes/edges • • Majority of dance skated with balance/control; some obvious PRELIMINARY/BRONZE CREATIVE DANCE STANDARDS pushing
EXECUTION
SKILL
Pr elimi nar y / B ronze C reative Da nce Sta nd a rd s
PRELIMINARY/BRONZE CREATIVE DANCE STANDARDS
•
•
•
•
•
•
•
• •
SATISFACTORY required elements are included pattern reasonably balanced, some required elements/highlights choreography (steps, turns and moves) generally appropriate for test level and rhythm selected
some flow and ice coverage generally well placed elements some curve to edges and some change of direction One or two instances of widestepping during dance required elements/highlights All steps completed on shallow edges One or two instances of loss of control / balance during required elements/ highlights
SATISFACTORY
•
•
•
•
•
required steps not included pattern shallow, unbalanced poor placement of highlights/ required elements choreography (steps, turns and moves) inappropriate for test level and rhythm selected an excess of highlights to the detriment of connecting steps
poor flow and ice coverage • poorly placed elements (clustered or unattractive) • lack of edge and change of direction • Untidy footwork, several instances of wide-stepping, twofooting throughout dance • No obvious lobes in dance; frequent toe pushing • Unable to maintain balance / control throughout choreography resulting in flats NEEDS IMPROVEMENT •
NEEDS IMPROVEMENT
SILVER CREATIVE DANCE Test Prerequisites • The skater must have passed the Junior Silver Dance test. Music • 2 minutes maximum • The dance can be skated to one or two selections of music from the Senior Silver Dance music (Skate Canada or ISU) or free choice of music. • If a free choice of music is chosen, it must be of the same character and correct time signature as an existing piece of music from the Senior Silver Compulsory Dance music. Free choice of music may include the following characters and time signatures for the Silver Creative Dance: Free Choice of Music Character
Time Signature
Paso Doble
2/4
Waltz (with the character and rhythm of the Viennese Waltz)
3/4
Blues
4/4
March
2 / 4 and 4 / 4
Cha Cha
4/4
Composition • Dance must move in a clockwise or counter-clockwise direction. • Stops are not permitted. • It must cross the midline of the arena within 20 meters of the end of rink, except the diagonal line step sequence. • Loops may be included but must not cross the short axis of the arena. • Any new or known dance steps may be used. The skater is expected to incorporate steps, turns and movements that are included in other dances in the Senior Silver Dance test. • It must include: • one diagonal step sequence • one straight line sequence, travelling down the long axis of the arena • The straight line sequence must include a series of twizzles. - A series of twizzles must include at least two twizzles for each partner with up to three small steps between. - Each twizzle shall be at least one rotation on one foot performed simultaneously by both partners. For example: side by side in same direction (matching), side by side in opposite direction (mirror), or following one another (one skating forward and/or backward and the other skating backward and/or forward). • If it is skated as a couple, the skaters may (but not required) include one lift and one dance spin. Passing Requirement • The candidate must obtain a “satisfactory” evaluation or better in all six criteria for dances performed shadow or with a partner and all except unison for soloed dances. Technical Content
2-57
2-58
Technical Content
attention to phrasing of music gives importance to every beat
•
•
•
exceptional ability to stay in time to the music, even through required elements / highlights and difficult step sequences
•
EXCELLENT
•
in time throughout
•
(iii) Unison (if skated shadow or as a couple)
SKILL
•
•
•
partners have superior skating ability; skaters matched in skating ability; program content, expression, motivation and commitment to the program entire dance is harmonious and seamless movements throughout dance definite appearance of oneness
EXCELLENT
•
•
•
all steps, holds, arm and body movements well synchronized skaters appear to have a feeling of oneness throughout majority of dance no obvious struggling (clutching/grabbing) in dance holds
GOOD
•
•
•
•
steps, holds, arm and body movements generally well synchronized arm/body movements generally well co-ordinated 1 or 2 minor errors with more difficult choreography
SATISFACTORY
appropriate expression for rhythm selected general evidence of “dance ability” for rhythm
two unrepeated minor timing errors
•
uses the beat to express rhythm and character
•
•
some attention to rhythm
•
uses the beat and rhythm correctly generally in time (does not lose or gain beats)
SATISFACTORY
•
GOOD
superior expression and • sophisticated interpretation of interpretation of dance dance rhythm selected rhythm using selected • strong “dance ability” i.e. uses music knee action, lean and body • ability to capture emotion motion to enhance rhythm required by the rhythm of themusic through body movement • superior “dance ability” i.e. uses knee action, lean and body motion to enhance SILVER/GOLD CREATIVE rhythmDANCE STANDARDS
(ii) Expression
(i) Timing
DANCE RHYTHM
SKILL
SILVER/GOLD DANCE STANDARDS Silver / GoldCREATIVE Cre ative Da nce Sta nd a rd s
•
•
•
•
steps, arm, body movements consistently lack co-ordination throughout dance holds struggle (clutching /grabbing) individual skating throughout lack of synchronization in steps
NEEDS IMPROVEMENT
•
dance rhythm incorrectly/ inconsistently expressed little evidence of knee action, lean or body movement
lack of rhythm
•
•
out of time; more than two timing errors; losing beats
•
NEEDS IMPROVEMENT
Technical Content
2-59
(i) Accuracy/Flow
EXECUTION
SKILL
•
•
•
•
• •
• •
•
•
twizzles are successful and include more than one revolution definite ease of movement across the ice very well placed elements changes of curve and direction consistently evident interesting pattern line sequence is straight and covers at least ¾ of the ice surface (Silver – straight and diagonal line; Gold – diagonal circle is identifiable and closed (Gold) Skaters gain flow/power through required elements/ highlights Effortless power and flow throughout demonstrating superior knee action and lean Neat, precise footwork throughout
EXCELLENT
•
•
•
•
•
• • •
•
GOOD twizzles are successful and include at least one revolution good flow and ice coverage well placed elements reasonable curves and changes of direction line sequence(s) (Silver and Gold) are straight circle step sequence is identifiable and is closed (Gold) Skaters generally maintain flow/power through required elements/ highlights Power and flow demonstrating deep edges through coordinated knee action and body lean Rare instances of widestepping
Silver / Gold Cre ative Da nce Sta nd a rd s SILVER/GOLD CREATIVE DANCE STANDARDS
•
•
•
•
•
• •
•
at least one twizzle is successful some flow and ice coverage generally well placed elements some curve to edges and some change of direction circle step sequence is identifiable as a circle Skaters maintain flow/power through required elements/ highlights, some scratching Adequate power and flow to demonstrate shallow edges Occasional widestepping during required elements/ highlights
SATISFACTORY
•
•
•
•
•
•
•
•
•
•
no twizzles are successful poor flow and ice coverage poorly placed elements (clustered or unattractive) lack of edge and change of direction line sequences are not identifiable poor circle size and shape (Gold) Skaters gain speed / flow through progressives and chassés only Obvious telegraphing of required elements / highlights Insufficient power and flow to demonstrate lobes and edges Widestepping and slurring of footwork throughout
NEEDS IMPROVEMENT
2-60
Technical Content
(ii) Style/Form
SKILL
varied dance positions occur in the dance, if skated as a couple carriage and form appropriate to rhythm (e.g. for waltz – head up, back erect, free leg extended with well pointed toes choreography (steps and moves) original and appropriate for rhythm selected
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balance of steps between partners appears to be 50/50
EXCELLENT superior use of entire body throughout all steps, positions, dance holds (if performed as a couple) look natural and controlled elegant and well defined positions appropriate to rhythm
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steps appear to be a 60/40 split in balance, if skated as a couple some change of dance positions, if skated as a couple choreography (steps, turns and moves) generally appropriate for rhythm selected
GOOD above average use of entire body/dance holds (if performed as a couple) appropriate to rhythm consistent carriage and form pleasing carriage and form with no obvious lapses/form breaks
SILVER/GOLD CREATIVE DANCE STANDARDS
Silv er / Gold Cr eative D anc e Sta nd a rd s
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SATISFACTORY generally pleasing and relaxed use of all positions/dance holds (if performed as a couple) generally pleasing carriage and form (upper body control and free leg extension) with one or two lapses/form breaks in the more difficult parts of the program balance of steps appears to be 70/30 if skated as a couple. Both skate the required step sequences, if skated as a couple dance includes some face to face dance positions, if skated as a couple some choreography (steps, turns and moves) inappropriate for rhythm selected •
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dance appears to be skated in only kilian or hand in hand position, if skated as a couple dance holds appear awkward or weak complete imbalance of steps if skated as a couple choreography is not appropriate for rhythm selected
there is a predominance of progressives and chasses
NEEDS IMPROVEMENT • generally poor execution of body positions/dance holds (if performed as a couple) throughout • poor carriage/form and body control throughout
Technical Content
2-61
SKILL (iii) Pattern/Placement
step sequences include a variety of steps series of twizzles is included most choreography (steps, turns, moves) is at the appropriate test level
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both step sequences are definable and move in out of the dance without hesitation all choreography (steps, turns, moves) is at the appropriate test level
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good variety of steps in at least one direction
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varied steps and directions occur during the dance
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difficult steps occur regularly in the required step sequences and the general pattern
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different steps appear throughout
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choreography (steps, turns, and moves) original and appropriate for rhythm selected
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GOOD interesting balanced use of required elements/ highlights throughout program
program displays superior ability to move from element to element smoothly and powerfully using difficult well executed connecting steps and a variety of ice patterns
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EXCELLENT
SILVER/GOLD CREATIVE DANCE STANDARDS
Silv er / Gold Cr eative D anc e Sta nd a rd s
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SATISFACTORY generally balanced distribution of required elements/ highlights throughout program choreography (steps,turns, and moves) generally appropriate for rhythm selected dance includes two step sequences and a series of twizzles choreography (steps, turns moves) is generally at the appropriate test level
NEEDS IMPROVEMENT • highlights/required elements in one section of program • choreography (steps and moves) inappropriate for rhythm selected • an excess of highlights to the detriment of the connecting steps • dance does not include the required step sequence or a series of twizzles • dance includes simple steps with little variety
Section 3: JUVENILE & PRE-NOVICE COMPETITIVE DANCE
2
Juvenile & Pre-Novice Competitive Dance
PATTERN DANCE NOTES • Introductory steps for pattern dances are as follows: • Juvenile: maximum of seven introductory steps • Pre-Novice, Novice, Junior, Senior: steps not to exceed the introductory phrasing of the music. Note: the European Waltz is a short introduction. Introductory phrasing has 8 measures of 3 beats (or only 4 measures of 6 beats). • Warm-up periods for pattern dances will have a maximum of five couples on the ice at the same time. • Updated dance patterns (including location of judges stand in relation to dance) are posted on Members Only under the following links: - Technical and Programs - Rules - Current Official Rule Book - Technical Handbook (including Official Rules) - Figure Skating Terms • The Optional pattern dances are indicated on the dance patterns. Example Kilian: four sequences (Novice dancers) • Optional pattern dance: A dance for which the pattern may be altered by a couple provided that the original step sequences, positions and timing are maintained. Each repetition of the altered pattern must be executed in the same manner and the restart must be commenced from the same place. • Set pattern dance: A dance for which the location, direction and curvature of all edges to be skated are designated in the diagram. • ISU pattern dance music will be utilized at the Pre-Novice to Senior levels (Strasser-Tauber version only; three tunes alternating); Skate Canada Series 8 will be utilized for Juvenile events. • Pre-Novice, Novice, Junior or Senior compulsory dance events will have four minute warmups. The first minute will be without music. The remaining three minutes will have music which shall be a tune not used in the rotation for the event. • Juvenile dance events will have a four minute warm-up (one minute no music, three minutes with). THE FREE DANCE COMPONENT DEFINITIONS Free dancing Free dancing s the skating by a couple of a creative program with dance steps and movements expressing the character of the music chosen by the couple. Required Elements are listed below. Dance Lift An action, in which one partner is elevated to any height, sustained there and set down on the ice. Any rotations positions and changes of such positions during the lift are permitted. Lifts should enhance the music chosen and express its character and should be performed in an elegant manner without obvious feats of strength and awkward and/or undignified actions and poses.
Juvenile & Pre-Novice Competitive Dance
3-1
Types of Dance Lifts: Short Lifts (The duration of the Lift should not exceed six (6) seconds) a) Stationary Lift is a lift that is executed on the spot (stationary location) by the lifting partner who may or may not be rotating. b) Straight Line Lift is a lift in which the lifting partner travels in a straight line in any position on one foot or two feet. c) Curve Lift is a lift in which the lifting partner travels on one curve (lobe) in any position on one foot or two feet. d) Rotational Lift is a lift in which the lifting partner rotates in one (clockwise or anticlockwise) direction while traveling across the ice. Combination Lifts (The duration of the Lift should not exceed twelve (12) seconds) e) two Rotational Lifts (as per paragraph d) above) in different directions; f) two Curve Lifts: on two different curves forming a serpentine pattern; g) two different Types of Short Lifts a), b), c) or d) above. The following movements and/or poses during the lift are not allowed and will be called Illegal: - lifting hand(s) of the lifting partner higher than his head* - lying or sitting on the partner’s head;** - sitting or standing on the partner’s shoulder, back;** - lifted partner in upside down split pose (with angle between thighs more than 45 degrees)**. - lifting partner swinging the lifted partner around by holding the skate(s)/boot(s) or leg(s) only and/or by holding the hand(s) with full arm extension by both partners or without the assistance of hand(s)/arm(s).** *It is NOT considered as an illegal lift if: the point of contact of the lifting hand/arm of the lifting partner with any part of the body of the lifted partner is not sustained higher than the lifting partner’s head or the lifting hand/arm which is used for support or balancing only or which touches any part of the body of the lifted partner is not sustained by the lifting partner higher than his head for more than 2 seconds. ** A brief movement through the poses listed above will be permitted if it is not established (sustained) or if it is used only to change of pose. Dance Spins Spin A spin skated by the Couple together in any hold. It should be performed on the spot around a common axis on one foot by each partner simultaneously. Both partners must complete at least 3 full continuous rotations on one foot. 3-2
Juvenile & Pre-Novice Competitive Dance
Combo Spin A spin performed as above after which one change of foot is made by both partners simultaneously and further rotations occur. Both partners must complete at least 3 rotations on one foot, followed by a change to the other foot for both simultaneously and 3 further rotations on the other foot with no more than ½ rotations on 2 feet during the “change of feet. The basic positions in Dance Spins are: • Upright Position • Sit Position • Camel Position Dance Step Sequences Dance step sequences are a series of prescribed or un-prescribed steps, turns and movements in an Original and Free Dance. Step Sequences for Original and Free Dances can be skated either in hold or not-touching. Step Sequences in hold must be skated in any known dance holds or variation thereof (unless otherwise specified by the Technical Committee). Any separation to change a hold must not exceed one measure of music. Not Touching Step Sequence must incorporate mirror and/or matching footwork. Both partners may cross each other’s tracing(s) and may switch from matching footwork to mirror and vice versa. The partners should remain as close together as possible, but they must not touch. The distance between the skaters should generally not be more than 2 arms length apart except for short distances when the skaters are performing required edges and turns in opposite directions. All Step Sequences are divided into three groups: Group A: Straight Line Step Sequences a) Midline: skated along the full length of the centre (long) axis of the ice surface b) Diagonal: skated as fully corner to corner as possible) Group B: Curved Step Sequences (May be skated in clockwise or anti-clockwise direction) c) Circular: utilizing the full width of the ice surface on the short axis of the rink d) Serpentine: commences in either direction at the centre (long) axis at one end of the rink and progresses in three bold curves or in two bold curves (S-Shaped) and ends at the centre (long) axis of the opposite end of the rink (pattern utilizing the full width of the ice surface). Group C: Partial Step Sequences - Performed on the ice surface anywhere or as prescribed by the Ice Dance Technical Committee.
Juvenile & Pre-Novice Competitive Dance
3-3
SYNCHRONIZED TWIZZLES Twizzle: A traveling turn on one foot with one or more rotations which is quickly rotated with a continuous and uninterrupted action. A twizzle is an unchecked multi-rotational turn performed on one foot, where the knee bend generally does not change once it has been established after the first rotation of the blade. The turn may rotate either clockwise or counter-clockwise. The weight remains on the skating foot with the free foot in any position during the turn then placed beside the skating foot to skate the next step. A series of checked three turns is not acceptable as this does not constitute a single action. The skaters must travel across the ice during the turns. The four (4) different types of entry edges for Twizzles are: • Forward Inside (FI) • Forward Outside (FO) • Backward Inside (BI) • Backward Outside (BO) All sets of Twizzles are comprised of 2 twizzles. Each twizzle shall be at least one full rotation on one foot performed simultaneously by both partners. For example: − Side by side in the same direction (matching) − Or side by side in opposite directions (mirror) − Or following one another (one skating forward and/or backward and the other skating forward and/or backward) • Both partners must skate the same number of rotations for each Twizzle. • No stops are permitted before the first or second Twizzles. • More Twizzles may be added but the first two twizzles only will be considered for the Level. Series of Synchronized Twizzles At least two twizzles for each partner with up to 3 small steps between. Series of Sequential Twizzles At least two twizzles for each partner, with up to 1 step* between. *A “step between Twizzles” means stepping onto the other foot to perform one “intermediate/transition” step or one foot turn (e.g. bracket, counter) to enable the couple to perform the second twizzle on the same foot as the first twizzle should they wish to do so. As in singles and pairs, lifts, spins and step sequences are assessed a level of difficulty. Information about the features and rules regarding the levels of difficulty are available on the ISU and Skate Canada web sites with yearly changes well documented.
3-4
Juvenile & Pre-Novice Competitive Dance
General Technical Tips for Juvenile and Pre-Novice Competitive Teams • • • • • • • • • •
Push through the ball of foot. Weight is balanced up and over ball of foot (as if standing on end of diving board). Arms are strong, holds correct and firm, very smooth. Cross rolls: cross thighs high. Utilize 30° rule. Be thorough with the technique at the lower levels. Work to music as much as possible. Pay attention to pre-knee bend before stepping. Work on knee rhythm. Back crossovers: reach to the outside edge and cross to the inside.
Juvenile & Pre-Novice Competitive Dance
3-5
Music Selection • • • • •
There must be a motivation for movement - what to dance about. The music should be memorable. It must be age appropriate. The music should be challenging but not out of reach of the potential of the athlete. Buy good quality discs and edit carefully and correctly, paying attention to key changes and volume. Edits must be seamless. • Balance the segments selected for a homogeneous effect. • It must have “danceability“ obvious rhythm, character and style. Preparation and Choreography A) Build a repertoire of elements • Review all steps and turns from which to choose • Create several lifts and spins, and then choose the best. • Check the Skate Canada Rulebook for the necessary criteria (any current changes will appear on the Skate Canada website). • Create step sequences suitable for the music and with good technical quality • Practice elements in isolation. • Research for correct character and movement ideas. B) Play with the music and find highlights and significant indicators in the music for the various elements. • Find a baton and conduct the music yourself, listening for the indicators. Mark down the words that best describe the indicators. • Clearly find the opening, character section, slow, climax and ending. • Find possibilities for counterpoint. C) Now you are ready to choreograph. (Quiet ice time and control of the music are essential for good work.) • You don’t have to start at the beginning. • Place the major elements. • Pay attention to, and use music effectively. • pattern, direction and effect • Balance levels in space. • Incorporate changes of pace. • Create focus. • Use as many upper body positions and movements as possible. • Use symmetrical and asymmetrical movement for effect. • Go slowly and pay attention to detail. D) Create avenues for expression. E) Phrasing is paramount (the “Mary Had A Little Lamb” theory) F) Maintain the integrity of the piece; stay true to your concept. G) Use style as the thread to pull the program together. Repeat gestures, arm and head movements, free leg movements and steps of a certain character. Consistent style will add to the overall expression as well. 3-6
Juvenile & Pre-Novice Competitive Dance
Costuming Package it up using a wonderful and appropriate costume Key elements • colors • style and design • fit and quality of sewing • age • quality of fabric Less is More Training • Run throughs are your most valuable asset. • You can only measure the value of a piece, by seeing and reacting to it in its entirety. • Review segments after the run through to polish and expand. • The best sport psychology for a young skater is to be well trained.
Juvenile & Pre-Novice Competitive Dance
3-7
GENERAL COMMENTS ON EVALUATION STANDARDS þ The quality of edge, flow, lean, etc. should be evident. þ Establish in your mind what you, or a judge, should expect to see. Remember your priorities and avoid changing standards from skater to skater. Develop a checklist for yourself; it can be a great help. Determine a systematic approach for observing the performance: - check timing, flow, technique, etc. - check expression, unison, originality, etc. Above all remember:
“skate” ability = Composition “dance” ability = Presentation
3-8
Juvenile & Pre-Novice Competitive Dance
APPENDIX
2
Appendix
APPENDIX THE TRAINING OF A DANCE COUPLE: RECIPE FOR SUCCESS By Marijane Stong, Skate Canada National Coach Consultant, with input from Gayle McClelland, Skate Canada Chief Athlete Development Officer and Bill Bridel, former Skate Canada Director of Athlete Development.
The training of a dance couple is in most cases the same as training any other athlete. There are a few differences which are essential in the making of a championship team. Plan Planning for success is a must. A champion doesn’t just happen; a champion is created. “Think slowly, act quickly.” (Greek Proverb) A well thought out plan with long and short-term goals is necessary. Strategize when and where the team will debut new work and allow time for corrections between the first and second viewing. Do a number of simulations and competitions before the main events of the season. Do them for you and your couple and don’t get hung up with early results, good or poor. Part of the plan must be an excellent daily routine; well laid out and covering all elements. A proper warm up must be created plus a system for run throughs. Run throughs must be done daily. A run through does not stop and start again, nor is it done in sections. Sections can be reworked after the complete program is done. In the early season, the run through is for cardio and stamina and as the season goes on, the emphasis will be on performance. Training must be done to aid in both aerobic and anaerobic conditioning and athletes must be encouraged to warm down after each session. Athletes First, Skaters Second The people we select to become elite dancers must first be great athletes. The off ice program for an ice dancer is quite extensive. Good line, flexibility and core strength are paramount, plus the general strengthening of the legs to ensure power. Pilates classes are very good for improvement in these areas; there are many excellent resources and fitness experts who can assist in the development of an effective core stability and resistance training program. All one needs for a total body workout suitable to figure skating is a stability ball and some resistance tubing. Watch for articles on Skate Canada’s website on this particular subject. A ballet class will cover so many areas. Balance, strength, core strength and line are developed plus an automatic sense of position and style. The simplest exercise incorporates the use of the entire body. Every movement in class is done to music. Even the barre exercises are set to the music in phrase. Classical and character dance is explored. In other words, you get immense value from each class. In many ballet schools there are other types of dance offered, such as modern dance. This can be more free form and experimental, less traditional in style. Appendix
4-1
Ballroom dance is a very important enhancement to the off-ice components of an ice dancer’s training. This would be the first difference from a single skater’s routine. Much of what a dancer does relates to the ballroom floor. Correct character and style will be taught for each of the ballroom rhythms and it will teach the couple how to work comfortably with each other’s body. It certainly is not a substitute for conditioning or ballet. I declare unconditionally that whatever ability I have to choreograph and set movement to music is the result of spending as much time in a dance class as on the ice. Our skaters need this opportunity. Sport psychology, mental and relationship training, are very important in keeping two athletes working in harmony. I feel that all too many couples break up without getting the help they truly need. Often the things that make a couple interesting can be the things that could also tear them apart. To be successful, our dance teams must have longevity as a team - that is, the ability to stick it out, stick together, set goals - long-term and keep moving forward. A sport psychologist can also assist with how these personalities deal with the stress of competing and give them skills to ensure a great performance. The best psychology for young athletes is over learning and routine. The coach should guide much of the day-to-day psychology. On-Ice Training Choreography cannot be constantly changed if you eventually want a superb performance. Consistent repetitions of a well-rehearsed routine will allow muscle memory to develop, ensuring the likelihood of a clean performance. Small changes and embellishments can be added as the season progresses but never the week prior to a championship or at the championship itself. Although program changes are not necessarily a good thing, leaving room for a program “to grow” is. Coaches need to choreograph strategically, allowing space for the program to grow in size when speed is developed. Some time each day must be given to stroking. Proper technique will allow for the development of speed and flow. Dancers must also ensure that they are developing skills in both directions, as individuals and as a couple. A training session must have a positive and energetic atmosphere and it is up to the coaches to create and maintain this environment. It takes only moments for negativity to spread throughout the group, in which case valuable training time is lost. It is not always the skaters who create a poor atmosphere. A good trainer or coach will motivate his athletes with positive reinforcement while making intelligent corrections. The use of a video camera is ideal for correction and also for the couple to view their progress. A great performer needs to develop self-confidence. You must be demanding of excellence and remain consistent in approach and training.
4-2
Appendix
Do not leave any stone unturned, as an uncorrected error, or oversight will come back to haunt you. Ensure that as a coach or an athlete that you are a student of the sport and doing your homework on a constant basis (survey the international scene and note trends, etc.) Finally, be careful to whom you listen for advice. No matter how many opinions you get, the most important one is yours. As the coach, the final decisions rest on you. Gather the information you need, sort through it carefully and come to your own conclusion. Everyone makes mistakes, but it is how you learn from them that will make you a better coach. Failure is the tuition you pay for success. “Never allow a person to tell you ‘No’ who doesn’t have the power to say ‘Yes.’”(Eleanor Roosevelt, American First Lady, columnist, lecturer, humanitarian.)
“A winner is someone who recognizes his God given talents, works his tail off to develop them into skills and uses these skills to accomplish his goals.” (Larry Bird, American basketball player and coach.)
Appendix
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