|
|
** This section is currently under revision **
Below you can view step charts, patterns and brief descriptions of the dance (in alphabetical order).
Thanks to both the USFSA and the ISU for granting us permission to quote from the rulebooks. If you know of any changes to what's printed here, please let us know.
|
AMERICAN WALTZ
[Step Chart]
[Pattern]
Music - Waltz 3/4
Tempo - 66 measures of 3 beats per minute
- 198 beats per minute
Pattern - optional
Duration - The dance is skated for one minute after the man's first three turn
The American Waltz consists of a series of semi-circular lobes skated alternately towards and away from the midline. These lobes are joined at the ends by 6 beat outside rolls. Two lobes are directed towards the midline except that on ice surfaces less than 60 meters in length it is permissible to skate only one lobe towards the midline. This is the only pattern option permitted. The lobes nearest the ends are positioned so that their ends are closer to the midline, making it possible for a single 6 beat roll to connect them. The start and finish of all other lobes should be equidistant from the midline. All steps should be of equal curvature so that each group of three steps forms a large semi-circle.
The expression of waltz music is characterized primarily be evenness of flow between points of major and minor emphasis with alternate. The points of emphasis are not greatly marked and continuous flow is predominant. Any abrupt motions are out of place in this dance. 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 emphasized otherwise. Thus the turning of the three should be as inconspicuous as possible. While a knee bend is desirable to accentuate count 1, a second knee bend on count 4 is not permitted.
Inventor - unknown
First performance - unknown
|
|
ARGENTINE TANGO
[Step Chart]
[Pattern Lady]
[Pattern Man]
Music - Tango 4/4
Tempo - 24 measures of 4 beats per minute
- 96 beats per minute
Pattern - Set
Duration - The time required to skate 2 sequences is 1:10 min.
"The Argentine Tango is a sinuous dance and should be skated with strong edges and considerable élan. Good flow and fast travel over the ice are essential and must be achieved without obvious effort or pushing. [...]
This tango is danced to the rhythm of Latin American tango music where the musical count is 1-2-3-4-and-1, etc. This differs from the Spanish tango rhythm of 1-2-and-3-4-1, etc. The many varied step sequences in this dance are complementary to the dramatic and romantic character of the music. Dancers must at all times be aware of the rhythmic timing and reflect this in the execution of steps and in expressive interpretation of the music. Prolonged free leg extension, upright, graceful carriage and good unison are needed for this dance. Where appropriate, rotations must be fast but controlled. The partners should make maximum use of the interpretive elements of the dance, including the short steps, quick turns and serpentine movements."
Inventors - Reginald J. Wilkie and Daphne B. Wallis
First Performance - London, Westminster Ice Rink, 1934 |
|
|
|
BLUES
[Step Chart]
[Pattern]
Music - Blues
Tempo - 22 measures of 4 beats per minute
- 88 beats per minute
Pattern - optional
Duration - The time required to skate 3 sequences is 1:14 min.
The Blues should be skated with strong edges and deep knee bends to achieve the desired expression. The man begins the dance with a cross roll moving form outside the closed position while step 1 for the lady is crossed behind. The lady crosses in front on step 2 while her partner skate a progressive.
Inventors - Robert Dench and Lesley Turner
First Performance - London, Streatham Ice Rink, 1934 |
|
|
CHA CHA CONGELADO
[Step Chart One]
[Step Chart Two]
[Pattern]
Music - Cha 4/4
Tempo - 29 measures of 4 beats per minute
Pattern - optional
Duration - The time required to skate 2 sequences is 1:07 min.
This dance is designed to introduce dancers to a Latin American rhythm at an early stage of development and help them to appreciate rhythm not only with their feet, but also with their bodies. The steps are structured in places so as to portray a feeling of "1,2 cha-cha-cha".
Individual interpretation by couples to add Cha Cha character is permitted provided that integrity of steps, free leg positions and dance positions are maintained.
Retrogressions on pattern transitions are permitted.
Inventors - Bernard Ford, Kelly Johnson, Laurie Palmer and Steven Belanger
First Performance - Richmond Hill, Ontario, 1989 |
|
EUROPEAN WALTZ
[Step Chart]
Music - Waltz 3/4
Tempo - 45 measures of 3 beats per minute
- 135 beats per minute
Pattern - Optional
Duration - The dance is skated for one minute after the man's first three turn
The basic steps of the European Waltz are a 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 away from the midline, but in rinks that are less than 60 meters in length it is permissible to skate only one lobe towards the midline.
The dance is skated in a closed position throughout. The rotation of the partners around each other is continuous and reverses its direction at the start of each new lobe. For example, in lobes aiming toward the side of the ice surface, the couple rotates to the left; in lobes aiming toward the midline, the couple rotates to the right. This rotation 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 flavor.
Inventor - unknown
First Performance - before 1900 but the exact date and location are unknown. |
|
FINNSTEP [ISU PRESS RELEASE INTRODUCING FINNSTEP - 5.8.08]
[Step Chart-page 1]
[Step Chart-page 2]
[Step Chart-page 3]
[Pattern Lady]
[Pattern Man]
Music - Quickstep 2/4
Tempo - 52 measures of 2 beats per minute
- 104 beats per minute
Pattern - Optional
Duration - The time required to skate 2 sequences is 1:16 min.
The Finnstep is a fun, fast dance. The best way to describe it is that it resembles “sparkling
champagne”. It is a ballroom type Quickstep, and should be danced very lightly, so to speak “over-the-top”. This dance is not serious, so it can even be performed a bit comically. Polka/Folklore character
should be avoided.
It requires very crisp and tidy timing as well as footwork. The timing is the most important
characteristic of the dance and lack of crisp and clean timing and character, should be penalized
severely. The accent should always be at the beginning of the beat – not just on the beat. By skating
the steps at the beginning of the beat, the couple achieves the required lightness. This dance measures
the musicality of the couples.
The posture should be very upright, almost stiff throughout the dance. It is essential to skate the longer
steps with strong, well rounded, deep edges to contrast with the crisp light steps, toe steps and hops
(small jumps without rotation) found throughout the dance! Just skating the steps is not enough. It is
how the steps are executed and what is “said and expressed” with the technique that is important, not
the technique in itself. The technique is only a tool for expression which must be strong!
1. The Promenade Section
The Promenade Section sets up the character of the dance. Accurate and crisp timing with emphasis on
the upbeats as well as the “and”-beats is crucial for a successful performance here. The first part of
this section is skated in open hold on a straight line across the rink, with light hops and upright style to
resemble a typical ballroom Quickstep. The lady’s twizzle of 1 ½ rotations (her step 12) needs to be
very fast. At the conclusion of her twizzle, the couple skates steps 13-18 in partial outside hold (like
the Viennese opening steps), before moving to outside hold on step 19. Good, clean free-leg action is
also to be valued throughout this part. The “hop-moves” need to be executed in complete unison using
only the legs and knees, not the upper body. Holds and positions need to be elegant, upright, levelled,
the upper body lifted erect and almost stiff.
2. Turn, Twizzle and Stop Section
This section needs to be skated with controlled, deep, nicely flowing edges without losing the
character and the rhythm of the dance. After the simultaneous twizzles (step 21) the partners are face-to-
face, clasping left hands, with their right arms extended to the side and a little higher than shoulder
level. The exit edge of step 21 (RBI for man; RFO for lady) needs to be well controlled with the free
legs stretched behind. On step23 the partners move into open hold. During the leg swing, in
preparation for the swing closed choctaw (step 32), the lady moves ahead under the man’s left arm to
hand in hand, with arms bent. On step 33a the man skates an open RBI mohawk, while the lady starts
her step 33 on an RBI followed by her change of edge in preparation for their second set of
simultaneous twizzles (his step 33c while she continues her step 33). The couple passes through waltz
hold, then the lady’s left arm briefly touches the man’s back. The man’s left hand holds the lady’s
right during the twizzle. After turning their twizzles (1 rotation for the man; 1½ for the lady), the
couple slides into a stop in Kilian with both of their arms extended to the side and their hands clasped
in a “butterfly” hold, and with their free legs extended to the side.
Steps 34-42 are performed on the spot (shown as stationary steps on the diagrams). These character
toe steps should be executed with light feet and crisp timing. Good clean free leg action with the free
legs held at at least 45° angles is essential. During the toe steps the couple moves into partial
outsidehold . The pendular movement of the free leg moves slowly from side to back. On steps 34, 35, and 36 there is pendular movement of the free leg as it moves slowly from side to back coupée.
On step 38 the free leg is extended to the front, in back coupée on step 39, extended to the front on
step 40, in back coupée again on step 41. They conclude the stationary section on step 42 on their
toepicks with both feet close together.
3. Crossing Paths (changing sides) Section
To achieve the dynamics of performing this section of the dance the couple needs to accelerate,
creating a clear crescendo. The pattern is permitted to “backtrack” after the stop to enable the couple
to have room to complete the pattern and achieve the correct restart The section starts on Step 43
with a Hop forward landing on the left foot. Steps 46, 47, and 48 should be executed with the free leg
bending back 90°, knees parallel and steps lightly hopped. . In the crossing paths section it is
important that steps 52 & 58 for the lady and 51b and 58 for the man are skated with a good edge
across ice to enable the passing by of the couple (so that the couple “zig zag”). The changing of sides
on steps 54 & 61 should be done lightly, with good, matching knee action, however Polka/folk dance
character should be avoided. The many hold and position changes throughout this section should be
done effortlessly, with ease. The cross behind closed Choctaw (step 64) must be skated with clean and
deep edges to enable tight, simultaneous Twizzles just before the re-start. A poor execution of the
Choctaw and Twizzle will lead to difficulties for the re-start and poor character of the 1st part of the
dance.
Summary
Dance is a means of expression. If the execution of this dance does not evoke feelings in the audience,
even if it were technically correct and clean, it would not be a successful performance. The dance must
be as much fun to watch as it is to dance. Otherwise the performers should not be rewarded with good
marks.
Inventors - Susanna Rahkamo and Petri Kokko with Martin Skotnicky
First Performance - European Championships 1995 Dortmund Germany
Adaptation to Compulsory Dance - The inventors were assisted by Kati Winkler, René Lohse
|
|
FOURTEENSTEP
[Step Chart]
[Pattern]
Music - March 6/8 or 2/4
Tempo - 56 measures of 2 beats per minutes
- 28 measures of 4 beats per minute
- 112 beats per minute
Pattern - Set
Duration - The time required to skate 4 sequences is 43 seconds
Soft knee bending and straightening 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.
Inventor - Franz Scholler
First performance - in Vienna, 1889, as the Ten Step or Scholler March |
|
FOXTROT
[Step Chart]
[Step Pattern]
Music - Foxtrot 4/4
Tempo - 25 measures of 4 beats per minute
- 100 beats per minute
Pattern - Optional
Duration - The time required to skate 4 sequences is 1:07 min.
The Foxtrot must be dance, 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 |
|
GOLDEN WALTZ
* Description of Senior Dances for Season 2006-2007 (Consideration for GOE Marking) - (PDF) Added 8.29.06
[Step Chart]
[Pattern Lady]
[Pattern Man]
Music - Viennese Waltz 3/4
Tempo - 62 measures of 3 beats per minute
Pattern - optional
Duration - The time required to skate 2 sequences is 1:58 min.
The Golden Waltz is a complex dance incorporating many new positions not previously used in Compulsory Dances (for example - :"Shoot-the-Duck", "Spreadeagle", etc.)
It is danced with long edges, interspersed with three-turns and twizzles and dancers require extra control because of the intricate nature of the steps. The pattern of the dance while optional, must be skated with well rounded lobes as there is sometimes a tendency to cut off or flatten the lobes and it is very necessary to maintain a consistent flow over the ice throughout the execution of this lilting dance.
The weight of the dancers should be over the correct part of the blade, with an upright carriage and not lunging or rocking forward and backwards on the turns. Unison throughout is of particular importance and there is a tendency to be awkward moving from one new position to another, which should always be accomplished without any perceivable effort.
Inventors - Natalia Dubova, Marina Klimova and Sergei Ponomarenko
First Performance - Moscow Cup 1987, Moscow USSR
|
|
KILLIAN
[Step Chart]
[Pattern]
Music - March 2/4 and 4/4
Tempo - 58 measures of 2 beats per minute
- 29 measures of 4 beats per minute
-116 beats per minute
Pattern - Optional
Duration - The time required to skate 6 sequences is 50 sec.
The Kilian is a test of close and accurate footwork, unison of rotation and control. Upright posture is required throughout. The dance follows a counter-clockwise circular pattern but the start and succeeding steps may be located anywhere around the circle. Once established, however, no shift of pattern is acceptable on subsequent sequences. The clockwise rotation must be controlled.
The partners should skate close together in Kilian postilion throughout and particular care should be taken to avoid any separation and coming together of the partners. The man's right hand should clasp the lady's right hand and keep it firmly pressed on her right hip to avoid separation. The man's left hand should clasp the lady's left hand so that her left arm is firmly extended across his body.
Inventor - Karl Schreiter
First Performance - Vienna, Engelmann Ice Rink, 1909 |
|
MIDNIGHT BLUES
* Description of Junior Dances for Season 2006-2007 (Consideration for GOE Marking) - (PDF) Added 8.29.06
[Step Chart]
[Pattern Lady]
[Pattern Man]
Music - Blues 4/4
Tempo - 22 measures of 4 beats per minute
- 88 beats per minute
Pattern - Optional
Duration - The time required to skate 2 sequences is 1 minute 38 seconds
excluding intro.
The Midnight Blues should be skated with strong edges and deep knee bends to achieve the desired slow, rhythmic, relaxed and easygoing expression:
Individual interpretation, by the couple to add Blues character is permitted, provided that the integrity of the steps, free leg positions and position/holds is maintained.
Inventors - Roy, Sue Bradshaw, Mark Bradshaw, and Julie MacDonald.
First Performance - Vancouver, Canada, 2001
|
|
PASO DOBLE
* Description of Junior Dances for Season 2005-2006 (Consideration for GOE Marking) - (PDF) Added 9.7.05
[Step Chart]
[Pattern Lady]
[Pattern Man]
Music - Paso Doble 2/4
Tempo - 56 measures of 2 beats per minute
- 112 beats per minute
Pattern - Optional
Duration - The time required to skate 3 sequences is 51 sec.
The Paso Doble is a dramatic and powerful Spanish dance requiring good body control and precise footwork. It can be expressed in terms of it's origins from the music of bull fighting or in Flamenco style. The overall pattern of the Paso Doble is approximately elliptical, distorted here and there by outward bulges. The opening progressive is on a curve but the next few steps are rather straight. The change of edge produces an outward bulge followed by steps 12 to 25 which form a curve. The cross rolls cause a deviation in the pattern and there is a final bulge before the restart of the dance.
Inventors - Reginald B. Wilkie and Daphne B. Wallis
First Performance - London, Westminster Ice Rink, 1938 |
|
|
Music - Quickstep 2/4
Tempo - 56 measures of 2 beats per minute
- 112 beats per minute
Pattern - Set
Duration - The time required to skate 4 sequences is 1:00 min.
"This dance is skated in Kilian position throughout with both partners skating the same steps in excellent unison. It is essential that the couple remain hip to hip throughout the dance. [...]
Adjectives describing the character of this dance are bright, gay, lively, fast, happy. To achieve this mood, the footwork must be precise and crisp, and the timing of feet and body movement must be accurate. Supple knee action with a slight bounce will keep the performance from appearing too smooth, and free leg extensions must be apparent even on the one-count steps to avoid a slurring motion."
Inventors - Reginald J. Wilkie and Daphne B. Wallis
First Performance - London, Westminster Ice Rink, 1938
|
|
|
|
|
Music - Rhumba 4/4
Tempo - 44 measures of 4 beats per minute; 176 beats per minute
Pattern Timing - 1 =:15; 2 =:30; 3 =:45; 4 = 1:00
Duration - Test 3 = :45 Comp 4= 1:00
Pattern - Optional
The Rhumba, under the name "Son," originated in the slave quarters of Cuban colonial plantations. The "Son" is quite different from the Rhumba ballroom dance known in the United States and other countries. In the "Son," the couples dance separately, representing a primitive version of the battle of the sexes. Among ballroom dances the Rhumba is quite unique. The music has a seductive, primitive charm, and yet, when correctly danced, the
Rhumba is as smooth and decorous as most other ballroom dances. The one distinctly different characteristic is the Rhumba motion which is essential for correct expression and interpretation.
Special attention should be given to the timing for this dance, especially to ensure that a full four-beat edge is skated on Step 13. A firm but not stiff Kilian position is necessary throughout this dance. Erect carriage, proper expression with smooth knee and body movements (not jerked) are required to properly portray the character of the Rhumba. It is important that the cross choctaws are skated as wide as possible (but not jumped) with the free foot crossed.
Inventor - Walter Gregory
First Performance - London, Westminster Ice Rink, 1938
|
|
ROCKER FOXTROT
[Step Chart]
[Step Pattern]
Music - Foxtrot 4/4
Tempo - 26 measures of 4 beats per minute
Pattern - Set
Duration - The time required to skate 4 sequences is 1:05 min.
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 |
|
|
Music - Samba 2/4
Tempo - 54 measures of 2 beats per minute
Pattern - optional
Duration - the time required to skate 2 sequences is 59 sec.
Inventors - Courtney J. L. Jones and Peri V. Horne
First Performance - Queen's Ice Rink, London, England, 1963
The dance begins with the partners in Kilian position as they skate two run sequences. Steps 4 and 8, after each sequence are a "quick cross-over slip RFI." This is a movement in which the right free foot during the third step (LFO) of the run is held at full extension, and
as it takes the ice for Steps 4 and 8 (RF1 cross), the left foot on becoming the free foot is quick-ly slipped behind and sideways across the tracing just clear of the ice, becoming fully extend-
ed and pointing downward.
Inventors - Courtney J. L. Jones and Peri V. Horne
First Performance - Queen's Ice Rink, London, England, 1963
|
|
|
|
TANGO
[Tango Step Chart]
[Tango Pattern]
Music - Tango 4/4
Tempo - 27 measures of 4 beats per minute
-108 beats per minute
Pattern - Optional
Duration - 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. This dance consists largely of quick crossed steps skated on shallow curves interspersed between slower rolls skated on strong curves, followed by a promenade skating in open position.
Inventors - Paul Krechkow and Trudy Harris
First Performance - London, Hammersmith Ice Rink, 1932 |
|
TANGO ROMANTICA
* Description of Senior Dances for Season 2005-2006 (Consideration for GOE Marking) - (PDF) Added 9.7.05
[Step Chart One]
[Step Chart Two]
[Pattern Lady]
[Pattern Man]
Music - Tango 4/4
Temp - 28 measures of 4 beats per minute; 112 beats per minute
Pattern - Optional
Duration - The time required to skate 2 sequences is 1:43 min
"This is a romantic sinuous dance which expresses the soft, lyrical interpretive characteristics of the Tango. It must be skated with deep edges. Foot and body movements must be deliberate and convey a sense of dignity approaching arrogance. Very erect carriage, precise timing, and continuous flow must be maintained. The difficulty of the steps should not be revealed in awkward or stressed upper body positions. Finally, coordination of free leg movements is essential to avoid a tangled, confused effect."
Inventors - Ludmilla Pakhomova, Alexander Gorshkov and Elena Tchaikovskaya
First Performance - Moscow, 1974 |
|
VIENNESE WALTZ
[Step Chart]
[Pattern Lady]
[Pattern Man]
Music - Waltz 3/4
Tempo - 52 measures of 3 beats per minute
- 156 beats per minute
Pattern - Optional
Duration - The time required to skate 3 sequences is 1:09 min.
"The Viennese Waltz is a light and graceful dance which must be skated at a good pace with strongly curved edges, soft knee action, neat and unobtrusive footwork, elegant carriage and pronounced free leg extension, even on the one-beat steps. Body motion should not be excessive. Evenly controlled flow without obvious effort is desirable. The feeling of waltzing in a grand ballroom must be projected."
Inventors - Eric van der Weyden and Eva Keats
First Performance - London, Streatham Ice Rink, 1934 |
|
|
|
YANKEE POLKA
* Description of Senior Dances for Season 2005-2006 (Consideration for GOE Marking) - (PDF) Added 9.7.05
[Step Chart One]
[Step Chart Two]
[Pattern Lady]
[Pattern Man]
Music - Polka 2/4
Tempo - 60 measures of 2 beats per minute
- 120 beats per minute
Pattern - Optional
Duration - The time required to skate 2 sequences is 1:04 min.
"Although the polka is a bouncy dance, the basic principles of stroking and effortless flow must be adhered to; the dance must not look labored, sloppy or somber. The partners must remain close together to minimize the shipping action generated by the short precise steps and rapid turning movements. Excellent unison and precise timing are required. Unprescribed separations must be avoided."
Inventors - James Sladky, Judy Schwomeyer and Ron Ludington
First Performance - Wilmington, Skating Club of Wilmington, 1969 |
|
|
