DCDI 2014: Gold Rhythm

What does it take to get invigilated in Gold American style? 

I got to answer this question (sort of) at DC DanceSport Inferno this past weekend.  The problem with invigilating American style, as I’ve mentioned before, is the fact that doing so is based upon restrictions rather than one syllabus.  Bronze level has some clear-cut distinctions that an invigilator can catch.  Silver has a few as well.  Gold really only gives two listed restrictions: no lifts, and partners must return to closed hold after eight measures of being in other holds. 

So when you have a Gold Rhythm heat with only enough couples for a final, and one of the couples does something that you think should be disallowed, what, as an invigilator, do you do?  To be clear, the couple in question did return to closed hold within the directed number of measures and did not perform any lifts.  They did not specifically violate either of the written rules.  They did, however, include a number of “tricks” such as splits, drops, dips, and other typically open material.  In other words, the routines were obviously fully choreographed, which goes against the purpose of dancing in a syllabus category.  Gold may not have many restrictions, but it is still technically syllabus.

In this situation, I spoke first with the chair of judges.  We talked about the nature of invigilation and the difficulty of the situation – here was something that reasonably should not be allowed but cannot be disallowed by the actual letter of the rules.  We agreed that calling the couple and having a conversation with them would be the best strategy.  I explained what the chair and I had discussed – that they were not technically breaking any rules but they also were not exactly abiding by them – and noted that because there was nothing to invigilate them for, they were not being penalized, or even technically warned.  I did, however, stress that what they were dancing was clearly out of place in a syllabus category, and suggested that they move into open categories in the future.  You already have the routines; why not use them where they belong? 

     

NDCA Updates 2014

A year ago, I wrote about changes in the NDCA’s invigilation policies that had gone into effect for 2013.  Now, in the latter half of 2014, there have been additional updates to the NDCA rulebook regarding invigilation.  The Appendix on Accepted Figures is now separate from the main rulebook, and may be found HERE.

For clarity’s sake,  points I am quoting directly from the NDCA document are in bold and larger font. 

Some of the changes this year have been cosmetic – cleaning up language, etc.  For instance, where previous updates contained a contradiction in which X-lines were both allowed and prohibited in Silver Viennese Waltz, they are now clearly prohibited. 

The two biggest changes for 2014 are not exactly changes so much as additional information.  First is a preface to the Appendix entitled “Invigilation Guidelines.”  This document explains the process of invigilation for invigilators themselves.  I will say right now that these two pages should be required reading for all competitors.  They contain valuable information about how an invigilator should perform his or her function at the competition, and explain not only how penalties work, but how an invigilator should handle tricky situations with competitors.  Understanding how and why something works can help dispel any fear or apprehension that might surround it. 

Since not everyone wants to read through two pages of information, I do want to highlight a few key points that are especially relevant for competitors.  In the section, “In the Ballroom,” item seven states:

“Simple mistakes and/or bad dancing are not an invigilator’s concern; these are issues for the judges on the floor to assess as part of placing the couples.  Noted infractions must be clear and obvious.” 

Two things occur to me upon reading this.  One: it is very important to distinguish between infractions and “bad dancing,” as the purpose of invigilation is to remove obvious advantages.  Two: “Clear and obvious” could be problematic.  Invigilators for both NDCA and USA Dance do not always agree what constitutes an infraction.  The clear, obvious ones are not the issue; gray area is.  I do wonder how the “clear and obvious” caveat will affect those situations where an infraction is not so cut and dry.

Additionally (and good news for competitors!), item eight says:

“Be conscious of and sensitive to floor-craft situations.  For example, it is far preferable to see a Top Spin in Bronze International Foxtrot than a collision.  Watch the couple in another Foxtrot to see if the infraction is repeated.”

This suggestion means that invigilators should be on the lookout for things that might just have been emergency maneuvers, and that there is some leeway in such situations.

Also worth noting are a couple of items under the “Penalizing a Competitor” section. 

“1. You should not immediately recommend penalties for competitors without giving them a warning and watching to see if they are trying to remediate the infraction, although NDCA rules do allow this.” 

“4. When in doubt ask yourself, “Does the material being used give the couple a competitive advantage?” 

I think both of these items are self-explanatory, and crucial for competitors to know.  

Besides the “Invigilation Guidelines,” the other big, new addition is a massive extension of the International Latin section.  Now the Latin is prefaced by a section entitled “International Latin Notes, Dance Positions, and Holds,” which explains in detail all the positions and holds allowed in Latin dancing.  Most of the information simply expands on things competitors already should have known – no embellishments, no timing changes or hold changes unless provided for. 

Each dance's figure list now includes the timing and holds for every figure at each level, which is information that can be found in the Latin technique books as well.  It is a LOT of information.  I would recommend competitors do take a look at the “Alternative Timings,” “Alternative Positions and Holds,” and “Special Notes” section of each dance, at least, to gain some insight into what is okay and what is not. 

Furthermore, I will highlight one crucial update that appears in the “Special notes and restrictions for all dances.”  Item six states:

“At no time in any of the allowable positions are the couples further away from each other than a comfortable arm’s length.  The only exception is the There and Back in Cha Cha.” 

This particular restriction affects, in particular, any side by side work in Cha Cha, as well as figures like Sliding Doors in Rumba, where competitors often try embellishing by dancing far apart from one another. 

While these updates are all for NDCA competitions, they are worth perusing even if you only compete in USA Dance events.  Both organizations share invigilators, which means that invigilators familiar with the NDCA version of things could very likely apply that to USA Dance as well, possibly without thinking about it.  When USA Dance puts forth its own updates, I will write another blog post covering those changes.  

Mambo Timing

This post isn’t strictly about invigilation, but it does relate and I think is worthwhile.  Additionally, this topic is geared specifically towards collegiate and amateur syllabus dancers.

There is one crucial truth about Mambo that syllabus competitors need to know: if you dance on time, and are dancing something that resembles Mambo figures, you will probably advance rounds.  A couple dancing only a Mambo basic for a minute and a half, but perfectly on time, will likely be scored higher than a couple dancing more difficult figures and losing their timing.  I have heard a judge say on a coaching lesson that anyone who is on time in Bronze Mambo automatically makes the Finals. 

Why is Mambo timing so important?  Truthfully, timing is always important, but most couples quickly figure out how to accurately begin on the correct count in their other dances.  A couple who cannot begin on the correct count in Waltz, Rumba, etc., and is off time throughout the dance because of it, would certainly be marked down or not recalled.  With Mambo, everything is magnified by the unusual starting count – a much higher proportion of dancers end up off time than in any other dance in either style. 

So why in the world am I talking about Mambo timing on an invigilation blog?  How does it even relate? 

1.  Technically, by the exact letter of the invigilation rules for both NDCA and USA Dance, any couple who doesn’t “break” on two in Mambo is committing an infraction. 

But much, much more importantly:

2. No invigilator would ever call a couple up for breaking on the wrong beat in Mambo.

This situation highlights an important aspect of invigilation as a whole, which is that the essence of keeping a level playing field is reducing obvious advantages.  A couple who can dance higher level figures well has an obvious advantage.  A couple dancing – I hate to say it – poorly does not have an advantage over the other couples in their heat.

Learn Mambo timing well first, then build up your routine with figures (that you can still keep on time).  As with so many areas of ballroom dancing, simple things executed well are a better choice than difficult things executed poorly.

Corner vs. Side of Room Figures

Rules for syllabus Standard are probably the most cut-and-dry of any style.  (Not that I’m saying that they are always perfectly clear!)  American Style encompasses many different syllabi, and the Latin syllabus includes suggested alignments, amounts of turn, etc., but the Standard syllabus is very specific about what alignments, amounts of turn, and timings are allowed.  Furthermore, because of the progressive nature of Standard dancing, figures are designated as for use around a corner, along the side of the room, or both.

Many figures can be used both around/approaching corners and along the side of the room, though often figures change slightly in order to accommodate the differences.  Sometimes figures start out as a corner or side figure and only add the other option at a higher level.  (For example: a Whisk in Waltz, which can be ended DC only starting at Silver.  This is because there no figures are available to follow with at Bronze if the Whisk is ended DC.) 

Short of memorizing the entire Technique book, how can we keep straight which figures accomplish which goals?  Here is a short guideline that should help:

1. Chasse figures (including locks) generally don’t go around corners, which is due to the linearity of this type of figure.  An exception to this rule is the Tipple Chasse to R in Quickstep, which can be used around a corner in a variety of interesting ways.  It is worth noting that the way in which the Tipple Chasse takes the corner is by cutting across it, not dancing into and out of it.

   

2. Because chasse figures cannot, for the most part, go around corners, the often-used introductory Quickstep routine of dancing Quarter Turn to R/Progressive Chasse all the way around the floor is technically illegal.  Invigilation on a low level couple dancing this type of routine is unlikely – what would be the point?  However, it is important for couples to learn a cornering figure, like a Natural Spin Turn, as soon as they are able.[1]

3. Tango, especially at Bronze, is the most permissive Standard dance with respect to corners and sides.  Most figures can be modified for different areas of the floor, and inserting two Walks can clear up almost any alignment issues.  However, Progressive Links may not be over-rotated for getting around a corner, nor may Reverse Turns, Lady Outside or in Line. 

4. There is only one figure in the entire Standard syllabus that can only be danced in a corner.  Silver Foxtrot’s Hover Cross has no alternative versions.  You may not change its alignment or amount of turn, and therefore it can only get you into and out of a corner.

5. There is also only one figure that can go around two corners: Running Right Turn in Silver Quickstep.  Running Right Turn may be danced along the side of the room, around two corners, around one corner using the early section of the figure, OR around a corner using the later section of the figure.  

As a sidenote: Since American Style Smooth relies on restrictions rather than a set syllabus, it is easy to assume that alignments matter less than they do in Standard.  While it’s true that no rule provides basis for invigilating, say, a Chasse from PP around a corner, it is in a couple’s best interest to observe Standard conventions about alignments in Smooth dancing as well. 

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[1] As another example, beginner Foxtrot often involves using Feather Step/Three Step to get around the floor.  This is also illegal, though not because of corner issues.  Technically a Three Step is only allowed as a Follow to a Feather Step, not a Precede.  As with Quickstep, it is important to learn another figure (like a Natural Turn) as soon as possible in order to both legalize the routine and show a higher caliber of dancing.