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.   

Dance Language: Closed vs. Open

Over the weekend of November 2^nd and 3^rd, I had the pleasure of Invigilating for Ballroom at Maryland’s Amateur competition, DC Dancesport Inferno.  This is my second year as Invigilator for DCDI.  Generally speaking, there were fewer infractions this year than last, but I wanted to mention something that jumped out at me this year. 

The biggest problem I encountered as an Invigilator was more about language than about dancing itself.  I found myself having a difficult time communicating with some of the dancers due to misunderstandings about the words “Closed” and “Open.”  When I considered it more, it occurred to me that in ballroom, we frequently use “Closed” and “Open” as terms meaning several different, somewhat unrelated things.

Closed vs. Open Event

Probably the most recognizable usage, Closed and Open when referring to events tell us whether or not the dancers must stick to a syllabus.  Closed events use a syllabus (or set of restrictions) and Open events do not. 

Closed vs. Open Dance Position

Closed and Open Dance Positions are ways of describing the Lady’s position with relation to the Man in every style except Standard (which has Closed but not Open). 

From the Latin Technique books produced by the ISTD:

“Closed Position

Facing partner, slightly apart, normal hold[i]

Alternative holds

1. Left hand holding Lady’s right hand
2. Right hand holding Lady’s left hand
3. No hold

The couple may be a little further apart than usual when using these alternatives.”

“Open Position

Facing and away from partner, approximately at arms length.  Left hand holding Lady’s right hand

Alternative holds

1. Right hand holding Lady’s right hand
2. No hold
3. Left hand holding Lady’s right hand and right hand holding Lady’s left hand (double hold).”[ii]

In brief, Closed means facing your partner and standing fairly close together, while Open could be facing or away, and at arm’s length. 

Closed vs. Open Foot Positions

Several of the difficulties in communication that I experienced revolved around the concept of Closed and Open foot positions.  I had to call up a couple for dancing International Foxtrot in an American heat (something I have previously written about).  Neither describing American Foxtrot as having “closed foot positions” or referring to Slow Fox as “passing the feet” effectively communicated what I was trying to say.  Smooth does have its own terminology for passing the feet – continuity styling – but I didn’t think using it would be helpful in this case.  The couple and I managed to get on the same page after some demonstration.  Demonstration is always essential as an Invigilator, but I found myself wishing I had a clearer way to make myself understood. 

In a similar vein, I talked to a couple who danced an Open Box in Bronze Rumba as opposed to the regular, and permitted, Closed Box.  Again, language became a barrier.  Even after I demonstrated what I meant, the vocabulary itself was still getting in the way, as one of the dancers asked me, “But we’re dancing in Closed, right?  How is that Open?” 

Closed vs. Open Age and Level

Typically competitions are organized by levels and age classifications as part of keeping things fair and equal.  Bronze dancers compete not just against other Bronze dancers, but dancers of approximately the same age.  Having Gold dancers compete against Bronze or eighty-five year olds against twenty-five year olds would be unfair.  Occasionally, though, competitions offer special events in which such restrictions are reduced.  As an example, “Master of Syllabus” events sometimes crop up at Amateur competitions.  In such events, anyone of any age or level can enter, so long as they stick to the syllabus in question.

  

Fair warning: I’m going to get pretty philosophical (and slightly less objective) here.  

Sometimes the language we use makes sense.  NDCA and USA Dance both say of Bronze Waltz that “feet must be closed on three.”  That seems straightforward to me.  However, we cannot effectively use a count to talk about Foxtrot.  Restrictions of “No Continuity Styling in Bronze” and “No Open left or right box turns” help only so much.  To make things even more confusing, Open Left Turns ARE allowed in Bronze Tango. 

Add into the mix the fact that International Waltz does not make a general shift from closed to open footwork as you increase level, but does add figures in which you don’t close on three, and International Foxtrot starts, middles, and ends with open footwork, and you have one incredibly potentially confusing system.  Then on top of that you have the Latin Rumba Basic, which doesn’t close, and the Rhythm Rumba Box, which does at Bronze but doesn’t have to at higher level.  It’s enough to give anyone a headache.

So my question is: How might we more effectively discuss and describe the various things we describe as “Closed” and Open?”    

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[i] “Normal Hold” as described by the Latin Technique books: “The Man’s right hand is placed on the Lady’s left shoulder blade and the Lady’s left arm rests lightly on his right arm following the curve of his arm to the shoulder.  The Man’s left hand is raised in a gentle curve to the level of the eyes.  The Lady’s right hand is placed in the Man’s left hand with her fingers between his thumb and first finger.  The hands are lightly clasped.”

[ii] Latin American Dance Faculty Committee. Latin American Rumba. London: ISTD, 2003.

Cross-Style Dancing: Specific Figures, Smooth/Standard

Still having video issues, and completely swamped this week.  I will work on getting the videos for last week and this week ASAP.  

Besides observing the syllabus, transferring from American Smooth to International Standard has one ferociously obvious restriction that should be easy to follow: don’t break frame.  In some ways, though, this makes transitioning between Standard and Smooth more potentially confusing than between Rhythm and Latin because differences in similar figure are more subtle. 

Waltz

In a Chasse from Promenade Position in International Waltz, the Lady closes to the Man by the end of the figure; in American Style, the Lady remains in Promenade Position.  Furthermore, the Chasse from Promenade is the ONLY syncopation allowed at Bronze in American Style.  International Style includes syncopated figures Progressive Chasse to the Right and a Back Lock in Bronze as well.

Another stipulation of Bronze American Waltz is that feet be closed on the three (Chasse from PP is the exception).  This restriction means that an International Style Whisk is not permitted in American Style.  Instead, you must dance a Twinkle, where the feet close on three.

A simple Grapevine or Zig Zag is allowed in Bronze American Waltz but does not exist anywhere in the International Waltz syllabus.

Finally for Waltz, American Style allows a Forward Twist Turn to the Left from Promenade Position.  A twist action, turning right, is provided in the International Syllabus only as a possible Follow for the Left Whisk in Gold.  It does not exist as a figure on its own.  

Though Tango has a different basic action between styles, and Foxtrot is a completely different dance, I want to mention a few figures specifically anyway because a slight amount of figure overlap does occur.

Tango

In Bronze American Tango, you may dance a Twist Turn Left OR Right from Promenade Position.  International Style’s Twist Turn does appear in Bronze, but only turns to the Right.  

Right Side Fan is a Bronze figure in American Tango but does not appear until Silver in International Style, where it is called an Outside Swivel.  There are four methods of dancing an Outside Swivel; Right Side Fan most closely resembles Method Three.  Most importantly, a Right Side Fan contains two swivels danced back to back but an Outside Swivel may not Precede or Follow itself. 

Foxtrot

Where Foxtrot is concerned, American Style does allow two figures in Bronze that have similar “friends” at Gold in International Style.  Twist Turn to Left from Promenade Position and Zigzag/Grapevine are both Bronze for American Style Foxtrot.  Figures called Natural Twist Turn and Natural Zig-Zag from Promenade Position exist in Gold Foxtrot, but as I have noted before, are very different stylistically due to the strong difference of character between American and International Foxtrot.  Additionally, Natural Twist Turn comes equipped with four specific endings (and of course turns Right, as is indicated by the word “Natural”).     

Cross-Style Dancing: Specific Figures, Rhythm/Latin

Due to technical difficulties, video demonstrations of mentioned figures will be posted late.  I apologize for any inconvenience or confusion this may cause.

Last week I addressed dances that differ heavily between International and American Style, and I promised a further post regarding specific figures.  That is the subject for today and next time.  Generally speaking, International Style “translates” more easily into American Style than the other way around because International Style uses a set syllabus while American Style involves many syllabi and therefore relies on restrictions.  However, some American Style figures do resemble International Style figures, and this can lead to confusion, particularly when the figures in question do not appear at the same level in different styles.  

When you go from American Rhythm to International Latin, you run into a lot of what I might call level pitfalls.  What does that mean?  It means that many figures classified as Bronze, and sometimes Silver, in Rhythm are Gold or out of syllabus in Latin.

Swing/Jive

Sugarfoot swivels are allowed in Bronze Swing[1] but in Jive are Gold (Chicken Walks). Also, as described by recent changes, Sugarfoot can only be up to four quicks in timing in Bronze, while Chicken Walks can have variations in timings.  Sugarfoot timings may vary in Silver and Gold.

A Tap on the Shoulder or Continuous Tuck-In Turn in Swing is also Bronze and resembles the Gold Jive figure Chugging.  However, there is one major difference: the Continuous Tuck turns RIGHT overall whereas Chugging turns to the LEFT. 

Another form of swivel action, the Toe-Heel Swivels, are Silver in Swing but Gold in Jive.

Lastly, one of the most popular figures in Bronze Swing, variously known as Swing Kicks, Walks and Points, Back Walks and Points, Four Kicks, etc., does not exist anywhere in the Latin syllabus.

Cha Cha

Cha Cha also offers several examples of level pitfalls.  In Cha Cha there are a few figures that are actually quite different between Rhythm and Latin, but just similar enough on the surface to be confusing.  Parallel Breaks (also called Sweetheart or Cuddle), and Chase Turns are Bronze Rhythm figures.  In Latin, somewhat similar figures are Turkish Towel, Sweetheart, and Chase, and appear at Gold (Turkish Towel and Sweetheart) or Silver (Chase).

Both Turkish Towel and Sweetheart resemble Parallel Breaks in that the Man and Lady face the same direction. 

Key differences between Parallel Breaks and Turkish Towel/Sweetheart are:

1.     In Turkish Towel, the Man is in front of the Lady; in Parallel Breaks the lady is in front.

2.     Parallel Breaks is notable in Bronze Rhythm for being the ONLY figure in which the Man and Lady may be on the same foot.  In both Turkish Towel and Sweetheart, the Man and Lady are on opposite feet.

3.     Turkish Towel has a special entrance – an Alemana – and Sweetheart a special exit – ending in fan position.

Chase turns in Rhythm are danced on opposite feet for Man and Lady, while Chase in Latin puts the Man and Lady on the same foot. 

 

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[1] NDCA allows Sugarfoot Swivels in Bronze.  USA Dance does not mention swivels one way or the other at Bronze, but includes a “Figures including swivel actions” allowance for Silver.  This suggests that swivels are not permitted at Bronze, but it is never explicitly stated.  

Cross-Style Dancing: General Overview

Many collegiate ballroom programs focus heavily on International Style.  The nature of collegiate competitions being what it is, many dancers wish to enter as many dances, levels, and styles as possible with a variety of dance partners.  No American Style routines?  No problem!  Just dance my International routines, right?

Unfortunately, this way of thinking can lead to run-ins with the Invigilator.  In some comparable American Style dances, dancers can “get away with” dancing routines obviously from the International Style.  Body and leg action in International Cha Cha and Jive differ from American Cha Cha and Swing but conceptually the dances are quite similar (specific problem figures will be addressed in a future post).  Similarly, dancing International Waltz in American heats will be odd due to the lack of breaking frame, but mostly not prohibited (again, specific figures to come). 

Foxtrot is where serious problems occur.  International Foxtrot is characterized by progression; the full Foxtrot syllabus offers twenty-five plus answers to the question: How many ways can I get around the floor without closing my feet (heel turns notwithstanding)?  By contrast, American Foxtrot requires dancers to close their feet at the Bronze level.  Higher level dancers may pass their feet using Continuity Styling but the feel of the dance remains quite different from Slow Foxtrot.  American Foxtrot is snappy, upbeat, and jazzy – think grapevines, Fred and Ginger, rival gangs dancing in the streets.

Dancing International Foxtrot in a Bronze American Foxtrot heat WILL earn you a potentially uncomfortable conversation with the Invigilator.  You will not be asked to remove or change a figure; you will be instructed to scrap your entire routine.  You are much better off learning one or two American Style figures and dancing them over and over.  Your routine might feel less than exciting but at least it would be allowed!

Whether or not higher level dancers can score well dancing International Style in an American Style heat is Adjudicator, not Invigilator, territory.  Generally speaking, judges really want to see competitors dancing International Style in International heats and American Style in American heats – it’s part of the process and demonstrates that the dancers know their material.  It is true that “cross-style” dancing is overlooked more frequently in collegiate competitions, but dancers could still have difficulty achieving desired results without distinct routines for each style.  And of course, the higher level you dance, the more the judges will expect you to know the differences between styles. 

I do want to make a quick mention of dancing International Tango and Rumba in American heats.  Neither will earn you a trip to talk to the Invigilator, most likely, but dancing International Style Tango or Rumba in American heats is basically a bad idea if you want to do well.  In both cases, the core figures in International Style are different from the core figures in American Style.  Even though there are some similar figures, your routine will stick out in a way that is not likely to win you favor.  Much better, as with Foxtrot, to learn a few style-appropriate basics and run with them.