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.  

Gold Latin Continued/Dance Language: "Overturn"

After my last post, I received a clarification question that I had originally intended to answer quickly.  I soon realized, however, that the subject was really too large for a short, bulleted answer, so I’m making an entire post out of it. The question was:

“Can you add when overturns are permissible for syllabus to your Gold [Latin] blog?  I believe I saw a lot of them in Gold [at DCDI] and wanted to check with you when they can be used.”

For those only interested in the short, bulleted answer, please scroll to the list at the end of this post.  Otherwise, please keep reading for some clarifying material.

 

As has happened in the past, I really can’t start answering the question until we nail down some terms.  I used the word “overturn” in my Gold Latin post, which was perhaps not the best choice, but this situation is another where we don’t have solid terminology that always refers to the same thing.[1]  What in the world is an “overturn?” 

In general, the Latin syllabus books give amounts of turn for figures, much like The Ballroom Technique does for Standard figures.  The Latin books also include a note towards the beginning of each book that says, “… in most cases a little more turn may be made to develop rotation … When a precise amount of turn is not given between steps it denotes there can be acceptable deviations to allow for individual speed of turn and expression.”  Not the most precise instructions.  While “acceptable deviations” is fairly open-ended, I think it’s safe to say that this provision allows for a SMALL amount of extra turn – 1/8, maybe ¼, not anything more obvious and significant. 

There are some instances where the Latin syllabus actually uses the word “overturn” for its own purposes.  A good example is in the Jive figure Fallaway Throwaway.  At Bronze, specific amounts of turn are given in the chart.  At Silver, Fallaway Throwaway gets upgraded to the Overturned Fallaway Throwaway, which turns more, but does so still with specific amounts detailed in the chart figure.  Then at Gold, we get the Development of Overturned Fallaway Throwaway, which adds further turn, but again, a specific amount.

The above example is not what I was referring to when I said “overturn” in my previous post, nor do I think it’s what my question-asker was referring to.  The tendency is for Gold dancers to put noticeable, extra amounts of turn over spins and occasionally three step turns.  A better word for what I’m describing might be “overspin,” though that could also cause confusion because a three step turn isn’t technically a spin.  For the purposes of the rest of this post, I will use overspin for lack of a better term.  Finally, when I say extra spin or overspin, I mean what most of us would probably call a “double turn.”  Double turns are not, usually, truly double; they are typically about a turn and a half, maybe a little less or more, whether on one foot or over several steps.

So to (finally) answer the question posed to me, here is a list of figures where overspins are specifically provided for (these are all for the Lady, except for two of the three spin endings of Fencing):

Jive

1. Change of Places R to L Development (Allowed starting at Silver)
2. Spanish Arms, Spin Ending (Allowed starting at Silver)
3. Rolling Off the Arm, Spin Ending with R to R Hand Hold
4. Simple Spin Development (?)

Rumba

1. Fencing, Spin Endings (Man and Lady’s Solo Spin, Lady’s Under Arm Spin to L, Man’s Solo Spin to L)

Cha Cha

1. Cross Basic Development
2. Hip Twist Spiral
3. Follow My Leader
4. Foot Change Variations

Samba

1. Three Step Turns

Paso Doble

1. Traveling Spins (PP and CPP)
2. Fregolina Ending
3. Chasse Cape, Lady’s Spin to R Ending

Please note that, for the most part, these figures do give specific amounts of turn for their overspin actions.  As stated in my previous post, you still may not simply embellish turns by doubling them. 

    

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[1] For further examples see the section of this post about elements/steps, and this post discussing open/closed.

Gold Latin

Why does Gold Latin get its own post?  Simply put: in my own experience, Gold Latin contains the most instances of infractions of any level and style.  For whatever reason, dancers tend to go hog wild in Gold Latin events, and there are certain infractions that I could put money on happening and be much richer in a hurry.  This is a list of those infractions.

Man’s Spin (Jive)

A Simple Spin is an opportunity for the Lady to turn a whole lot on one foot in Jive.  Her leader does not get the same opportunity.  The exact wording of the technique book is, Man: “No turn on the Simple Spin.”  As the figure is described, the Lady turns and the Man closes his feet.

Sailor Shuffles (Jive)

Sailor Shuffles are an embellishment borrowed from American Swing, where they become legal at Silver.  They have a kind of coordinated drunkenness to them that suits Swing’s grounded character exceptionally well.  Many dancers replace chasses with Sailor Shuffles in Jive as a way to make the basic action of the dance flashier and more exciting.  However, Sailor Shuffles do not appear in the Jive syllabus at all.

Sailor Shuffles (Cha Cha)

I split Sailor Shuffles into two sections because the information about them is slightly different in different dances.  At Silver Cha Cha and higher, dancers may use a Ronde chasse – a figure whose action resembles a Sailor Shuffle in some ways.  Dancers may not, however, replace regular chasses with Ronde chasses simply because they want to, nor may they dance the American Style Sailor Shuffle at any point in Latin Cha Cha. 

New York/Cuban Break Variations (Cha Cha)

Some of the most common alterations in Cha Cha are timing and action changes in New Yorks, Cuban Breaks, and Split Cuban Breaks.  These changes include: holding 4, 1 instead of dancing a 4 & 1 chasse in a New York, or any time when the Man and Lady do not mirror each other.  The Man may not dance anything different from the Lady during these figures.  No lunges, no lines, no timing changes.  He must dance the mirror version of the Lady’s part.

“Chugging Turning to the Right” (Jive)

I put this in quotes because that is how I have most often heard it described by syllabus dancers.  In a previous post, I mentioned that one of the most common infractions in general is dancing an Open Continuous Tuck-in Turn or Tap on the Shoulder from Bronze Swing in Jive.  “Chugging Turning Right” is how a lot of dancers choose to describe the Swing figure.  Just to repeat: the syllabus figure Chugging turns left overall; there is no Latin version of an Open Continuous Tuck.  

Samba Roll Variations (Samba)

Good news: Samba Rolls are allowed at Gold.  Bad news: They are not allowed in Shadow Position, or with a cross-hand hold above the heads.

Sliding Doors Variations (Rumba)

A large proportion of dancers like to include a full turn for the Lady after her Cucaracha in Sliding Doors.  This is not permitted.  The Lady must step backward out of her Cucaracha rather than turning around into her back rock. 

Syncopated Basic (Cha Cha)

You are permitted to dance 4 & 1 of a Cha Cha chasse as a “close, close, side” action.  You may NOT dance the same action over the 2 & 3. 

Honorable Mentions: Continuous Locks and Double Spins

Continuous Locks (Cha Cha, Samba) are not allowed.  The syllabus is very specific about how many locks you may do and in what position before you need to dance something else.

Double Spins: This one is tricky because there are places in the syllabus where “overturned” turns are allowed.  Generally speaking, however, double turns are not permitted as replacements for single turns.        

  

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, 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.

2013 NDCA Updates: International Style

Today's topic gets a double post!  One post covers new American Style Restrictions for NDCA, the other covers International Style.  This is the International Style version.

As far as International Style restrictions are concerned, the Technique books have been the main source of information for many, many years.  Having a set Syllabus, variations included, has meant that the major organizations give little additional guidance as to what is allowed and what is not in International Style, on the assumption that the books are readily available and therefore more information is not necessary. 

In a break from what has traditionally been the case for both NDCA and USA Dance Rulebooks, general restrictions have now been added to International Style before the Figure Lists in the NDCA Rulebook.  Some resemble the American Style restrictions.

The first general restriction for International Style says, “Elements and figures unique to one dance or style may not be used in another dance.”  As one example, they give Double Reverse spin not being allowed in Foxtrot.  This restriction is identical to one of the General Restrictions before the American Style section of the Rulebook.  I might point out that Double Reverse Spin isn’t actually unique to one dance – it appears in both Waltz and Quickstep.  Similarly, one could argue that Lock Steps are “uniquely” Quickstep, yet we have three in Waltz.  If you find this confusing, here is a piece of advice: instead of trying to decide on your own if a figure is “unique” to one dance or not, look at the List of Figures.  Does Double Reverse Spin appear on the List of Figures for Foxtrot?  No?  Then don’t dance it in Foxtrot.

Other new restrictions include “No extended Weave in Bronze/Silver Foxtrot, two counts of extended Weave allowed in Gold” and “Elements must be completed, but partial steps may be danced.”  As examples of “partial steps,” NDCA suggests that one can dance half a Mooch in Jive or dance an ending other than a Forward Lock after a V6 in Quickstep.

This “partial step” restriction, like some of the other updates, is confusingly vague.  At the root of the problem is a disagreement about language – not everyone uses “Element” and “Step” to mean the same thing.  For instance, in a USISTD Exam, a “Step” is anytime you move your foot (Step 1, LF Forward, etc.), while a “Figure” is made up of a number of Steps.  NDCA is using different definitions, but it is not clear exactly what those definitions are.  "Step" probably best equates to "Figure," but "Element" I'm not certain about.      

Furthermore, mentioning that you can dance a partial step without any reference points feels potentially misleading.  Example: in Licentiate or Silver Quickstep, the Running Right Turn involves three pieces, which consist of a Natural Pivot Turn, 1-3 of a Foxtrot Natural Turn, and a Running Finish.  Each of those components exists on its own, but together as the Running Right Turn, they must be danced in that order, in their entirety.  No alternatives (until Gold).  No dancing the first two components and then launching into a Tipple Chasse in place of the Running Finish. 

Once again, I think the best course of action in this case is to follow the Technique books.  Figures listed in the books specify when they can be danced in part.  If the book doesn’t offer any alternatives to the Chart Figure, you may not dance any alternatives to the Chart Figure.

An Introduction

Invigilation.

It’s a big word, and one I think worth defining before going any further.  In dictionary terms, “to invigilate” means “to watch,” and in British English, specifically “to watch students taking an exam.”  (For anyone really excited about words, the American equivalent would be “proctor.”)  Basically, the Invigilator’s job at an exam is to keep an eye on everyone and make sure that nobody does anything to give themselves an unfair advantage. 

The same is true, on a basic level, for a Ballroom Invigilator.  The Invigilator’s job is to watch Syllabus level competitions and make sure that nobody does anything to give themselves an unfair advantage, i.e. dancing out of category.  Professional opinions on Invigilation range from “It’s the worst thing anyone has come up with, ever, and shouldn’t exist” to “It’s completely underused, nobody cares enough, and everyone should be called up for even the slightest infractions,” and everything in between. General opinions seem to fall more between fear and confusion – both of which often come from a lack of full understanding of what Invigilation is and why it exists. 

Trying to explain the how and why of Invigilation is seriously murky territory – the word “minefield” comes to mind – so I’m going to avoid that subject at least for now.  What I will do is attempt to explain the rules already in place as clearly as possible.  I will offer precisely one personal opinion on the subject, based on my own experience: Invigilation is an educational process whose purpose is to ensure as level a competition field as possible.   

So let’s get a few things straight. 

1. Right now, as you read this, Invigilation rules are under review in at least one major dance organization in an effort to make them more effective/more understandable/better.  They are certainly being discussed/questioned/fought about almost constantly in a multitude of forums.

2. International Style is somewhat more straightforward than American Style where Invigilation is concerned.  There are pitfalls, but essentially International Style operates on one, universal Syllabus, which means identifying infractions is a question of “Is this allowed or not in the stated Syllabus?”  American Style has many Syllabi, all different, so American Style routines cannot be evaluated on the same terms that International Style routines can.  American Style Invigilation is a question of “Does this violate any stated restrictions?”  American Style restrictions in USA Dance and NDCA, the two big US competition organizations, are largely the same. 

3. Invigilators are not the Ballroom Police.  You are not being punished, threatened, looked down upon, or disqualified for a single mistake. 

4. It’s nothing personal.  Humans have only two eyes and can only see so much at once.  Just because the Invigilator missed seeing your infraction in the first round doesn’t mean he or she will miss it in later rounds.  Similarly, if couple 100 made the same infraction you did and didn’t get called up, it is entirely possible the Invigilator saw you and not them.  

5. If you commit an infraction in one dance, the Invigilator is more likely to keep an eye you in other dances.  If the Invigilator sees infractions from you in multiple dances, he or she will likely watch you like a hawk for the rest of the competition, on the assumption that you will do it again.

6. If you are called up for an infraction, take it out of your routine for future rounds or modify it to fit the rules.  Deliberately ignoring a warning will not always get you penalized (depends on the Invigilator and Chair of Judges), but better safe than sorry.  If you don’t understand what you did wrong, why it was a problem, or how to fix it, ask!  Unless the Invigilator has thirty other couples to talk to right then, he or she will likely be happy to explain what they saw and why it got you called up.

7. Just because your Heat only has a Final round does not mean Invigilation becomes irrelevant.  You can still be called up and you can still be penalized.   

8. Invigilators are human.  Despite supposedly being objective, most Invigilators have pet peeves, areas of greater or lesser knowledge, degrees of enthusiasm for the job, degrees of nitpickiness.  This does not excuse the subjectivity that creeps in, but it does help explain it.

These are very basic points about the nature of Invigilation and how it actually relates to competitors.  In future posts, I will be covering specific topics within the different Syllabi.  If you ever have any questions or confusions, please feel free to leave me a comment and I will do my best to address them.  Flaming, personal attacks, or seriously off-topic comments will not be permitted.

For reference, I have included links to NDCA and USA Dance's Rulebooks on the side.  For those interested in getting Syllabus materials for International Style, the USISTD is the best place to look.  For American Style, besides the step lists included in the NDCA and USA Dance Rules, you can also find popular Syllabi through USISTD and Dance Vision (DVIDA).  Franchised dance studios Arthur Murray and Fred Astaire use their own Syllabi that are not available for viewing or purchase for business reasons.