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.  

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.   

Quickstep Locks

One of the most common Quickstep infractions is dancing multiple sets of locks forward or backward.  Many people dance two (or more) sets of locks in a row because 1. Locks flow naturally into each other and 2. Multiple locks in a row send a couple flying down the floor, which is an attractive prospect especially for lower level dancers who do not yet have access to other figures that accomplish the same goal.  Furthermore, lock steps define syllabus Quickstep – a full third of the Quickstep syllabus involves locking actions – so more are better, right?   

On Back Locks, the book is very clear.  Precede for all levels: Progressive Chasse to Right.  Follows: Closed Impetus, Tipple Chasse to Right, Running Finish, with Tipsy to Right added at Gold.   Specific figures are spelled out in a way that clearly indicates a Back Lock may not Precede or Follow itself.[1]

As an additional note on Back Locks, we have the Natural Turn and Back Lock.  Though this figure gets its own chart form due to alignment differences and slight alterations in foot positions, a Natural Turn and Back Lock is basically just a Back Lock with a different entrance.  Therefore, I would classify 1-3 of a Natural Turn as a second Precede for a Back Lock along with the Progressive Chasse to Right.  (Follows for Natural Turn and Back Lock are identical to the Follows for the figure called Back Lock.) 

Forward Locks are not addressed so clearly.  Precedes are, “Any figure ending with the Right Foot forward Outside Partner.”  Follows are, “Any Natural figure” in Bronze, and a number of more specific figures in Silver and Gold.  What do we do with this?  If we go by the Precedes, Forward Locks should be okay to dance twice since they end RF forward OP.  If we go by the Follows, double locks would not be allowed, as a Forward Lock does not meet the definition of “natural figure” because it doesn’t turn to the right.

Discussions of specific technique book language are fascinating (to some of us!) and valuable.  However, in practical terms, the ambiguity of the book’s wording on Forward Locks doesn’t translate into much gray area for Invigilators.  Most Invigilators would likely call up couples dancing multiple sets of locks, so it’s best to avoid the problem entirely by dancing only one lock at a time. 

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[1] By Back Lock, I mean the specific figure called Back Lock.  A V6 incorporates a type of backwards lock, but is not what I’m discussing here.  That being said, you may not throw an extra backwards locking action into a V6 either.  

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”).     

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.