wtficedance

[wtficedance]

Other theme ideas:

Patterned Short Dances

Tango with a Twist - with a pattern of Tango Romantica, teams should to meld traditional tango with various interpretations of the style (modern tango, Argentine, milonga, waltz-tango, Finnish tango, etc.)

Original Short Dances

Variations on the Waltz - teams are challenged to come up with a new waltz pattern, drawing on different waltz influences (Spanish, Scandinavian, Viennese, Peruvians, etc.)

Ceremonies - teams are challenged to adapt traditionally group ceremonial and ritual dances to partner stylization.

Rock and Other Rhythms - choosing from any era of rock (including the original rhythm and blues, rock and roll, doo wop, hillbilly rock, surf rock, garage rock, blues rock, folk rock, progressive rock, etc.) create a pattern drawing on the influences of that era and specific track.

Ice Dance Reimagined

With the upcoming ISU Congress in Summer of 2024 and ice dance seemingly in an unending beta of rule changes, I figured I would float a few thoughts on the many changes that have been made over the past few years.

As I mentioned in my RD Rules post, the ISU has essentially made moves to return to the original dance (making the change from short -> rhythm dance even more pointless in the first place) choosing to dictate broader themes.

To me, what makes ice dance so unique amongst all the disciplines is the variety of elements and styles that each team is expected to have in their repertoire and the fact that even in a given SD/OD/RD theme, people have to go out of their way to have a unique take. The rules which have lowered difficulty--in the name of giving skaters more room to be creative--have in fact resulted in the opposite. More teams are doing the same difficult features, same footwork, same lifts, same transitions than ever before. Both drawing on old choreography and leading to homogeneity across the discipline.

I propose a scheme which is a compromise of the two conflicting motions in ice dance right now: 1) the “no pattern ever” give everyone freedom vibes and 2) the people who believe the pattern is king. Alternate having a patterned and original short dance, giving the discipline an opportunity to develop new patterns (the original intention of the pattern dance type step sequence) while also ensuring that teams are continuing to emphasize solid ice dance foundations like skating in hold.

Original Short Dance Layout

1PSt

2Pst

Non-touch midline step sequence (style A)

Twizzles

Lift

Patterned Short Dance Layout

Pattern 1

Pattern 2

Non-touch midline step sequence (style A)

Twizzles

Lift

What the ISU (and choreographers/coaches) have fundamentally misunderstood about the appeal of patterns is that EVERY step is intentional and meant to elicit a specific effect and contribute to an overall impression. There's a reason that even though the Yankee Polka and Finnstep and Tango Romantica all include a LFI Closed S-Step, they have completely different timing and contribute to very different impressions. And it is because the general footwork in the pattern, in addition to just the difficult steps and turns, is geared towards reflecting the unique character of that pattern. I cannot count the number of pattern step sequences since 2017 that have effectively been copy pasted across blues, Latin, foxtrot/quickstep, blues x2, and Latin x2 once again programs with only minor changes to mini-lifts. They lack intention, they are the slowest section of the program for a good 90% of RDs because every team--no matter the style--is attempting to make their turns as drawn out as possible to get credit.

I propose that in original dance years there are 2 PSt segments, each with 3 KPs with the former 4th KP serving as a choreographic benchmark. This would allow for direct comparison of teams doing the same steps (and not allow teams to do the exact same difficult turns 5 years in a row) while simultaneously incentivizing creativity.

For example, under “Jig” below there are the following guidelines:

Jig is characterized by (1) high tempo, (2) rapid toe and heel steps, (3) jumps, kicks, hops and other accents including slides and shuffles, (4) tight and rigid torso, emphasis on leg movements over arm movements, (5) music in 12/8, 6/8, 9/8, 2/4. Teams are expected to pick music and a type of jig dance which fits these characteristics. 1PSt must start at center ice, 2PSt must end at center ice.

An example of key points:

1KP1: A) LFI Counter, LBI Bracket B) LBI Counter, LFI Bracket in any variant of closed hold except basic hand-in-hand

1KP2: both skip, LBO C-Step, RFI Swing S-step. in killian or foxtrot variant.

1KP3: A) RBO 1.5Tw, any kicking/tucking motion, RFI Bracket, RBO Bracket. B) LFO 1.5Tw, any kicking/tucking motion matching/mirroring/corresponding to partner A, LBI Bracket, LFO Bracket. Partners must be touching once exited from twizzles.

1PSt being completely prescriptive in KPs and 2PSt being slightly more flexible:

2KP1: both beginning any bracket, immediate counter, 1-5 intermediate steps where at least one partner must hit at least one difficult skating position* for at least a 1/2 beat, skid exit.

2KP2: both beginning swing FO C-Step, 3-8 intermediate steps/turns with partners MIRRORING each other, ending BO Counter. Partners must be touching entire time

2KP3: both beginning double S-step, 1-4 intermediate steps, ending with one partner on a BO edge and picking into the ice and the other partner doing at least one revolution around. PSt, officially concluded when the stationary partner resumes motion. Partners much be touching at two points until the first revolution around in 2KP3 is concluded.

Skaters would receive credit for the KPs accomplished in both and would receive a fourth Y/N based on whether they met choreographic requirements outlined in italics above.

*difficult skating position: any position where the skating leg is bent at least 90 degrees (shoot the duck, hydroblade, any lunge, any crouch), besti squat, spread eagle, ina bauer, spiral, layback, etc.

Now for some theme ideas:

2024-2025 - Patterned Short Dance - Grand Ballroom with a pattern of Golden Waltz

Teams must skate a program which reflects the character of the waltz particularly with regards to (1) lilting knee action, (2) closed position in hold, (3) repeated rotation as a unit when progressing across the ice, (4) movements should appear long, extended, and with sweeping open posture, (5) tone and musical themes may vary as long as a waltz character is maintained.

2025-2026 - Original Short Dance - Jig

Jig originated in Ireland and Scotland, gradually progressing throughout the British Isles and mainland Europe and then throughout the world including in the Metis people of Canada and Louisiana. Straight and sand jigs were developed in the US by African Americans in the 19th century which eventually influence the creation of jazz and tap. Jig is characterized by (1) high tempo, (2) rapid toe and heel steps, (3) jumps, kicks, hops and other accents including slides and shuffles, (4) tight and rigid torso, emphasis on leg movements over arm movements, (5) music in 12/8, 6/8, 9/8, 2/4. Teams are expected to pick music and a type of jig dance which fits these characteristics.

2026-2027 - Pattern Short Dance - Percussive Dances with a pattern of Paso Doble

(1) Stomping, toe picking, clapping, other percussive elements involving hitting the legs or torso, (2) dance is primarily danced to the RHYTHM and TEMPO not the melody, if there is a section without audible rhythm the team should create that beat using percussive elements (3) music must include a beat throughout, a melody is not necessary, (4) a theme should remain consistent throughout, if movements are drawn from a traditional dance they should reflect the character of the music chosen and the pattern should be interpreted appropriately.

2027-2028 - Original Short Dance - Music and Rhythms of the 1970s

The 1970s were one of the most influential eras of music, giving birth to entire new genres and styles and furthering the popularity of funk, soul, R&B, jazz, glam rock, folk rock, pop, disco, reggae, electronic music, and the birth of hip hop, it was defined by experimental sounds due to new music equipment.

(1) Music choices and rhythms should be COHERENT and related, the two music choices should be related thematically, structurally, or stylistically beyond more than just being from the 1970s, (2) one piece of music should be high tempo (>120bpm) and one piece should be low tempo (<100bpm), a third piece can be skated to any tempo, (3) the holds, movements, and steps in the PSt should reflect the style of music and dance chosen

2028-2029 - Pattern Short Dance - Jazz and Tap with a pattern of Quickstep

Jazz dance is a particularly broad genre that includes original social dances like the Charleston developed in parallel to the birth of jazz in Harlem, as well as more modernized styling.

Skaters should take inspiration from dancers like Bill Robinson, Jack Cole, Fred Astaire, Gus Giordano, nd Bob Fosse, as well as Broadway stage choreography and tap dance.

(1) Music choices and rhythms should be COHERENT and related, the two music choices should be related thematically, structurally, or stylistically, (2) one piece of music should be high tempo (>120bpm) and one piece should be low tempo (<100bpm), a third piece can be skated to any tempo, (3) the Quickstep timing can be adjusted to fit the tempo of the music chosen and to reflect the character of the chosen choreography.

See: https://gotta-dance.com/brief-history-of-jazz-dance/

2029-2030 - Original Short Dance - Nuevo Latin

The ISU has done a whole lot of cha cha, rhumba, and samba, but those are FAR from the only Latin rhythms. Dancers will be challenged to develop a new pattern that isn’t already an ISU pattern (and one that hasn’t been done a million times).

Examples of other rhythms: bachata, cumbia, danzon, salsa, mambo, merengue, bomba, lena, perreo, etc.

(1) The entirety of the PSt should be done in the same style and tempo but can differ from the the rest of the program. (2) Dancers are only required to pick one rhythm style but 2-3 are permitted. (3) skaters must have two points of contact with each other the entirety of the PSt, (4) at least 6 changes of hold must take place during the PSt, this can be from the same to same hold as long as a step or turn takes place during the change, (5) 1PSt must begin at the end of the long axis, 2PSt must end at the same end.

Choreo deductions: obvious use of cha cha, rhumba, or samba music/choreo. Tango, paso doble, and flamenco also excluded.

2030-2031 - Pattern Short Dance - Folk Dances with a pattern of Polka

Folk and country dance is characterized by it's informal and reflection of the general populace intended for widespread social dance. As opposed to court and ballroom dances, it should not be characterized as refined, ritual, or for stage performance. Skaters are encouraged to choose a folk dance related to their background. (1) Polka is skated to a bpm of 120bpm +/-4 and can be skated to and interpreted in any kind of musical style, (2) the same folk dance theme should remain constant throughout the dance or if two dances are chosen they should be closely related (i.e. the non-touch midline step sequence done in the line dancing style and the polka in the square dance style) (3) skaters may have a non-touch portion of their 2PSt provided they remain within one arm-length of each other.

Examples of folk dances include: maypole, hora, tarantella, polka, square dance, clogging, Dutch crossing, oberek, mazurka, Morris , polska, ballu tundu, bhangra, circassian, dabke, garba, khigga, romvong, peacock dance, nongak, yangge, chacarera, zamba, malambo, marinera, akayida, kizomba, agbadza, baile folklorico, shota, rugovo, cumbia, landler, schuhplatter, sardana, dragon dance, lion dance, mapale, danza de la tijeras, jenkka etc.

2031-2032 - Original Short Dance - Swing and Social Dances

Despite the many years of jive, charleston, and jitterbug original dances, there is no swing (or related dance) pattern. Dancers are to pick a swing-adjacent dance style and create a pattern. Examples: charleston, lindy hop, jive, jitterbug, shag, boogie woogie.

(1) Dance style should generally be from the 1920s-1950s era, (2) skaters should include intricate changes of positions for each partner reflecting the highly athletic nature of swing dancing, (3) 1PSt should begin in front of the judges with a 1-2 second mini-lift and end in the same location, 1PSt and 2PSt should consist of similar patterns across the ice and each take one lap, (4) skaters should utilize hops, skips, assisted jumps, and up to 3 mini-lifts per PSt to reflect the character of their chosen dance.

Swing does NOT necessarily need to be up tempo if choosing a style such as West Coast Swing which is danced with a distinct lack of bounce.

And then with time in "pattern" years, new patterns will arise and be eligible for interpretation. Would love to hear people’s thoughts :)

[wtficedance]

Ice Dance Reimagined

With the upcoming ISU Congress in Summer of 2024 and ice dance seemingly in an unending beta of rule changes, I figured I would float a few thoughts on the many changes that have been made over the past few years.

As I mentioned in my RD Rules post, the ISU has essentially made moves to return to the original dance (making the change from short -> rhythm dance even more pointless in the first place) choosing to dictate broader themes.

To me, what makes ice dance so unique amongst all the disciplines is the variety of elements and styles that each team is expected to have in their repertoire and the fact that even in a given SD/OD/RD theme, people have to go out of their way to have a unique take. The rules which have lowered difficulty--in the name of giving skaters more room to be creative--have in fact resulted in the opposite. More teams are doing the same difficult features, same footwork, same lifts, same transitions than ever before. Both drawing on old choreography and leading to homogeneity across the discipline.

I propose a scheme which is a compromise of the two conflicting motions in ice dance right now: 1) the “no pattern ever” give everyone freedom vibes and 2) the people who believe the pattern is king. Alternate having a patterned and original short dance, giving the discipline an opportunity to develop new patterns (the original intention of the pattern dance type step sequence) while also ensuring that teams are continuing to emphasize solid ice dance foundations like skating in hold.

Original Short Dance Layout

1PSt

2Pst

Non-touch midline step sequence (style A)

Twizzles

Lift

Patterned Short Dance Layout

Pattern 1

Pattern 2

Non-touch midline step sequence (style A)

Twizzles

Lift

What the ISU (and choreographers/coaches) have fundamentally misunderstood about the appeal of patterns is that EVERY step is intentional and meant to elicit a specific effect and contribute to an overall impression. There's a reason that even though the Yankee Polka and Finnstep and Tango Romantica all include a LFI Closed S-Step, they have completely different timing and contribute to very different impressions. And it is because the general footwork in the pattern, in addition to just the difficult steps and turns, is geared towards reflecting the unique character of that pattern. I cannot count the number of pattern step sequences since 2017 that have effectively been copy pasted across blues, Latin, foxtrot/quickstep, blues x2, and Latin x2 once again programs with only minor changes to mini-lifts. They lack intention, they are the slowest section of the program for a good 90% of RDs because every team--no matter the style--is attempting to make their turns as drawn out as possible to get credit.

I propose that in original dance years there are 2 PSt segments, each with 3 KPs with the former 4th KP serving as a choreographic benchmark. This would allow for direct comparison of teams doing the same steps (and not allow teams to do the exact same difficult turns 5 years in a row) while simultaneously incentivizing creativity.

For example, under “Jig” below there are the following guidelines:

Jig is characterized by (1) high tempo, (2) rapid toe and heel steps, (3) jumps, kicks, hops and other accents including slides and shuffles, (4) tight and rigid torso, emphasis on leg movements over arm movements, (5) music in 12/8, 6/8, 9/8, 2/4. Teams are expected to pick music and a type of jig dance which fits these characteristics. 1PSt must start at center ice, 2PSt must end at center ice.

An example of key points:

1KP1: A) LFI Counter, LBI Bracket B) LBI Counter, LFI Bracket in any variant of closed hold except basic hand-in-hand

1KP2: both skip, LBO C-Step, RFI Swing S-step. in killian or foxtrot variant.

1KP3: A) RBO 1.5Tw, any kicking/tucking motion, RFI Bracket, RBO Bracket. B) LFO 1.5Tw, any kicking/tucking motion matching/mirroring/corresponding to partner A, LBI Bracket, LFO Bracket. Partners must be touching once exited from twizzles.

1PSt being completely prescriptive in KPs and 2PSt being slightly more flexible:

2KP1: both beginning any bracket, immediate counter, 1-5 intermediate steps where at least one partner must hit at least one difficult skating position* for at least a 1/2 beat, skid exit.

2KP2: both beginning swing FO C-Step, 3-8 intermediate steps/turns with partners MIRRORING each other, ending BO Counter. Partners must be touching entire time

2KP3: both beginning double S-step, 1-4 intermediate steps, ending with one partner on a BO edge and picking into the ice and the other partner doing at least one revolution around. PSt, officially concluded when the stationary partner resumes motion. Partners much be touching at two points until the first revolution around in 2KP3 is concluded.

Skaters would receive credit for the KPs accomplished in both and would receive a fourth Y/N based on whether they met choreographic requirements outlined in italics above.

*difficult skating position: any position where the skating leg is bent at least 90 degrees (shoot the duck, hydroblade, any lunge, any crouch), besti squat, spread eagle, ina bauer, spiral, layback, etc.

Now for some theme ideas:

2024-2025 - Patterned Short Dance - Grand Ballroom with a pattern of Golden Waltz

Teams must skate a program which reflects the character of the waltz particularly with regards to (1) lilting knee action, (2) closed position in hold, (3) repeated rotation as a unit when progressing across the ice, (4) movements should appear long, extended, and with sweeping open posture, (5) tone and musical themes may vary as long as a waltz character is maintained.

2025-2026 - Original Short Dance - Jig

Jig originated in Ireland and Scotland, gradually progressing throughout the British Isles and mainland Europe and then throughout the world including in the Metis people of Canada and Louisiana. Straight and sand jigs were developed in the US by African Americans in the 19th century which eventually influence the creation of jazz and tap. Jig is characterized by (1) high tempo, (2) rapid toe and heel steps, (3) jumps, kicks, hops and other accents including slides and shuffles, (4) tight and rigid torso, emphasis on leg movements over arm movements, (5) music in 12/8, 6/8, 9/8, 2/4. Teams are expected to pick music and a type of jig dance which fits these characteristics.

2026-2027 - Pattern Short Dance - Percussive Dances with a pattern of Paso Doble

(1) Stomping, toe picking, clapping, other percussive elements involving hitting the legs or torso, (2) dance is primarily danced to the RHYTHM and TEMPO not the melody, if there is a section without audible rhythm the team should create that beat using percussive elements (3) music must include a beat throughout, a melody is not necessary, (4) a theme should remain consistent throughout, if movements are drawn from a traditional dance they should reflect the character of the music chosen and the pattern should be interpreted appropriately.

2027-2028 - Original Short Dance - Music and Rhythms of the 1970s

The 1970s were one of the most influential eras of music, giving birth to entire new genres and styles and furthering the popularity of funk, soul, R&B, jazz, glam rock, folk rock, pop, disco, reggae, electronic music, and the birth of hip hop, it was defined by experimental sounds due to new music equipment.

(1) Music choices and rhythms should be COHERENT and related, the two music choices should be related thematically, structurally, or stylistically beyond more than just being from the 1970s, (2) one piece of music should be high tempo (>120bpm) and one piece should be low tempo (<100bpm), a third piece can be skated to any tempo, (3) the holds, movements, and steps in the PSt should reflect the style of music and dance chosen

2028-2029 - Pattern Short Dance - Jazz and Tap with a pattern of Quickstep

Jazz dance is a particularly broad genre that includes original social dances like the Charleston developed in parallel to the birth of jazz in Harlem, as well as more modernized styling.

Skaters should take inspiration from dancers like Bill Robinson, Jack Cole, Fred Astaire, Gus Giordano, nd Bob Fosse, as well as Broadway stage choreography and tap dance.

(1) Music choices and rhythms should be COHERENT and related, the two music choices should be related thematically, structurally, or stylistically, (2) one piece of music should be high tempo (>120bpm) and one piece should be low tempo (<100bpm), a third piece can be skated to any tempo, (3) the Quickstep timing can be adjusted to fit the tempo of the music chosen and to reflect the character of the chosen choreography.

See: https://gotta-dance.com/brief-history-of-jazz-dance/

2029-2030 - Original Short Dance - Nuevo Latin

The ISU has done a whole lot of cha cha, rhumba, and samba, but those are FAR from the only Latin rhythms. Dancers will be challenged to develop a new pattern that isn’t already an ISU pattern (and one that hasn’t been done a million times).

Examples of other rhythms: bachata, cumbia, danzon, salsa, mambo, merengue, bomba, lena, perreo, etc.

(1) The entirety of the PSt should be done in the same style and tempo but can differ from the the rest of the program. (2) Dancers are only required to pick one rhythm style but 2-3 are permitted. (3) skaters must have two points of contact with each other the entirety of the PSt, (4) at least 6 changes of hold must take place during the PSt, this can be from the same to same hold as long as a step or turn takes place during the change, (5) 1PSt must begin at the end of the long axis, 2PSt must end at the same end.

Choreo deductions: obvious use of cha cha, rhumba, or samba music/choreo. Tango, paso doble, and flamenco also excluded.

2030-2031 - Pattern Short Dance - Folk Dances with a pattern of Polka

Folk and country dance is characterized by it's informal and reflection of the general populace intended for widespread social dance. As opposed to court and ballroom dances, it should not be characterized as refined, ritual, or for stage performance. Skaters are encouraged to choose a folk dance related to their background. (1) Polka is skated to a bpm of 120bpm +/-4 and can be skated to and interpreted in any kind of musical style, (2) the same folk dance theme should remain constant throughout the dance or if two dances are chosen they should be closely related (i.e. the non-touch midline step sequence done in the line dancing style and the polka in the square dance style) (3) skaters may have a non-touch portion of their 2PSt provided they remain within one arm-length of each other.

Examples of folk dances include: maypole, hora, tarantella, polka, square dance, clogging, Dutch crossing, oberek, mazurka, Morris , polska, ballu tundu, bhangra, circassian, dabke, garba, khigga, romvong, peacock dance, nongak, yangge, chacarera, zamba, malambo, marinera, akayida, kizomba, agbadza, baile folklorico, shota, rugovo, cumbia, landler, schuhplatter, sardana, dragon dance, lion dance, mapale, danza de la tijeras, jenkka etc.

2031-2032 - Original Short Dance - Swing and Social Dances

Despite the many years of jive, charleston, and jitterbug original dances, there is no swing (or related dance) pattern. Dancers are to pick a swing-adjacent dance style and create a pattern. Examples: charleston, lindy hop, jive, jitterbug, shag, boogie woogie.

(1) Dance style should generally be from the 1920s-1950s era, (2) skaters should include intricate changes of positions for each partner reflecting the highly athletic nature of swing dancing, (3) 1PSt should begin in front of the judges with a 1-2 second mini-lift and end in the same location, 1PSt and 2PSt should consist of similar patterns across the ice and each take one lap, (4) skaters should utilize hops, skips, assisted jumps, and up to 3 mini-lifts per PSt to reflect the character of their chosen dance.

Swing does NOT necessarily need to be up tempo if choosing a style such as West Coast Swing which is danced with a distinct lack of bounce.

And then with time in "pattern" years, new patterns will arise and be eligible for interpretation. Would love to hear people’s thoughts :)

[wtficedance]

well now you have to publish all your ideas for the RD given that the ISU have fucked it (full body cringe at the idea of the Olympic announcers having to tell the hundred million people watching that the theme of this very serious competitive sport is ‘dance party’)

Hi anon,

I promise I’m getting to it soon lol I’ll probably end up breaking it into parts so I can get some of it out as soon as possible. I’ve been working on it since October 2023 so it’s a work in progress.

-wtficedance

[wtficedance]

no way for Spanish fed to change the Euros assignment after the fact when they sent S/D off to their holidays thinking they didn’t have any more competitions - Tim was in Germany, Olivia’s back in Canada. Makes sense to send V/K to Euros since they were preparing for it anyway and then change the Worlds assignment - changing the Euros assignment 2 weeks before it would have magnified this disaster. This was the best compromise

Q #216:

Excellent point. And in the context of WC being in Montreal it absolutely makes sense to send S/Dk since they will benefit from hometown MF politicking far more. But man, what ridiculous criteria in the first place. Imagine if Japanese assignments were decided by TES, someone like Satoko would have been passed over so many times despite being one of their best skaters. Also, ridiculous given that S/Dk are certainly benefiting from experience (even if that has shown up in their scores significantly less than anticipated).

[wtficedance]

Thanks for answering my ask- I was the one who asked about Ben Agosto. So basically if he's "supporting the narrative" he's fudging stuff like whether Lilah actually deserves her scores in favor of spinning what the ISU's peddling. Isn't that kind of bullshit then? He's looking for ways to justify what they're doing, even if it's really thin - like Charlene's back flexiblity vs. Lilah's skating - and doesn't account for what's actually happening? Thanks for explaining that - I can smell the spin in what he's saying and now I see why - he's not good as say Mark Hanretty at walking the line

Q #215:

Combining with another similar ask as well for conciseness:

“Don't you find it ironic that he can't say the truth because it'll "undermine viewer confidence in the sport"? Like you're literally saying that there's a lack of integrity in it. Viewers should not have confidence that it's a fair sport, basically lol”

Hi anons,

The short answer is yes it is ironic and of all of the things I truly do love about ice dance (the really cool artistic inspiration, the creativity, imagining new ways to incorporate movement, etc.) the integrity and fairness of the sport has never been notable. All sports which involve a judged component (even in the forms of an umpire/ref/linesmen etc.) will have controversies about officials inserting themselves into the game and affecting results, but sports which are purely judged will have significantly more of it.

This is especially true for ice dance since there’s less obvious mistakes that someone who’s never seen the sport before (falls!, clear stumbles, losing grip on your partner) can pick out and understand that it’s playing a role in the score. It’s why twizzles went from being a very insignificant part of the sport to its more talked about element, because while something like ONLY pirouetting isn’t obvious, being slow, not covering ice, falling out of rotation, lack of sync, are very noticeable no matter your experience watching ice dance. Meanwhile, step sequences are a huge part of ice dance scoring but apart from obvious mistakes like stumbles and falls, it can be hard for a first time viewer to understand why they're scored the way they are.

So yes, commentators have to choose whether they're going to fully buy into the narrative (more of a Ted strategy, and also one taken more by commentators who don't have ice dance background but are former singles skaters) or whether they're going to go more with the half-picture but mostly true lines. Because--at least on English-speaking channels--unless its homer/"we were robbed!" comments, people generally tone down the "this result is bullshit and actually the team who placed first shouldn't have even podiumed" stuff. ESPECIALLY, when its at a relatively low stakes event like a GP vs. the Olympics or Worlds where that at least generates interest/potential viewership.

But generally, post-SLC, you see a large reluctance of commentators to really play into the controversy. My general hypothesis is that it is because 2 things: 1) an increased awareness that it will be weaponized to say that FS isn't "a rEaL sPorT" and 2) because of the number of old timers who attribute it to IJS/the system. Elaborating on 2), a lot of the immediate reaction after Adelina won in Sochi by FS commentators was that she won correctly within IJS, and that under 6.0 Yuna would've won. Kurt Browning in particular comes to mind. Which... Adelina did not win because of IJS. She had a level 4 step sequence despite tripping, virtually tied Yuna in PCS, beat Carolina Kostner in SS, and got away with quite a few UR calls. All of those things SHOULD have been punished if IJS had been correctly applied. There's a tendency for people who dislike IJS to blame the system itself. A lot of it in ice dance comes back to not just IJS but also "well if we still had the compulsory dance" but I'm going to be quite honest and say a lot of the time teams who were in fact NOT the strongest skaters won the CD. AND while I fully concur that too much of the score in ice dance is now choreographic elements and step sequences have been devalued, a team like F/G should still not be in the top 8 if they were scored correctly in the current system.

All of this to say. Yes, F/G's results this season are rather absurd, they are not reflective of the skating on the ice, they've been way too high in the context of their ability and the timing of the quad, some commentators have been significantly more effective at addressing the absurdity of the scoring, and that their rise isn't particularly unique because ice dance has always been particularly susceptible to narratives and egregious politicking. And particularly this year, there's some interesting dynamics about pushing European teams and Russia as the traditional ice dance power being absent. Which I don't think will benefit F/G in the future if a particular team comes back.

But, in the end while I do wish the scoring was more fair, it is a reality I have come to accept because I don't watch competitions to see who wins but to enjoy some truly creative and special programs.

P.S. agreed on Mark :)

[wtficedance]

Question, is there are an aspect or characteristic of figure skating that you think has not been included, well-measured, or given enough importance by PCS criteria? I’ll start: “partnering”/“oneness”/“unison” should be its OWN PCS mark in pairs and ice dance.

A few other thoughts from people on twitter so far:

quality of movement (a collection of pointed toes, turnout, posture, dancing skills, refinement, precision, good lines)

originality

musicality

[wtficedance]

What do you think of Ben Agosto’s twitter commentary? I’m starting to wonder if he’s auditioning for broadcasting gigs and trying to stay in good graces by supporting the winning narrative- do you think him being wowed by FG is convincing?

Q #214:

Hi anon,

Ben has actually had quite a few broadcasting gigs (NBC w/ Tanith for a bit) over the years so I’m not sure it’s as much a continual audition for roles as remaining in the ice dance world. I don’t think him being “wowed by F/G” is necessarily what he’s trying to go for, more of an understanding of the narrative.

It’s hard to be a commentator and be like “well team Y is gonna get a very high score cause of politics despite team X being better” because it undermines viewer confidence in the integrity of the sport… but it is sort of needed for accuracy in ice dance. Which is why it’s very clear in how he never claims that Lilah is good at skating compared to others but to *her previous level.* Which isn’t wrong, but she hasn’t had the Vika Sinitsina glow up in edge quality and control that would rationalize the massive jump in world ranking they’ve undergone as a team. Which is also why he talks about things like Charlene’s bad back mobility which affects the quality of her movement & posture but not necessarily her skating skills, but it’s something that’s pretty clear to people who aren’t familiar with ice dance and lets people draw the conclusion that it’s a reason for their lower score.

It’s pretty clear he’s walking the tightrope of being supportive enough of F/G’s *improvement* to rationalize their jump in ranks, while not actually saying they’re exceptional skaters or even amazing artists (just that their material is different from what everyone else is doing… which there’s a reason no one else is doing it).

That’s just my take! But I hope that helps add clarity.

[wtficedance]

Challenge for ice dance fans: repost this with a clip of your favorite step sequence (or footwork in general) and what makes it so special/interesting/captivating to you! For OD Step Sequences (prior to 2010) let me know if you think it would make a good Pattern Dance.

Doing this on twitter as well, super interested to see what you guys come up with.

I’ve always been a big fan of Krylova/Ovsiannikov’s Pasó Doble. It’s so angular particularly the leg work from 0:27-0:34 and then the lunge hop into that lean starting at 0:42. There’s some steps that are a little frantic (as want to be in 6.0, but I feel like you could insert a bracket, C-Step, and a Swing Counter to help slow it down at spots and it would make an excellent pattern.

[wtficedance]

Changes to the Choreo Rhythm Sequence Explained

So the ISU Ice Dance Technical Committee just released a wave of brand new changes to the ChRS. I am currently working on a more descriptive video to get into the nitty gritty of identifying the element, how it's judged, and what in general to look for but this table is a bit of a cheat sheet explaining how the element is being called (by the tech panel) and judged (by the judging panel). Hope this helps explain the significance of these rule changes!

-@wtficedance

[wtficedance]

Hi. Zehnder/sieber's free dance from this week's jgp has been finally uploaded and I was wondering why their choreographic lift appeared as a blank in the protocols. Do you know why it didn't count for their scores? (It was short but it seemed more than 3 second to me). And even if it was invalidated shouldn't it appear with an * on the protocol?

Q #213:

Hi anon,

Great question, this sort of has to do with how differently choreographic elements are called compared to other elements since there is a way to use an element without level to block an element box but there’s only ChSt1 (not ChSt or ChStB). So when there’s a fall early on in something like a lift or spin the element is only judged based on what happens prior to the fall, you can’t get up and resume and have those things count for level. The tech panel puts in “SlLi” for example, F is put in the call box, and then then the GOE boxes are filled with dashes. Because of how similar and how much overlap there can be between choreographic elements, the ISU has developed minimum criteria for an element to be “confirmed” as a specific choreo element. If an element doesn’t meet that threshold, the element box stays empty.

For Zehnder/Sieber I wasn’t able to precisely get my stopwatch out but it looked to be like they were just shy of the 3 seconds that are required to confirm the choreographic lift.

IMO it would be beneficial to clarity to have a non-leveled format so that the element could be called but not awarded GOE, just for greater transparency and easier review of protocols.

Hope this helps!

[wtficedance]

Viewing information for Autumn Classic and JGP Japan is now available on our website.

[wtficedance]

Watching the pairs short from Lombardia this morning and Ghilardia/Ambrosini had a boot problem and stopped and took a 6 pt deduction. Ling/Wein's interruption for a boot problem at Lake Placid last month cost them 5. When VM stopped for Tessa's leg cramps at 4CC in 2013, why didn't they get any deduction?

Q #212:

Hi anon,

So there are a few different kinds of breaks and they can be instigated by the skater or the referee. I haven’t watched the pairs short program so I can’t comment on G/A but for Ling/Wein they were blown dead by the referee because the referee determined that the costume issue was a safety issue. If you as a skater are whistled to stop by the referee, you must stop or risk disqualification. For obvious reasons, a loose boostrap could be very dangerous in ice dance, especially for lifts and any transition which involves a mini-lift. L/W were mandated to stop to fix his boot because the referee made the call that his bootstrap significantly increased the likelihood of injury or other adverse events (pretty obviously). In case of a costume malfunction, that is deemed somewhat in the skaters’ control (not saying I agree with the logic this is just the rationale) but a medical stoppage is not. For example, a skater is responsible for tying and securing their laces and therefore will receive a deduction if they come loose but would not if they got a bloody nose (not controllable).

In 2013 there was a bit of an uproar because not only did V/M stop in the middle of their FD at 4CC but so did P/C at JWC. These were medical stoppages and therefore did not get deductions. Tessa has a condition called Chronic Exertional Compartments Syndrome where her muscles are overly restricted by her fascia resulting in intense nerve pain and reduced blood flow. I’m sure that when Scott was explaining to the referee the cause of the stoppage that her (documented) compartments syndrome was preventing her from skating and was specifically a safety risk when it came to her kicking up into that straight line lift. CCES is pretty obviously improved by a break because those extra seconds yelp reduce muscle inflammation and restore blood flow.

Gabi sprained her ankle the day of the JWC free dance in warm ups (might have also included a fracture I don’t remember the specifics). You can see that Gabi’s right ankle is taped to high heaven and back in the videos. P/C stop right after a series of transitions that’s pretty heavy on Gabi’s right ankle with a leaning besti squat and lunge and before their circular step sequence. Both of her one foot sections within the steps were on her right foot and you can clearly see that her skating throughout the entire program is affected by limited strength and mobility in her ankle. Again with the stoppage there was a clearly documented and visible injury and when talking with the medical personnel (after the referee) it was clear that they could continue within 3 minutes.

Here are the relevant sections of the special rules and regulations:

Hope this helps answer your question!

[wtficedance]

what do you think of the 2003 controversy about the Israeli team of Galit Chait and her partner winning bronze at Worlds and 20 of the 24 dance teams signing a petition saying judging was unfairly biased by politicking from her father Boris, the head of the Israeli fed? And that the Lithuanian team should have been on the podium instead? Galit is a tech specialist now, and her father still runs the Israeli skating fed, so nearly the entire field of a competition could speak up and call foul and be dismissed anyway, no repercussions

Q #211:

Hi anon,

I think you mean 2002 Worlds but yes another strike against the 6.0 system after a very contentious Olympics. I do think it’s a very unique circumstance because there are very few times in ice dance (or skating as a whole) where a weak, non-traditional skating federation controls the narrative and is influencing the formation of judging blocks. Normally in ice dance it’s highly influenced by coach even more so than fed. The whole incident was emblematic of all of the issues with 6.0 (blind block judging and alliances, politics entirely dictating scores in face of errors, a complete and utter lack of movement in standings except in block realignment, smaller federation teams like Drobiazko/Vanagas repetitively getting screwed and being unable to build momentum) but it was only because of a few reasons that it actually resulted in change:

D/V were VERY well-liked in ice dance

Chait/Sakhnovski were not and her father was essentially widely despised

Americans Lang/Tchernyshev took point on organizing the petition

all of the traditional powers in ice dance (Linichuk, Zhulin, Tchaikovskaia, Dubova, Zazoui, Gorshkov, etc.) had teams who were being slowed down by the Israelis

Anissina/Peizerat & Fusar-Poli/Margaglio didn’t compete at Worlds and would’ve been on the podium otherwise, it wouldn’t have generated nearly as much controversy if D/V and C/S were fighting over 5th

North American media were able to leverage the fact that D/V were getting f*cked over by the Eastern Block to apply that logic to Bourne/Kraatz

C/S only won ONE segment: FD

So yes, I do believe that D/V were deserving of bronze at that worlds but I don’t think it was a highway robbery, more of just a boiling over point.

My hot 6.0 ice dance take is that there was so little actual criteria when it comes to the free dances that it is hard to actively differentiate teams beyond a certain point. And a lot of the “well X was clearly better than Y” is truly just preference unlike the CD and OD where there was a clear emphasis on footwork, linking movements, edge quality, crispness, etc. That’s why it’s a little frustrating when commentary under IJS is like “well these teams are evenly matched in everything so its really just down to PCS” because while that was basically true for 6.0 it SHOULDN’T be true under IJS. Especially because all of the top teams since the inception have had very different strengths and weaknesses with their respective rivals. A lot of the things that we value in modern, IJS ice dance are completely different than under 6.0. For example, you’ll here commentators talking about the amazing quality and speed of a dance spin and in a 6.0 FD it will literally be 4 rotations max, where in modern programs they’re at minimum 9 and almost always closer to 20. Lifts are another animal as well beyond just “this is not aesthetically pleasing / this is aesthetically pleasing.”

I don’t think we will ever see something like this replicated because of (1) the Gadbois monopoly means that MF would largely have control over results and it’s more likely that Gadbois teams would be screwed over internally and you would lose all camp backing if you tried to petition, (2) there’s now a lot more money going into each result, and money trumps uniquely intimidating personalities, (3) it was riding the wave of the biggest scandal in skating history at the time and basically everyone in ice dance was sick of 6.0.

So yes it’s not the most ethical that Chait is so involved in sport but as Israel’s whole skater development program is C-list Jewish Canadians, Americans, and Russians, I highly doubt they’re going to be relevant in the next few decades that Chait will be involved. Hope this helps!

[wtficedance]

did chock and bates really get lvl 4 in all the elements on their free dance at worlds?

Q #210:

Hi anon,

Short answer is no. They should have lost levels on the diagonal step sequence, twizzles, and one foot turn sequence. However, for the first time all season EB finally achieved a full lunge position for their SlLi.

DiSt:

MC: flat on S-step RBO exit, no sustained RBO on rocker exit

EB: hopped RBI counter, flat on rocker RBO exit

SyTw:

Both pirouette on CW twizzles, MC pirouettes just 2 rotations in and has 2 rotations with no linear movement, should have been a level and GOE reduction

OFT:

Both hop RBI counter (EB more egregiously) and scratch their RFI brackets on exit

I also want to note that a fall has ALWAYS been defined as a serious error. It’s frankly the one thing that has always unambiguously been defined as a serious error. It doesn’t have to be on an element. As of 2010 In ice dance “a loss of balance or stumble” counts for a 0.5 deduction in SS per partner, so not even a fall, necessitates a cap. So, their PCS of 57.22 should have been maxed out at 52.50 (8.75/mark). Even by the new PCS standards (composition, presentation, skating skills) where the error is penalized less harshly and assuming that otherwise their PCS was worthy of 10s (which… no comment) and should have been capped at 9.50, France, Switzerland, and Estonia all gave 9.75s. France and Switzerland in skating skills.

I tried to make a video but Adobe is currently angry with me so I'm putting it on the back burner unless people are interested.

[wtficedance]

hello, I was looking at older ice dance protocols and noticed there are often seemingly unscored elements like Li+TRANS and Sp+TRANS. What do they mean and are they scored somewhere else or? It just really confused me, thank you!!!

Q #209:

Hi anon,

So for the 2009-10 season they introduced this idea of an additional lift or spin that was not leveled but could by identified and contribute to the Choreography score (which was relabeled Composition and Choreography in PCS later). These were movements which were to be ignored by the tech panel and judges except in context of evaluating PCS because teams were just expected to do actual choreography and linking footwork/movements between elements.

Here is the excerpt from ISU Communication No. 1567 that describe these unscored transition elements.

For the OD:

One (1) Short Lift – but no more than two (2) lifts* (up to 6 seconds each)

Note: A couple may choose to skate either one or two lifts but the first performed lift ONLY will be identified and considered in determining the level of difficulty. Any type of lift may be used for the second lift and it may be performed without any requirements for the Level of difficulty provided that its duration is within permitted 6 seconds and it is not illegal. The second Lift will be considered by the Judges in marking the Choreography. However, if a third Lift is performed, it will be considered by the Technical Panel as an Extra Element and deduction 1.0 will be applied.

NOTE: The DANCE SPIN is not included in the list of Required Elements for the Original Dance season 2009/2010. Nevertheless, a Spinning movement skated by the couple together in any hold around common axis on one foot (or two feet) with any number of rotations is permitted. A couple may choose to use this movement as part of their choreography. The Technical Panel will ignore these movements and the judges will not consider these movements as the permitted stops.

For the FD:

SENIOR: THREE (3) DIFFERENT TYPES OF LIFTS,* ONE (1) of which may be chosen from the Long Lifts which must not exceed 12 seconds.

Note: Up to two (2) additional Lifts (up to 6 seconds each) without any requirements for the Level are permitted (provided that they are not illegal), but only the first three performed Lifts will be identified and considered in determining the level of difficulty. The additional Lift(s) will be considered by the judges in marking the Choreography. However, if a sixth Lift is performed, it will be considered by the Technical Panel as an Extra Element.

Note: One additional Dance Spin (Spin or Combo Spin) is permitted but only the first performed Dance Spin will be identified and considered in determining the level of difficulty. This additional Dance Spin will be considered by the judges in marking the Component of the Choreography. But the third Dance Spin performed will be considered by the Technical Panel as an Extra Element.

In 2012/13, the language shifted to: "In addition, one (1) Transitional Dance Spin, but no more, performed optionally after the required Dance Spin, is permitted" but in the Worlds, not a single team performed this "Sp+TRANS" as this was also the year that the "Transitional Lift" became the choreographic lift "ChLi." Which had a BV of 0.20 (5% of Level 4 Lift BV) this was the birth of the true choreographic element.

Hope this helps and let me know if you need additional clarifications!

[wtficedance]

Thank you so much for all the helpful info! Would you be willing to share a bit about yourself? Are you a skater or a coach or official? You’re just so knowledgeable it seems like you must be inside ice dance. Love your blog!

Q #208:

Hi anon,

I'm linking Q #131 since that goes into more depth but I am not a competitive skater, coach, or official, I took lessons when I was younger but I was a soccer player and that was my main sport. I have family involved in the sport but the majority of my ice dance knowledge comes from years and years of watching the sport and hunting down ISU communications from the dawn of IJS. Especially as a college student-athlete I do not have the time or desire to become an official.

:)

[wtficedance]

Adding this from special rules and regulations. Rhythm encompasses tempo but adds character. For latin for instance, many dances have same beat patterns and time signature and could be skated to similar tempos but have a different rhythm of beat patterns. Salsa has a “clavé” rhythm and 6 steps in a measure, (2x slow, fast, fast), Bachata is 3 steps and a tap, Cha Cha is slow, slow, slow, fast, fast, fast or 1-2-3-cha-cha-cha each “cha” a half beat.

So even though the music is technically the same time signature (4/4) and could all be danced at a tempo of 120 bpm, the use of beats in a DANCE sense, not necessarily a music sense. Completely changes the rhythm and character.

what's the difference between tempo and rhythm in ice dance? like when for the rd it says that the stsq needs to be skated to a different rhythm than the pattern does it just mean a different tempo or a different song?

Q #207:

Hi anon,

So, there is very little difference between the two. I use them practically interchangeably. Generally, refers to the beat and cadence of the beat in a program. I would say tempo is slightly more specific, e.g. a tempo of 110 bpm vs. saying “rhythm of 110 bpm.”

Just for an example, the song Bohemian Rhapsody by Queen has a ton of different tempos, and definitely satisfies the “change in rhythm” requirement if you were to skate the PSt on one section and the MiSt on another.

In the FD, teams must have a change in rhythm that has both a change in tempo and a change in expression/mood. So you can use one piece of music provided it does so. A composer like Stravinsky for instance, has a lot of musical compositions which change in time signature throughout.

Hope this helps!