Compulsory Dances for Europe - FIHP

CONFÉDÉRATION EUROPÉENNE DE ROLLER – SKATING

C.E.R.S. (affiliée À LA F.I.R.S.)

COMITÉ EUROPÉEN DE PATINAGE ARTISTIQUE (CEPA)

Compulsory Dances for Europe

Version 1-2003

Information on Compulsory Dances, Free Dance, (CIPA Regulations) Original Dance information will be found on a separate sheet.

On behalf of the CEPA Committee I would like to thank the following people who did a great deal of work in helping me re-produce the CEPA Book on Dance, which has taken an enormous amount of time and effort by all concerned :- Marco Faggioli – CEPA Ronald Gibbs - Gt.Britain Cinzia Bernardi – Italy Lorenza Residori – Italy A separate sheet appears for OSP until such time as CIPA have agreed to change the OSP to an OD. At that time all Nations will be issued with the new rules which will cover all rhythms chosen.

IMPORTANT NOTE OF COMPULSORY DANCE PATTERNS

All diagrams in this book are a guide to the shape of each compulsory dance. It is recognised that due to the different sizes of skating surfaces, particularly here in Europe, it is not always possible to lay down the pattern exactly as shown, but the skater/s are expected to make full use of the skating surface whilst making sure the correct edges are skated at all times. MARGARET BROOKS President C.E.P.A.

1

Index Page

1. Glide Waltz 3-5 2. Skaters March 6-8 3. Rhythm Blues 9-11 4. Country Polka 12-14 5. Olympic Foxtrot 15-17 6. Denver Shuffle 18-20 7. Canasta Tango 21-23 8. Tudor Waltz 24-26 9. Swing Foxtrot 27-29 10. Kleiner (Little) Waltz 30-32 11. Kilian 33-36 12. Fourteen Step 37-40 13. Keats Foxtrot 41-44 14. Siesta Tango 45-47 15. Association Waltz 48-50 16. European Waltz 51-53 17. Imperial Tango 54-57 18. Flirtation Waltz 58-60 19. Harris Tango 61-64 20. The Blues 65-67 21. Rocker Foxtrot 68-70 22. Quickstep 71-73 23. Westminster Waltz 74-77 24. Argentine Tango 78-81 25. Italian Foxtrot 82-84 26. Starlight Waltz 85-89 27. Iceland Tango 90-92 28. Viennese Waltz 93-95 29. Paso Doble 96-99 Rules for Solo Free Dance 100 CEPA/CIPA Rules for Couples Free Dance 101-104 CEPA/CIPA Deduction Guidelines for Dance 105-106 CEPA/CIPA Costume Rules 107 Dance Holds 108-109 CEPA List of Compulsory Dances for Solo & Couple Dance 110

2

GLIDE (Straight) WALTZ Originated by: Unknown

Music: Waltz 3/4 Tempo: 120 beats Hold: Kilian Pattern: Set Notes: The dance is performed all in Kilian Position and the steps are the same for both skaters. This is a easy dance and is very important to be in time. Steps 1 & 2 make a chasse, the step 2 is on the third beat. Step 3 is a LFO made on three beats followed from RFI (Step 4) always of three beats Steps 5 & 6 make a chasse, the step 6 is on the third beat. From step 7 to step 10 the skaters repeat the sequence created from steps 3,4,5 & 6. The step 11 is one LFO kept for three beats and directed on the long axis of the rink. Steps 12, 13 & 14 are one sequence directed to the barrier and is composed from one chasse and from one edge RFO kept for three beats. This last step is the conclusion of one sequence of the dance. Attention points:

- Correct execution of the chasse - Respect of timing - Step 11 must be a good outside edge kept for the three beats. - A clear and correct Kilian position must be kept in all parts of dance. - Respect of set pattern

3

List of Steps: Hold Step

s Man Lady Beats

1 LFO LFO 2 2 RFI – Chasse RFI – Chasse 1 3 LFO LFO 3 4 RFI RFI 3 5 LFO LFO 2 6 RFI – Chasse RFI – Chasse 1 7 LFO LFO 3 8 RFI RFI 3 9 LFO LFO 2 10 RFI – Chasse RFI – Chasse 1 11 LFO LFO 3 12 RFO RFI 2 13 LFI – Chasse LFI – Chasse 1

Kilian

14 RFO RFO 3

4

GLIDE (Straight) WALTZ

Ladies and GentsSteps Identical

1. LFO

2. RFI Chasse

3. LFO

4. RFI

5. LFO6. RFIChasse7.LFO

8. RFI

9. LFO

10. RFI Chasse

11. LFO

12. RFO

13. LFI Chasse

14. RFO

5

THE SKATER’S MARCH Originated by: Irvin & Nazzaro

Music: March 2/4 or 4/4 Tempo: 100 Beats Hold: Kilian Pattern: Set Notes: The dance start on count 1 of measure of music, the first step of the dance must be step 1. Steps 1 to 6 comprise the straightaway sequence of this dance. Steps 4,5 & 6 make up an eight beat centre lobe, with steps 4 and 5 completing the first half and the four beat RFO swing (swing extended free leg forward on third beat) beginning at approximately the top of the lobe and returning to the baseline. The baseline of this dance only covers the centre lobe edges. Both parts of the barrier edge lobbing should be symmetrical and arranged proportionately to suit rink condition. Steps 7 to 14 make up the remainder of this dance. On very small rinks it may be necessary to use steps 7 to 10, (steps 11 to 14 are a repeat of steps 7 to 10). In line progressives should not be accepted as correct technique for step 4, XF-RFO and step 10, XF-RFI. These steps are crossed tracing-crossed foot progressive take-off. There should be no noticeable forward-backward-forward movement of the right foot in these steps. The aim is out, so that the arc of the pattern will not be disturbed. The left foot is stroked into the crossed chasse position for step 5, XB-LFI and is a crossed tracing-crossed foot movement. Attention points:

- A clear and correct Kilian position must be kept in all parts of the dance. - Respect of set pattern. - Respect of timing and cross on steps 4, 5 & 6. - Correct timing of swing of step 6 (on third beat) - Cross in front of steps 10 & 14

6

List of Steps: Hold Steps Man Lady Beats

1 LFO LFO 1 2 RFI RFI 1 3 LFO LFO 2 4 RFO-XF RFO-XB 2 5 LFI-XB LFI-XB 2 6 RFO-Swing RFO–Swing 4 7 LFO LFO 1 8 RFI RFI 1 9 LFO LFO 2 10 RFI-XF RFI–XF 2 11 LFO LFO 1 12 RFI RFI 1 13 LFO LFO 2

Kilian

14 RFI-XF RFI-XF 2

7

THE SKATER’S MARCH

1. RFO

2.RFI Run

3. LFO

4. RFO XF

5. LFI XB

6. RFO Swing

7. LFO

8. RFI Run

9. LFO

10. RFI XF

11.LFO

12. LFI Run13. LFO

14. RFIXF

Start

8

THE RHYTHM BLUES Originated by: Robert Craigin (modified)

Music: Blues 4/4 Tempo: 92 Beats Hold: Kilian Pattern: Set Notes: The steps 1,2,3, and 4, form a sequence of progressive steps: Note that Step l (LFO) has a duration of two beats. Step 5 (LFI-Swing) has a duration of four beats: Swing the free leg forwards on the third beat. Step 6 (RFO-I Swing) has a duration of four beats: it begins on the outside edge and subsequently changes to the inside edge on the third beat: during the execution of the change of edge, the free leg is swing forward. Steps 7,8,9, are progressive steps. Steps 10,11 and 12 are three cross behind steps (with free leg extended forward) each of two beats which concludes the sequence of the dance. Attention points:

- A clear and correct Kilian position must be held throughout the dance. - Respect of set pattern. - Respect of timing, paying attention to steps 1, 2 & 3. - Steps 4, 5 & 6 must have strong and clear edges. - Step 10, 11 & 12 are cross behind with the free leg extended forward.

9


1 LFO LFO 2 2 RFI Run RFI Run 1 3 LFO LFO 1 4 RFI Run RFI Run 2 5 LFI-Swing LFI-Swing 4 6 RFO/I-Swing RFO/I–Swing 4 7 LFO LFO 1 8 RFI RFI 1 9 LFO LFO 2 10 RFI-XB RFI–XB 2 11 LFO-XB LFO-XB 2

Kilian

12 RFI-XB RFI-X 2

10

THE RHYTHM BLUES

Start

1. LFO

2. RFI Run

3. LFO

4. RFI Run

5. LFI Swing

6. RFO/I Swing

7. LFO

8. RFI

9. LFO

10.RFI/XB

11.LFO/XB

12.RFI/XB

REG-28-03

11

COUNTRY POLKA Originated by: Edward O’neil (modified)

Music: Polka 2/4 Tempo: 112 Beats Hold: Kilian Pattern: Set Notes: All steps in this dance are progressive steps with the exception of step 4 and 8 of the corner. Step 1 – 8 make up the corner sequence of this dance. Step 3 is a LFO of two beats. It is performed with a soft knee bend which is also emphasised on the second beat to prepare for the following step which is a RFIXB: immediately after the cross behind the free leg is stretched ahead, and the free foot returns to the side of the employed foot on the second beat. Step 9 – 12 make up the straightaway sequence of this dance. Step 9 and 12 of the straightaway LFOI, six beats and RFOI, six beats. During the first two beats, the free leg is brought forward. The skating knee is then bent with the free leg extended fully in front and the outer toe wheel touches the surface directly in front of the skating foot. On the third beat. immediately after touching the floor, the free foot begins to travel to the rear. When the free foot arrives beside the skating foot, which should be on the 4th beat, the edge is changed from outside to inside. The free leg is then extended fully to the back and the inner toe wheel is touched on the surface directly in line with the skating foot, on the 5th beat. Attention points:

- Steps 4 & 8 must be well crossed. - During the execution of steps 9 & 12, pay attention to change of edge

(timing & edge). A good change of edge which will ensure a good pattern - Progressive steps must be really progressive steps. - A clear and correct Kilian position must be held throughout the dance. - Respect of set pattern.

12


1 LFO LFO 1 2 RFI Run RFI Run 1 3 LFO LFO 2 4 RFI-XB RFI-XB 2 5 LFO LFO 1 6 RFI RFI 1 7 LFO LFO 2 8 RFI-XB RFI-XB 2 9 LFO/I LFO/I 6 10 RFO RFO 1 11 LFI Run LFI Run 1

Kilian

12 RFO/I RFO/I 6

13

COUNTRY POLKA

1. LFO

2. RFI Run

3. LFO

4.RFI/XB

5.LFO 6.

RFO

7.LFO

8.RFI/XB

9.LFO/I

10. RFO

11. RFI Run

12. RFO/I

START

REG-03-03

14

OLYMPIC FOXTROT Originated by: Joan Preston

Music: Foxtrot 4/4 Tempo: 104 Beats Hold: Kilian Pattern: Set Notes: In this dance the steps are the same for Lady & Gentleman. Steps 1, 2 & 3 are a run sequence. Steps 4,5 & 6 are cross rolled edges which should be skated boldly. Steps 7, 8 & 9 are a Run sequence. Steps 10, 11 & 12 which are inside edges and must be struck from the side. Kilian hold must be held throughout the dance, staying close together with no parting at the hips Attention points:

- A clear and correct Kilian position must be held throughout the dance. - Respect of set pattern. - Cross rolls (steps 4, 5 & 6) must be performed with strong and clear edges.

Pay attention to Kilian position during these steps. - Steps 6 must be have a strong outside edge. The swing of free leg is on the

3rd beat. - Step 10, 11 & 12 must have good strong inside edges.

15


1 LFO LFO 1 2 RFI run RFI run 1 3 LFO LFO 2 4 XR-RFO XR-RFO 2 5 XR-LFO XR-LFO 2 6 XR-RFO

Swing leg on 3rd beat

XR-RFO Swing leg on 3rd beat

4

7 LFO LFO 1 8 RFI run RFI run 1 9 LFO LFO 2 10 RFI RFI 2 11 LFI LFI 2

Kilian

12 RFI- Swing leg on 3rd beat

RFI- Swing leg on 3rd beat

4

16

OLYMPIC FOXTROT

17

DENVER SHUFFLE Originated by: Briggs & Johnson

Music: Polka 2/4 Tempo: 100 Beats Hold: Kilian Pattern: Set Notes: In this dance the steps are the same for Lady & Gentleman. Steps 4, 10 & 17 are raised chasse’s This dance features a “slide” movement on steps 6 & 7. During the preparation for step 6, the right skate is brought up parallel to and alongside the left skate. With both skates in contact with the surface, the body weight is transferred to the right skate, with the left skate sliding forward into a leading position, all eight wheels being on the skating surface. In preparation for step 7, the left skate slides back and parallel to the right skate. During step 7, the body weight is transferred to the left skate and the right skate now slides forward into a leading position, all eight wheels being on the skating surface. The slide movement is NOT a dance split, with the body weight equally distributed between the two skates. There should be no noticeable hesitation between the execution of the two slides. All four wheels of the right skate are to be lifted from the skating surface in preparation for step 8, the TWO beat XF-RFI. Steps, 2, 8 & 14 are crossed progressive strokes. The dance should be skated lively, with a bold approach to step execution. It’s essential that the dance be controlled during the skating of the centre lobes edges so as not distort the pattern at the corners of the rink.

18

Attention points:

- Steps 6 & 7 must be slide steps, on edges, NOT flat. - Step 8 is a Cross in Front RFI. It is very important that the team, at the end

of step 7 lifts the right skate from the floor before the cross. It is wrong to cross without lifting the right foot.

- Step 2, 8, & 14 must be executed with cross very closed. - A clear and correct Kilian position must be held throughout the dance. - Respect of set pattern.


1 LFO LFO 2 2 XF-RFI XF-RFI 2 3 LFO LFO 1 4 Chasse-RFI Chasse-RFI 1 5 LFO LFO 2 6 LFO-Slide LFO-Slide 2 7 RFI-Slide RFI-Slide 2 8 XF-RFI XF-RFI 2 9 LFO LFO 1 10 Chasse-RFI Chasse-RFI 1 11 LFO run LFO run 1 12 RFI run RFI run 1 13 LFO run LFO run 2 14 XF-RFO XF-RFO 2 15 XB-LFI XB-LFI 2 16 RFO RFO 1 17 Chasse-LFI Chasse-LFI 1

Kilian

18 RFO-Swing on 3rd beat

RFO-Swing on 3rd beat

4

19

DENVER SHUFFLE

Start

1: LFO

2: XF RFI

3: LFO

4: RFI Chasse

5: LFO6: LFO Slide

7: RFI Slide

8: XF RFI

9: LFO10: RFI Chasse

11: LFO Run

12: RFI Run

13: LFO Run

14: XF RFO

15: XB LFI

16: RFO

17: LFI Chasse

18: RFO

REG 03-03

20

CANASTA TANGO Originated by: James Francis

Music: Tango 4/4 Tempo: 100 Beats Hold: Reverse Kilian Pattern: Set Notes: All steps in this dance are progressive except No's 4,7,10 and 14. The Dance begins on step 1, a LFO 1 beat edge on count 1 of a measure. This is the

first step of an 8 beat barrier lobe. Step 4 is a raised chasse executed on count 4. Step 5, LFO and 8, RFO are 4 beat swings. Steps 7, LFI of the centre and step 10, RFI of the straightaway, are cut steps (dropped

chasse - the foot is placed alongside the skating foot with the free leg being placed immediately forward on the inside edge). The free leg then returns to the side of the skating foot to allow a smooth transition for steps 8 and 11.

Steps 9 to 13 must be skated with very strong edges in order that step 14 RFO XF-

Swing roll, may be aimed to the centre for a 4 beat inverted corner lobe. The push for the RFO-XF Swing roll is made from the outside of the left foot.

Neat close footwork, tango expression and good carriage should be maintained

throughout the dance. Attention points:

- A clear and correct Kilian position must be held throughout the dance. - Respect of set pattern. - Step 1,2 & 3 must be progressive step - The edges of steps 5 & 8 must be good outside edges. - Pay attention to correct execution of Cut-Step. - The outside edge of steps 13 and 14 must be clear. - The XF of step 14 must be close.

21


1 LFO LFO 1 2 RFI RFI 1 3 LFO LFO 1 4 RFI-Chasse RFI-Chasse 1 5 LFO-Swing LFO-Swing 4 6 RFO RFO 2 7 LFI-Cut Step LFI-Cut Step 2 8 RFO-Swing RFO-Swing 4 9 LFO LFO 2 10 RFI-Cut Step RFI–Cut Step 2 11 LFO LFO 1 12 RFI RFI 1 13 LFO LFO 2

Reverse Kilian

14 RFO-XF Swing RFO-XF Swing 4

22

CANASTA TANGO

XF-

23

TUDOR WALTZ Originated by: Ronald E.Gibbs

Music: Waltz 3/4 Tempo: 144 Beats Hold: Kilian Pattern: Set Notes: Steps 1,2 & 3 and steps 4,5 & 6 are chassé sequences On step 7 (LFO) allow the right shoulders to turn back in line with the tracing in readiness for the RBO closed Mohawk on step 8. After the mohawk on step 8, the position of the man's free leg is along the inside of the lady's skating foot. On the 4th beat of step 8, the free legs are swung back, with the lady's free leg along the inside of her partner's skating foot. The left shoulders should be held back during all of the six beats during which an edge MUST be maintained. Steps 9, 10 and 11 are a chassé aimed across the end of the rink. On step 12 (cross roll RFOI, 9 beats of music) the free legs are held back for three beats. On the fourth beat, the legs are swung forward and then backward on the seventh beat, the change to RFI being held for three beats. The Kilian hold is maintained throughout the dance. Partners must skate close together, without parting at the hips, and the shoulders must be held in parallel position. The rhythm and lilt of the waltz must be emphasised. Attention points

- Pay attention to pattern and steps 1-6. - The Chasses must be done correctly. - The Closed Mohawk step 8 must be done in time and with the foot very

close. - Step 8 must be skated with a good outside edge, often at the start this step is

flat. - Pay attention to time of change of edge of step 12, this must be done on 7th

beat. - A clear and correct Kilian position must be held throughout the dance.

24


1 LFO LFO 2 2 RFI-chasse RFI-Chasse 1 3 LFO LFO 3 4 RFO RFO 2 5 LFI-Chasse LFI-Chasse 1 6 RFO RFO 3 7 LFO LFO 3 8 RBO-Closed

Mohawk RBO-Closed Mohawk

6

9 LFO LFO 2 10 RFI-Chasse RFI-Chasse 1 11 LFO LFO 3

Kilian

12 Cross Roll RFO/I

Cross Roll RFO/I

9

25

TUDOR WALTZ

Start

1. LFO

2. RFI Chasse

3. LFO

4. RFO

5. LFI Chasse

6. RFO

7. LFO

8. RBO Closed Mohawk

9. LFO

10. RFI Chasse

11. LFO

12. RFO/I Cross Roll

26

SWING FOXTROT Originated by: Hans Jurgen Schamberger

Music: Foxtrot 4/4 Tempo: 104 Beats Hold: Foxtrot Pattern: Set Notes: It is danced throughout in Foxtrot position. The dance starts at the end of the rink, with runs followed by two 2 beat cross rolls steps 4 and 5. The cross rolls should be skated at a distance from the barrier to allow for the Cross Roll Swing (step 6) to be skated on a good outside edge towards the barrier. This is followed by a run ( step 7 and 8), followed by a two beat edge on step 9. Step 10 is a Cross Roll Swing, followed by run steps 11, 12 and 13. Steps 14 and 15 are good two beat inside edges struck from the inside of the employed foot, followed by step 16 which is a RFO four beat outside edge to end the dance. On small rinks steps 11 to 14 are to be skated with deep edges and a small radius, in order to keep the pattern in the correct position. Attention should be paid to steps 6 and 10, the Cross Roll Swing, where the free leg is swung through with a good stretched leg. Attention points:

- Respect of required position - The Cross Roll, steps 4,5,6 & 10 must be done with good edges and

inclination of the body. - Pay attention to correct execution of inside edges of steps 14 & 15.

27


1 LFO Run LFO Run 1 2 RFI Run RFI Run 1 3 LFO Run LFO Run 2 4 Cross Roll –RFO Cross Roll –RFO 2 5 Cross Roll - LFO Cross Roll - LFO 2 6 Cross Roll –

RFO – Swing Cross Roll – RFO – Swing

4

7 LFO Run LFO Run 1 8 RFI Run RFI Run 1 9 LFO Run LFO Run 2 10 Cross Roll –

RFO Swing Cross Roll – RFO Swing

4

11 LFO LFO 1 12 RFI Run RFI Run 1 13 LFO LFO 2 14 RFI RFI 2 15 LFI LFI 2

Foxtrot

16 RFO – Swing RFO – Swing 4

28

SWING FOXTROT

START1. LFO

2. RFI Run

3. LFO Run

4. RFO X Roll

5. LFO X Roll

6. RFO X Roll Swing

7. LFO

8. RFI Run

9. LFO Run

10. RFO X Roll Swing

11. LFO

12. RFI Run

13. LFO

14. RFI

15. LFI16. RFO Swing

REG 03-03

29

KLEINER (LITTLE) WALTZ Originated by: Hans Jurgen Schamberger

Music: Waltz 3/4 Tempo: 138 Beats Hold: Waltz Pattern: Set Notes: The waltz is skated in waltz position along the base line. The dance consists of a chasse step series along the length of the rink, forward for the man and backwards for the lady. The chasses, as in Glide Waltz, are broken by a three beat outside edge which must be taken from the side of the employed foot to obtain a good outside edge. Special attention must be paid to the quality of the chasses. The first step is a two beat edge with a good stretched free leg. On step 3 the free foot should be set down by the side of the employed foot with a slight knee bend. The former employed foot should be clearly lifted when skating a good chasse. On step 12 at the end of the rink, the man skates a three turn, while the lady turns to forwards. The turn is made on the third beat. Step 13 is a six beat outside edge swing for both skaters followed by two chasse step series. At the end of the rink on step 19 the lady does a three turn whilst the man changes to forward. After a six beat edge the repetition of the dance is started on the opposite side of the rink to the start. Attention points:

- Correct execution of Chasses - Pay attention to the edges of steps 1-11. This is important so as to have a

good pattern. - Attention to outside edges of the steps 13 and 16, often you can see at the

end one change of edge. - The Waltz position must be kept in all parts of the dance. - Respect of required pattern.

30


1 RFO LBO 2 2 LFI Chasse RBI Chasse 1 3 RFO LBO 3 4 LFO RBO 2 5 RFI Chasse LBI Chasse 1 6 LFO RBO 3 7 RFO LBO 2 8 LFI Chasse RBI Chasse 1 9 RFO LBO 3 10 LFO RBO 2 11 RFI Chasse LBI Chasse 1 12 LFI Three RBO 3 13 RBO Swing LFO Swing 6 14 LBO RFO 2 15 RBI Chasse LFI Chasse 1 16 LBO RFO 3 17 RBO LFO 2 18 LBI Chasse RFI Chasse 1 19 RBO LFO Three 3

Waltz

20 LFO Swing RBO Swing 6

31

KLEINER (LITTLE) WALTZ

32

KILIAN Originated by: Karl Schreiter

Music: March 2/4 or 4/4 Tempo: 108 Beats Hold: Kilian Pattern: Set Notes: The Kilian is a test of close and accurate footwork, unison of rotation and control. Upright body posture is required throughout the dance and the partners should look up - not down. The man's right hand should clasp the lady's right hand and keep it firmly pressed on her right hip to avoid separation. The man's hand should clasp her left hand so that her left arm is firmly extended across his body throughout the dance and the clockwise rotation well controlled. Step 1 must begin on the strong beat of the music. There are 14 steps skated to 16 beats of music. Steps 3 and 4 are the only ones held for two beats and MUST be outside edges. All others are one beat steps. Step 2 is a run. Step 3 is held for two beats and should cut inside the arc of the circle (i.e. the continuous axis). Step 4 is a two beat (RFO) which should cut outward to the arc of the circle and should be a true outside edge. Correct lean towards the outside of the circle is most important on this edge. Step 5 is a run and during steps 5, 6 and 7 the lean is into the circle. At the start of step 8, the lean shifts towards the outside of the circle and this lean is maintained through step 9. Step 8 (RFO) is a crossed forward step while step 9 (LFI) is crossed behind. Steps 9 and 10 constitute an open choctaw. Strong shoulder checking is needed at the start of step 10 in order to counteract the turning movement. The right skate takes the floor on the inner edge side of the instep of the old skating foot in momentary open hip position. The new (left) free foot, leaves the floor in open hip position, and at step 11 crosses behind the skating foot to a LBI edge. Step 12 (RBO) is a close step. Step 13 (LBI) is crossed in front Step 14 (RFI) should be stepped close to the heel of the skating foot. This is a one beat edge.

33

Attention points:

- Step 3 and 4 must have good outside edge. - Pay attention to steps 5,6 & 7 that must be progressive steps. - Pay attention to edges of the Choctaw. - The open Choctaw must be done smoothly without jumping. - Attention to step 14 for the man. This step must be struck from the

side of the skating foot, in line, and NOT behind the Lady. List of Steps: Hold Steps Man Lady Beats

1 LFO LFO 1 2 RFI Run RFI Run 1 3 LFO LFO 2 4 RFO RFO 2 5 LFO LFO 1 6 RFI Run RFI Run 1 7 LFO LFO 1 8 XF-RFO XF-RFO 1 9 XB-LFI Choctaw XB-LFI Choctaw 1 10 RBO RBO 1 11 XB-LBI XB-LBI 1 12 RBO RBO 1 13 XF-LBI XF-LBI 1

Kilian

14 RFI RFI 1

34

KILIAN

Start 1: LFO

2: RFI Run

3: LFO

4: RFO

5: LFO

6: RFI Run

7: LFO

8: XF RFO

9: LFI Choctaw

10: RBO

11: XB LBI

12: RBO

13: XF LBI

14: RFI

35

KILIAN

1: LFO

2: RFI Run

3: LFO

4: RFO

5: LFO

6: RFI Run

7: LFO

8: XF RFO

9: LFI Choctaw

10: RBO

11: XB LBI

12: RBO

13: XF LBI

14: RFI

Start

Diagram showing two sequences

36

FOURTEEN STEP Originated by: Franz Scholler

Music: March 4/4 or 2/4 Tempo: 108 Beats Hold: Waltz and Partial Outside Pattern: Set Notes: The dance begins with a sequence of three steps (step 2 being a run) forming a lobe curving towards, then away from, the barrier, followed by a four beat swing roll (step 4) curving the opposite way.

This is followed by another sequence for both partners, steps 5, 6 and 7 being a repetition of the opening three steps, and step 7 is to skated slightly less deep than step 3, after which the lady turns forward on step 8 and skates close beside the man in momentary open position.

The partner's shoulders should be parallel to each other and to the tracings.

After the man's mohawk on step 9 he should check his rotation with his shoulders and both partner's shoulders should remain approximately flat to the tracings around the end of the rink (steps 10-14).

On step 9 (RFI) the lady crosses her foot behind for a cross chasse and step 11 is a run.

On step 10 the man steps close beside the skating foot but on step 11 (LBI) he runs backwards and on step 13 he crosses in front.

At the end of step 13 the man is turning forward ready to commence step 14.

The lady skates an open mohawk on steps 12 and 13. Attention points:

- All progressive steps must really be progressive. - The closed position MUST be maintained during the swing on step 4. - Correct execution of step 8 of the man (open Mohawk) and steps 7,8 & 9 of

the woman (open Mohawk followed from the Cross Chasse) - Correct execution of open Mohawk of the woman (steps 12,13). - Respect of the required pattern

37


1 LFO RBO 1 2 RFI Run LBI Run 1 3 LFO RBO 2 4 RFO Swing LBO Swing 4 5 LFO RBO 1 6 RFI Run LBI Run 1 7 LFO RBO 2

Waltz

8 RFI Open Mohawk

LFO 1

9 LBI XB-RFI Chasse 1 10 RBO LFO 1 11 LBI Run RFI 1 12 RBO LFO Open

Mohawk 1

Partial Outside

13 XF-LBI RBO 1 Waltz 14 RFI LBI 2

38

FOURTEEN STEP

Either Diagram is acceptable depending on the size of the skating surface and the ability of the skater/s.

39

FOURTEEN STEP


40

KEATS FOXTROT Originated by: Eric Van Weyden & Eva Keats

Music: Foxtrot 4/4 Tempo: 96 Beats Hold: Foxtrot, Outside, Waltz Pattern: Set Notes: This dance is designed to be skated on deep edges and semi circular lobes.

In open position the partners should skate with their shoulders and hips close together.

In the sequence of steps 1, 2 and 3, step 2 is a cross chasse for both partners.

On step 4 the lady accents beat 3 with a knee bend corresponding to the man's on his step 4B.

Steps 4A and 9 for the man and steps 4 and 9 for the lady are started with cross rolls.

Step 5 is a front cross roll for the lady but not for the man, and partners should be directly opposite at this point.

Step 7 is a run for both partners.

At the end of step 8 the man should be towards the side of the lady for his cross RFO three turn (almost tango position) and waltz position is resumed by step 10.

The man's step 11B is a run. The man's steps 11A and 11B take place whilst the lady skates a two beat LFO into her closed mohawk. On the LFO the lady does not swing her free leg, but, after extending it behind, brings it up to her skating heel (keeping it well turned out) to place on the floor on beat 1 in the prescribed position for a closed mohawk.

On a rink 40 x 20 metres or larger, the border pattern for this dance must be used. For a rink smaller than 40 x 20 metres the other pattern can be used. However, please remember that the whole skating surface must be used and the border pattern should be used wherever possible. Attention points:

- Respect of the required position & pattern - Correct execution of step 2 (Cross Chasse) - Attention to the outside edge of step 4/b and 10. - Step 6,7 & 8 must be really progressive step. - Attention to the Mohawk of the woman (step 11). - Steps 13 and 14 must have good inside edges.

41

List of Steps: Hold Steps Man Beats Lady Beats

1 LFO 1 LFO 1 2 XB-RFI 1 XB-RFI 1 3 LFO 2 LFO 2

Foxtrot

4A Cross Roll RFO Three to RBI

1 1

Cross Roll RFO

4

4B LBO 2 5 RBO 2 Cross Roll

LFO Three to LBI

1 1

6 LFO 1 RBO 1

Waltz

7 RFI Run 1 LBI Run 1 8 LFO 2 RBO 2 Outside 9 Cross Roll RFO

Three to RBI 1 1

Cross Roll LBO

2

10 LBO 2 RFO 2 11A RBO 1 LFO Closed

Mohawk 2

Waltz

11B LBI Run 1 12 RBO 4 RBO 4 13 LFI 2 LFI 2

Foxtrot

14 RFI 2 RFI 2

42

KEATS FOXTROT

43

KEATS FOXTROT

NOTE: See note regarding this pattern in the description of the dance.

44

SIESTA TANGO Originated by: George Muller

Music: Tango 4/4 Tempo: 100 Beats Hold: Reverse Kilian & Kilian Pattern: Set Notes: To enable partners to change sides and keep a good close position it is recommended that the thumb pivot grip is used:- lady’s hands are held above the man’s with thumbs extended down into the man’s fists.

Steps 1,2,3, are cross chasse sequence

Step 6 RFO XF, Left leg must be taken back

Step 7 LFO XB, the leg is brought down and the tracing must be crossed with the feet close together.

Step 8 RFOI Swing, the free leg forward on the third beat and back on the fifth beat, in line with tracing. The change of edge occurs on the fifth beat.

Step 10 RFI must be struck from the side of the tracing foot

Step 11 LBI Open Mohawk. Note: the foot must be placed at the heel of the tracing foot and must not be crossed. After the Mohawk the free leg must be taken back.

During steps 10 & 11 the partners change sides into normal Kilian hold (The thumb pivot hold should be used which will make the movement easier). Partners should stay close together during this movement.

Step 12 RBO must be struck from the side of the tracing foot

Step 13 LBI must be struck from the side of the tracing foot

During step 15 LBI XF, partners prepare to change sides ready for step 16 RFI. Stay close together by using the thumb pivot hold. Hold is now reverse Kilian. Attention points:

- Respect of the required position & pattern. - Good execution of Cross Chasse (steps 2 & 7). - The outside edge of the step 5 must be maintained. - The change of edge of step 8 must be clear. - Attention to the timing during the execution of open Mohawk (steps 10 &

11), the free leg must be stretched back. - The sequence of the steps from 11 to 16 must have edges and must not be

flat.

45


1 LFO LFO 1 2 XB-RFI XB-RFI 1 3 LFO LFO 2 4 RFI Run RFI Run 1 5 LFO LFO 2 6 XF-RFO XF-RFO 2 7 XB-LFI XB-LFI 2 8 RFO/I RFO/I 6 9 LFO LFO 2

Rev.Kilian

10 RFI RFI 1 11 LBI Open

Mohawk LBI Open Mohawk

1

12 RBO RBO 2 13 LBI LBI 2 14 RBO RBO 1

Kilian

15 XF-LBI XF-LBI 1 Rev.Kilian 16 RFI RFI 2

46

SIESTA TANGO

1: LFO

2:XB RFI

3: LFO

4: LFI Run

5: LFO Run

6: XF RFO

7: XB LFI

8: RFO/I Change Edge

9: LFO

10: RFI

11: LBIOpen Mohawk Heel to Heel

12: RBO13: LBI

14: RBO15: XF LBI

16: RFI

Start

47

ASSOCIATION WALTZ Originated by: Adapted from Imperial Waltz (L.Gowing) by Ronald E.Gibbs

Music: Waltz 3/4 Tempo: 132 Beats Hold: Waltz (except steps 12 & 25) Pattern: Set Notes: Steps 1,2,3 & 14,15,16 Are a chasse sequence.

Steps 3 & 16 Free legs must swing back (for the partner going forward) and forward on the fourth beat.

Step 4 A three turn for the man, lady steps forward, following man.

Step 5 & 18 Free legs must swing back (for the partner going forward) and forward on the fourth beat.

Step 6,7,8,9 & 19,20,21,22 This is a run sequence with a count of 1.2.3.1

Step 9 & 22 Must be struck from the side.

Step 9,10,11 For the man is a chasse: The lady's step comprises a heel to heel open mohawk.

NOTE: Timing of 2 beats on Step 9 one beat on Step 10 to three beats on Step 11.

Step 12 The man strikes from the side, a three beat RFI. The lady turns a three directly in front of the man under his left arm, whilst maintaining hold. At this point the partners change position so the steps are reversed.

Step 13 The man strikes his three turn to move past the lady. The lady's steps must follow the mans.

Step 17 A three turn for the lady. Mans step to follow.

Step 22,23,24 For the lady is a chasse: The man's step comprises a heel to heel open mohawk.

NOTE: Timing of 2 beats on Step 22 one beat on Step 23 to three beats on Step 24.

Step 25 Lady skates a RFI struck from the side. Man turns in front of lady not holding hands.

Step 26 Lady strikes her three turn to move past man.

NOTE: THE WALTZ POSITION MUST BE MAINTAINED THROUGHOUT AND THE FREE LEGS MUST MATCH AT ALL TIMES. SEMI SIDE BY SIDE POSITIONS MUST BE AVOIDED.

48

Attention points:

- Correct execution of Chasse’s. - The edge of steps 3,5,16 & 18 must be good outside. - Attention to timing of sequences 6,7,8 & 9 and 19,20,21 & 22. - Attention to timing of sequences 11,12,13 & 24,25,26. The distance

between the partners must be kept constant. - The Mohawks must be heel to heel. - Respect of the required position and of the pattern.

List of Steps:

Hold Steps Man Lady Beats1 LFO RBO 2 2 RFI Chasse LBI Chasse 1 3 LFO Swing RBO Swing 6 4 RFO Three LBO 3 5 LBO Swing RFO Swing 6 6 RBO LFO 1 7 LBI Run RFI Run 1 8 RBO Run LFO Run 1 9 LFO RFI 2 10 RFI Chasse LBI Open Mohawk 1

Waltz

11 LFO RBO 3 See Note 12 RFI LFO Three 3

13 LFO Three RBO 3 14 RBO LFO 2 15 LBI Chasse RFI Chasse 1 16 RBO Swing LFO Swing 6 17 LBO RFO Three 3 18 RFO Swing LBO Swing 6 19 LFO RBO 1 20 RFI Run LBI Run 1 21 LFO Run RBO Run 1 22 RFI LFO 2 23 LBI Open Mohawk RFI Chasse 1

Waltz

24 RBO LFO 3 See Note 25 LFO Three RFI 3 Waltz 26 RBO LFO Three 3

49

ASSOCIATION WALTZ

STEP 1: Man

Mens Steps

LadiesSteps

s step 1 of the Dance STEP 14: Ladies step 1 of the Dance

50

EUROPEAN WALTZ Originated by: Unknown

Music: Waltz 3/4 Tempo: 120 Beats Hold: Reverse Waltz Pattern: Set Notes: The basic edges of the European Waltz consist of a three turn, an outside back edge, and an outside forward edge for the man, while the lady skates an outside back edge. Semi circular lobes of these three edges are skated along the sides of the rink first starting towards the long axis, the second starting towards the barrier, etc.

The lobes along the sides of the rink are connected across the rink ends by larger lobes in which the three sequences have been increased by adding several more three turns and back edges for each partner.

Commence all edges on a bent tracing knee with tracing shoulder slightly ahead – never with the free shoulder leading.

The man's three turn at the beginning of each lobe is started as a cross roll. Threes must be turned between the partners feet.

In turning the three the tracing hip is turned towards the partner and is practically in line with the tracing foot.

The unemployed hip is pressed back so that the instep of the free foot, with the toe turned downward and outwards, is in line with and, for the turn, slightly behind the tracing foot (not by the side). Rotate the unemployed shoulder in the direction of the turn, then on the third beat, with a stretching of the knee, the weight evenly on the skate, and the turning to forward of the unemployed hip, the tracing hip is allowed to turn in line with the shoulders.

As the turn is made the shoulders and hips must be checked to avoid a natural tendency to revolve too far.

Three turns to be clean (not pulled), and turned between the partner's feet. After the turn the free foot should be placed on the floor (not dropped), close to and slightly behind the back inside tracing foot.

The partners skate this dance in closed or waltz position and the man should remain directly facing his partner on all edges.

The rotation of the partners around each other is continuous throughout each lobe and reverses its direction at the beginning of every new lobe.

51

Attention points:

- Respect of the required position and of the pattern. - Attention to the three turns which must be turned between the partners feet. - Attention to the Cross Roll of the man and to the Roll of the woman. - Respect to the timing.


1 LFO RBO 3 2 Cross Roll RFO

Three to RFI LBO 3

3 LBO RFO Three to RBI 3 4 RFO LBO 3 5 Cross Roll LFO

Three to LBI RBO 3

6 RBO LFO Three to LBI 3 7 LFO Three to LBI RBO 3 8 RBO LFO Three to LBI 3 9 LFO Three to LBI RBO 3 10 RBO LFO Three to LBI 3 11 LFO Three to LBI RBO 3 12 RBO LFO Three to LBI 3 13 LFO RBO 3 14 Cross Roll RFO

Three to RBI LBO 3

15 LBO RFO Three to RBI 3 16 RFO LBO 3 17 Cross Roll LFO

Three to LBI RBO 3

Waltz

18 RBO LFO Three to LBI 3

52

EUROPEAN WALTZ

53

IMPERIAL TANGO Originated by: Ronald E.Gibbs

Music: Tango 4/4 Tempo: 104 Beats Hold: Foxtrot & Kilian Pattern: Set Notes: Steps 1, 2, & 3 A run sequence curved towards the centre of the rink.

Step 3 LFO for two beats with the free leg held back, a flat for one beat with the free leg held at the side of the tracing foot, followed by a LFI of one beat with the free leg forward.

Step 4 This is an open mohawk, turned independently, struck at the instep, followed by step 5 LBO.

Step 6 RFO of two beats.

Step 7 LFO cross roll three turn. On this step the partners remain in the Kilian hold.

Step 8 RBO followed by step 9 LBI chasse crossed in front, the chasse movement being completed by step 10, a RBO of two beats.

Steps 11 & 12 Consist of a LFO, RFI chasse crossed behind.

Step 13 LFO is followed by a RBO closed mohawk, step 14, the shoulders should be in line with the tracing.

The sequence is completed with the final two steps of the dance (steps 15 and 16), LBI crossed in front, followed by RFI.

At the completion of step 16 the hold is changed to Foxtrot. Attention points:

- Respect of the required positions and of the pattern. - During the execution of steps 3 and 6 the team must be stay close and all

steps must be clear and in time. - Attention to the Cross Chasse. - The Closed Mohawk must have good edge.

54


1 LFO LFO 1 2 RFI Run RFI Run 1 3 LFO-Flat-LFI LFO-Flat-LFI 4 4 RBI Open Mohawk RBI Open Mohawk 1

Foxtrot

5 LBO LBO 1 6 RFO RFO 2 7 Cross Roll LFO

Three to BI Cross Roll LFO Three to BI

2

8 RBO RBO 1 9 LBI Cross Chasse LBI Cross Chasse 1 10 RBO RBO 2 11 LFO LFO 1 12 RFI-XB Chasse RFI-XB Chasse 1 13 LFO LFO 2 14 RBO Mohawk RBO Mohawk 2 15 XF LBI XF LBI 1

Kilian

16 RFI RFI 1

55

IMPERIAL TANGO

56

IMPERIAL TANGO

7. LFO Cross Roll 3 Turn to BI

Start1. LFO

2. RFI Run

3. LFO-Flat-LFI

4. RFI Open Mohawk

5. RBO

6. RFO

8. RBO

9. LBI XF

10. RBO

11. LFO

12. RFI XB 13.LFO

14. RBO ClosedMohawk

15. LBI XF

16. RFI

57

FLIRTATION WALTZ Originated by: Frieda Peterson

Music: Waltz 3/4 Tempo: 120 Beats Hold: Kilian , Tandem, Rev.Kilian Pattern: Set Closed Notes: The dance begins in the Kilian position with step No 1, a LFO 3 beat aimed toward the barrier.

Step nos. 4 and 5 are skated in Tandem position.

Step nos. 6, 7, 8 and 9 are skated in Reverse Kilian Position. Step 9 is a LFOI 6 beat change of edge, the change of edge occurs on count 4 of the music as the free foot passes alongside (back to forward swing) of the left and continues travel to the extended forward position.

During Step 16, man and lady swing their free legs in unison, man from back to forward, lady from forward to backward. On the extreme end of this 6 beat edge, the man raises the lady's right hand with his left hand, holding it above her head in preparation for step 17.

Step 17, the lady executes a 5 step turn while the man strokes a RFO 6 beat edge. The man's right hand and lady's left hand are free until the lady's 5th step when Waltz position and hold is again resumed. The lady should exercise extreme caution during this step 5 turn, so that the first three steps, LBO, RFO and LFI are aimed towards the centre of the rink.

During step 18, the man swings his right free leg from back to forward in unison with the lady's left leg swing from forward to backward.

Step 19, the man strokes a RFOI 6 beat edge, while the lady strokes 19a and 19b, a LBO 3 beat edge to a RFI 3 beat edge, a closed Choctaw.

As the lady strokes step 19b, the man changes from outside to an inside edge, both partners immediately swinging their left free legs forward. On the extreme end of the lady's step no 19a, a LBO 3 beat edge, the man releases the lady's right hand and she places her right hand on her right hip near the waist.

As the lady turns forward to stroke step 19b, a RFI 3 beat edge, partners resume Kilian position.

During the back to forward turn for the lady, the man's and lady's hands are momentarily free.

58

Attention points:

- Respect of the required position and pattern. - Good execution of open Mohawk (step 3,10 & 23). - The rhythm and lilt of the waltz must be emphasised.. - Attention to timing of step 17

List of Steps:

Hold Steps Man Beats Lady Beats 1 LFO 3 LFO 3 2 RFO 3 RFO 3

Kilian

3 LFI Open Mohawk 2 LFI Open Mohawk 2 4 RBI 1 RBI 1 Tandem 5 LBO 3 LBO 3 6 RFO 3 RFO 3 7 LFO 2 LFO 2 8 RFI 1 RFI 1 9 LFO/I Change Edge

Swing 6 LFO/I Change Edge

Swing 6

Rev.Kilian

10 RFI Open Mohawk 2 RFI Open Mohawk 2 11 LBI 1 LBI 1 Tandem 12 RBO 3 RBO 3 13A LFO 2 LFO Three 3 13B RFI 1 14 LFO 2 RBO 2

Optional

15 XB-RFI Chasse 1 XF-LBI Chasse 1 Closed 16 LFO Swing 6 RBO Swing 6

17A RFO 6 LBO 1 17B RFO 1 17C LFI 1 17D RBI 1

See Note

17E LBO 2 18 LFO Swing 6 RBO Swing 6 Closed 19A RFO/I change edge 6 LBO 3 19B RFI Closed Choctaw 3 20 LFO 2 LFO 2 21 RFI 1 RFI 1

Kilian

22 LFO 3 LFO 3 Tandem 23 RFI Open Mohawk 2 RFI Open Mohawk 2

24 LBI 1 LBI 1 Kilian 25 RBO 3 RBO 3

59

FLIRTATION WALTZ

60

HARRIS TANGO Originated by: Paul Krechow & Trudy Harris

Music: Tango 4/4 Tempo: 100 Beats Hold: Tango, Reverse Tango, Pattern: Set Foxtrot, Waltz Notes:

The opening steps must be in Tango position with the lady on the right of the man. The man skates a front cross RFO (step 1) as well as a crossed LFI Chasse (step 2), each of one beat, whilst the lady skates a back crossed LBO as well as a crossed RBI chasse. These quick steps are followed by more deliberate four beat edges, RFO for the man and LBO for the lady (step 3), at the end of which the partners change sides. The next lobe consists of the same sequences by each partner (steps 4, 5 and 6), but on the opposite feet.

The third lobe starts with a front crossed two beat RFO shallow Rocker turn for the man (step 7) followed by a crossed behind LBO (step 8) as well as a RBI crossed chasse (step 9), each of one beat. During steps 7, 8 and 9 the Tango position must be maintained. The lady skates a two beat back crossed LBO edge (step 7) followed by a RFO (step 8), as well as a crossed LFI chasse (step 9) each of one beat. Both partners then skate a deliberate four beat edge (step 10), the man LBO and the lady RFO with the lady on the right of the man.

This is followed by a crossed step as well as a crossed chasse, each of one beat, as well as a deliberate four beat edge (step 13). Step 14 for the lady begins as a RFO Cross roll three turn of two beats in the direction of the midline of the rink, whilst the man skates a two beat LBO shallow cross roll (step 14). He then turns forward to skate a four beat RFO edge (step 15) corresponding to the lady's LBO (step 15).

The cross and cross chasse steps of the preceding shallow lobes should be skated on light curves, while the long, deep edges carry the dancers down the side of the rink. Depending on the length of the rink and distance to be covered the cross and cross chasse steps may be angled somewhat from a line perpendicular to the barrier, but the couple must never retrogress during these steps.

During the deliberate four beat edges (steps 3, 6, 10 and 13), the free leg must be held extended at the commencement of the edge, and must not be moved until or after the third beat in preparation for the partner to change sides.

The following steps are skated in foxtrot hold and consist of two shallow one beat steps 16 and 17, followed by two two beat steps 18 and 19, on a curve. Followed by a closed swing mohawk each edge held for four beats of music.

61

On step 22 the lady skates a RFI three turn after one beat of the music and holds the RBO for five beats. During the execution of the ladies three turn the man skates two one beat edges forming a chasse (steps 22A and 22B) followed by a four beat LFO edge (step 22C). Attention points:

- Respect of the required positions & pattern. - Attention to the execution of the Cross Chasses. - The rocker of the man, step 7, must have a short clear outside edge. - Step 15 must have a good outside edge, well kept. - Step 19 must not be a cross. - The sequence from step 20 to 21 must be executed with good edges and

during the Mohawk the team must be stay close, hip to hip.

62


1 XF RFO 1 XB LBO 1 2 LFI Cross Chasse 1 RBI Cross Chasse 1

Tango

3 RFO 4 LBO 4 4 XF LFO 1 XB RBO 1 5 RFI Cross Chasse 1 LBI Cross Chasse 1

Rev.Tango

6 LFO 4 LBO 4 7 XF RFO Shallow

Rocker to RBO 1 1

XB LBO 2

8 XB LBO 1 RFO 1 9 RBI Cross Chasse 1 LFI Cross Chasse 1

Tango

10 LBO 4 RFO 4 11 XB RBO 1 XF LFO 1 12 LBI Cross Chasse 1 RFI Cross Chasse 1

Rev.Tango

13 RBO 4 LFO 4 Tango 14 LBO Cross Roll 2 RFO Cross Roll

Three to RBI 1 1

Waltz 15 RFO Swing 4 LBO Swing 4 16 LFO 1 RFI 1 17 RFI 1 LFO 1 18 LFO 2 RFI 2 19 RFI Run 2 LFO Run 2

Foxtrot

20 LFI Closed Swing Mohawk

4 RFO Closed Swing Mohawk

4

Tango Promenade

21 RBI 4 LBO 4

Foxtrot 22A LFO 1 RFI Three 1 22B RFI Chasse 1 RBO 5 Waltz 22C LFO 4

63

HARRIS TANGO

RFO 18

64

THE BLUES Originated by: Robert Dench & Lesley Turner

Music: Blues 4/4 Tempo: 88 Beats Hold: Foxtrot, Waltz, Tango Pattern: Set Notes: The man begins the dance with a RFO crossroll, while step 1 for the Lady (LBO) is crossed behind Step 2 for the Lady is also crossed forward Step 2 for the Man is not crossed, being a run

The man's three turn (step 4) should be taken without added speed. During this two beat three turn the lady skates two backward edges (steps 4A and 4B) each one beat, and the second of which commences crossed. On turning the three the man releases the lady and they take up foxtrot position which is maintained until step 16A.

Step 5 Is a strong four beat RBO for both partners after which they turn to LFO held for two beats (step 6). It is to be noted that this edge commences on the third beat.

Step 7 Is a cross roll skated with good curves. Step 8,9 10 and 11 have an unusual time sequence which should be carefully noted and followed.

Steps 9 and 11 are runs.

Step 12 and 13 constitute a closed choctaw and the curvature of these edges should be of equal degree Avoid swinging of the free leg before the choctaw. The choctaw is turned as neatly as possible with the new skating foot taking the surface directly under the centre of gravity of the body.

Step 14 Is a back cross roll by both partners LBO four beats.

Steps 15, 16 and 17 form one lobe with three steps for the lady and four (steps 16A and 16B) for the man.

During the lady's three turn (step 16) the man skates a RFI chasse and the partners take up Waltz position.

The dance repeats after step 17 which is a two beat LFO for the man and a two beat RBO for the lady.

65

Attention points:

- Respect of the required position & pattern. - Steps 6 & 7 must have good outside edges - Steps 11 & 12 must have good inside edges - Attention to execution of the Choctaw (12 & 14) - Step 15 should be a strong inside edge stepped close and from the side of

the skating foot.


1 Cross Roll RFO 1 XB LBO 1 2 LFI Run 1 XF-RBI 1

Waltz

3 RFO 2 LBO 2 4A Cross Roll LFO

Three to LBI 2 XB RBO

1

Tango

4B XF-LBI Chasse 1 5 RBO 4 RBO 4 6 LFO 2 LFO 2 7 Cross Roll RFO 4 Cross Roll RFO 4 8 LFO 2 LFO 2 9 RFI Run 1 RFI Run 1 10 LFO 1 LFO 1 11 RFI Run 2 RFI Run 2 12 LFI Closed

Choctaw 2 LFI Closed

Choctaw 2

13 RBO 2 RBO 2 14 Cross Roll LBO 4 Cross Roll LBO 4 15 RFI 2 RFI 2

Foxtrot

16A LFO 1 LFO Three 1 16B RFI Chasse 1 LBI 1 Waltz 17 LFO 2 RBO 2

66

THE BLUES

67

ROCKER FOXTROT Originated by: Eric Van Weyden & Eva Keats

Music: Foxtrot 4/4 Tempo: 104 Beats Hold: Foxtrot & Waltz Pattern: Set Notes: The Rocker Foxtrot is a set pattern dance starting at the midline of the rink near one end and making three lobes to the barrier and two to the centre along the one side of the rink and repeating as the skaters cross the long axis at the other end.

One circuit of the rink requires two sequences of the dance.

Steps 1 to 4 are the same for the lady as for the man and consist of a cross chasse (step 2) followed by a run on step 4 skated in open position.

Step 5 for the lady is a four beat LFO rocker skated while the man skates a two beat LFO followed by a two beat RFO. The rocker is executed with a swing of the free leg. The free leg must first move back and then swing forward on the second count or it may just quietly move forward. The rocker is turned after the free foot has passed the skating foot and is extended forward and the timing of the turn should be on beat 2, but should be such that the sinking on to a softly bent knee afterwards will coincide exactly with the man's knee bend for his (5b) RFO edge taken on beat 3. After the rocker, the lady's free leg may either be held behind (leading) as in a free style rocker, or may be swung forward (trailing) to match the man's free leg.

At the rocker turn the initial open (Foxtrot) position changes to closed (Waltz) position which is maintained until step 7b when the couple resumes open position for the remainder of the dance. The man does not cross roll for step 6 (LFO Three) and should be in position exactly opposite his partner at the beginning of this edge.

Steps 11 and 12 are outside mohawks for both partners and are turned without free leg swings. The free legs are first extended backwards and then drawn beside the heels of the skating feet well turned out and arriving exactly in time for the mohawks. At this point caution should be taken for the man not to curve his LFO (step 11) too strongly and for the lady to curve hers at least equally to the man's so that she will be in a position beside the man and not even slightly in front of him which might lead to a bad fall. Shoulders need to be well rotated to get into proper partner positions.

After the mohawk the partners do not check but continue in slow clockwise rotation through steps 12 and 13 so as to be travelling forward on step 14 and be ready for the repeat of the dance.

It is noted that both partners commence step 13 (LBI) crossed in front.

68

Attention points:

- Respect of the required positions & pattern. - Good execution of step 2, Cross Chasse. - The Rocker must have good strong edges. - Step 5 & 6 for the man must have strong edges. - Step 11 must have a good outside edge - Good execution of the Mohawk (steps 11,12)


1 LFO 1 LFO 1 2 XB-RFI Chasse 1 XB-RFI Chasse 1 3 LFO 1 LFO 1 4 RFI Run 1 RFI Run 1

Foxtrot

5A LFO 2 LFO Swing Rocker

1

5B RFO 2 LFO 3 6 LFO Three to

LBI 1 1

RBO 2 Waltz

7A RBO 2 LFO 4 7B LFO 2 8 Cross Roll

RFO 2 Cross Roll RFO 2

9 LFI Run 2 LFI Run 2 10 RFO 2 RFO 2 11 LFO Closed

Mohawk 2 LFO Closed

Mohawk 2

12 RBO 2 RBO 2 13 XF LBI 2 XF LBI 2

Foxtrot

14 RFI 2 RFI 2

69

ROCKER FOXTROT

70

QUICKSTEP Originated by: Reginald Wilkie & Daphne Wallis

Music: Quickstep 2/4 Tempo: 112 Beats Hold: Kilian Pattern: Set Notes: The partners dance in Kilian position. The steps are the same for both lady and man. The dance must be skated in keeping with the music which is fast and of bright character.

Step 2 A chasse.

Step 4 A run

Step 5 A 4 beat LFO forming the first part of a swing Choctaw. Prior to the turn the lady must be against the man's hip and following along his tracing.

Step 6 A change of edge RBI-O held for three beats. The free foot goes forward on 1st beat, then is drawn down on the 2nd beside the skating foot and swung smoothly outward and backward to aid in making the change of edge on the 3rd beat, which should be distinct.

The remaining steps should be skated with plenty of life and the edges on steps 7, 8 and 9 should be as deep as possible.

Step 7 Started crossed behind.

Step 10 Although it is held for four beats, it is a light edge started with the knee well bent.

Step 14 is a run

To ensure a really good performance it is essential that the pair remains hip to hip that is, the man's right hip against the lady's left.

Many skaters experience difficulty in striking from RBO to LBI (Steps 10 and 11), the right outside should be well controlled and the lady must have no tendency to swing in front of the man.

Steps 13 to 18 are skated very lightly, but a tripping character should be imparted to them.

On step 17, the right foot is poised in front.

71

Attention Points:

- Step 5 must have a good outside edge maintained until the execution of the Choctaw. Attention also to the correct timing.

- The Choctaw must be done smoothly. - Attention to the change of edge on step 6. - Step 9 & 10 are crosses made very close.. - Step 11 & 12 must have good inside edges. - Change of edge on the step 17 in short but must be clear. - The kilian position and the pattern must be respected.

List of Steps: Hold Steps Man Lady BeatsFoxtrot 1 LFO LFO 1 2 RFI Chasse RFI Chasse 1 3 LFO LFO 1 4 RFI Run RFI Run 1 5 LFO Swing

Closed Choctaw LFO Swing Closed Choctaw

4

6 RBI/O change edge

RBI/O change edge

3

7 XB LBI XB LBI 1 8 RBI RBI 1 9 XF LBO XF LBO 1 10 XB RBO XB RBO 4 11 LFI LFI 2 12 RFI RFI 2 13 LFO LFO 1 14 RFI Run RFI Run 1 15 LFO LFO 1 16 XF RFO XF RFO 1 17 XB LFI/O XB LFI/O 1 18 XF RFI XF RFI 1

72

QUICKSTEP

73

WESTMINSTER WALTZ Originated by: Eric Van Weyden & Eva Keats

Music: Walzer 3/4 Tempo: 138 Beats Hold: Kilian, Rev.Kilian, Waltz, Foxtrot Pattern: Set Notes: The beginning of the dance is skated in Kilian position using the thumb pivot grip for the hands to facilitate the changing of sides by the partners. The lady's hands are held above the man's with the thumbs extending downwards into the man's fists. Upright stance without breaking at the waist is important. The only free leg swings occur on the six beat (or more) edges. Step 2 is a run. There is a change of edge at the end of step 3 so that step 4 RFI may be directed outwards in contrast to the direction of steps 1, 2 and 3. Steps 5 and 6 are an open mohawk; at the start the man is on the lady's left side during the turn both rotate individually and afterwards he is on her right. On step 10, a crossed roll, the lady momentarily releases her hold on the man while she turns her three in front of him, after which the partners join in closed position which almost immediately changes to open position for steps 11 and 12 which are crossed chasses skated on a curve. Step 13 for the lady is an inside forward swing rocker held for six beats before the turn and three beats afterwards. Step 13 for the man is an outside forward swing counter held similarly for six beats before the turn and three beats afterwards. Step 14 (RBI for the man and LBO for the Lady) must be taken from the side of the preceding foot. On step 15 the man follows the lady's tracing as she turns an inside three on beat 4 of this six beat edge. Step 16 is started very slightly crossed in front for Man and behind for the Lady. Step 17 is a run with very moderate progressive movement of the feet and afterwards both partners step to the side (about 18 inches) for the start of step 18. The man does a LFO edge (step 19), and the lady does a RBO edge. Step 20 is a cross roll followed by RFO three for the man and LBO for the lady. On step 21 the man skates a six beat LBO not too deep. The lady releasing her left hand turns a three on beat three heading for his left shoulder. She removes her right hand from his left and in its place immediately gives him her left. She steps on to her LBO on beat 4 and extends her right arm across to her partners right (reversed kilian position). Starting step 22 with the lady on the man's left she skates across in front of him to his right side in position to repeat the dance. Care must be taken in swinging the free legs on this edge so as not to interfere with the lady's crossing in front of the man.

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Attention Points:

- The change of edge of the step 3 is very quick but must be done. - Very important the Mohawk of step 5. - During the sequence of steps in Foxtrot position the team must stay very

close especially during step 13. - Attention to timing of the Three turn of the woman step 15. - The sequence of steps from 16 to 18 must be skated with fluidity. - The movement between step 17 and 18 must be wide and clear.


1 LFO 2 LFO 2 2 RFI Run 1 RFI Run 1 3 LFO/I Slight Change

edge 3 LFO/I Slight Change

edge 3

4 RFI 3 RFI 3

Kilian

5 LFI Open Mohawk 3 LFI Open Mohawk 3 6 RBI 3 RBI 3 7 LBO Choctaw 6 LBO Choctaw 6 8 RFI 3 RFI 3 9 LFO 3 LFO 3

Rev.Kilian

10A Cross Roll RFO 6 Cross Roll RFO Three 3 Waltz 10B LBO 3

11 LFO 2 RFI 2 12 Cross Chasse RFI 1 Cross Chasse LFO 1 13 LFO Swing Counter

LBO 9 RFI Swing Rocker

RBI 9

14 RBI 3 LBO 3

Foxtrot

15 LFO 6 RFI Three RBO 6 16 Slight XF RFO 2 Slight XB LBO 2 17 LFI Run 1 RBI Run 1 18 Step Wide-RFI 3 Step Wide-LBI 3 19 LFO 3 RBO 3 20 Cross Roll RFO Three

RBI 3 Cross Roll LBO

Mohawk 3

Waltz

21A LBO Mohawk 6 RFO Three RBI 3 Rev.Kilian 21B LBO Mohawk 3 Change Side 22 RFO 6 RFO 6

75

WESTMINSTER WALTZ


76

WESTMINSTER WALTZ

77

ARGENTINE TANGO Originated by: Reginald Wilkie & Daphne Wallis

Music: Tango 4/4 Tempo: 96 Beats Hold: Foxtrot, Waltz, Kilian, Tango Pattern: Set Notes: The dance begins with the partners in Foxtrot position for the first ten steps, changing to Waltz position at the man's counter turn (step 10) until step 16. The initial runs (steps 2 and 6) of the dance across the ends of the rink, broken by the chasse (step 4), end with a deep LFO edge (step 7) which brings the partners facing down the length of the rink. Then the partners skate a short RFO edge crossed in front (step 8), which is followed by a long change of edge (LFIO) started crossed behind (step 9) and held for three beats. The change of edge is effected as the free foot swings back past the skating foot to be in position to start step 10 crossed behind. The man turns a RFI counter while the lady executes a change of edge (RFIO) (step 10) dropping in behind the man in closed position. The change to closed position is accomplished by the lady directing her stroke somewhat behind the man before he turns his counter. Step 11 for both partners is held for approximately two beats and ends with them travelling towards the barrier. At the very close of the step the lady momentarily steps down RFI before starting her LFO (step 12) as the man skates RBO (step 12), both strongly curved to head them back to the centre of the rink. During the next lobe (steps 13, 14 and 15) which is started towards the centre of the rink the couple revolve around each other, the lady turning a three on the first stroke and the man on the second with all edges well curved and the couple ending up travelling towards the barrier. While the man skates a two beat RBO (step 16) the lady skates a forward chasse (step 16b), and then the man turning forward into Kilian position both skate a sequence LFO, RFI and LFO (steps 17, 18 and 19), step 18 being a run. Steps 17 to 23 are the same for both partners. After pausing on the LFO (step 19) for two beats both partners skate strongly cross rolled four beat RFO edges (step 20) which carry them across the end of the rink. Two steps of one beat each, LFO and RFI (Steps 21 and 22) - the latter a run - end with a long four beat LFO edge which takes them around the corner of the rink. During this edge the lady must skate hip to hip with the man (Kilian position) her tracing following along his and the shoulders strongly rotated. This long edge is terminated with a swing choctaw for the man and a twizzle for the lady. These right turns are executed immediately after the fourth beat and just before the next accentuated beat (beat 1).

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The lady's twizzle (a counterwise turn followed by a three turn) starts similarly to the man's choctaw but entails a complete revolution on her part rather than the half revolution of the man. The weight (of the lady) is on the left foot during the revolution but the right foot is kept close beside it and on the completion of the turn takes the full weight for the next RFO (step 24) of the four beats as the man skates LBO (step 24). Because of the man's choctaw the partners change from Kilian position to Waltz position, which is maintained for three steps only 24, 25 and 26. During the next lobe (steps 25 and 26) the man skates a fairly deep RBO (step 25) of two beats while the lady turns a LFO Three, begun as a cross roll, around her partner. Because of this the lady is on the right of the man and the couple take up tango position, which is maintained from steps 27 to 31, the end of the dance sequence. This is followed by a series of five cross rolls (steps 27 to 31), the man crossed in front, the lady behind, headed down the length of the rink, and during which the lady remains on her partner's right. The first roll (step 27) is maintained for two beats; the following three rolls (steps 28 to 30) for one beat, and the fifth (step 31) is held for three beats, with a slight change-of-edge at the end. The partners should skate the cross rolls lightly on well curved edges making a pronounced serpentine of the sequence. Immediately before the end of step 31, after the change-of-edge, the lady momentarily steps down RFI which turns her forward in order to be able to strike off LFO on the first step of the repeat of the dance. Attention points:

- Respect to required positions and pattern. - Good execution of Chasse, step 4 and 16/b. - Sequence of step from 8 to 11 must be made with good edges, pay attention

to the edge of steps 11 & 15 of the man. - Pay attention to counter of the man. - Step 23 must be skated with the partner very close. - The Cross Roll must have good edges and be smooth and not jumped.

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List of Steps:

Hold Steps Man Beats Lady Beats1 LFO 1 LFO 1 2 RFI Run 1 RFI Run 1 3 LFO 1 LFO 1 4 RFI Chasse 1 RFI Chasse 1 5 LFO 1 LFO 1 6 RFI Run 1 RFI Run 1 7 LFO 2 LFO 2 8 XF RFO 1 XF RFO 1 9 XB LFI/O Change edge 3 XB LFI/O Change edge 3

Foxtrot

10 XB RFI Counter RBI 1+1 XB RFI/O 2 11 LBO 2 XF LFI very short RFI 2 12 RBO 2 LFO 2 13 Cross Roll LBO 2 Cross Roll RFO Three

RBI 1 1

14 RFO Three RBI 1+1 LBO 2 15 LBO 2 RFO 2 16A RBO 2 LFO Chasse 1

Waltz

16B RFI 1 17 LFO 1 LFO 1 18 RFI Run 1 RFI Run 1 19 LFO 2 LFO 2 20 Cross Roll RFO 4 Cross Roll RFO 4 21 LFO 1 LFO 1 22 RFI Run 1 RFI Run 1

Kilian

23 LFO Quick Swing Choctaw short RBI

4 LFO Twizzle 4

24 LBO 4 RFO 4 25 RBO 2 Cross Roll LFO Three 1+1

Waltz

26 LFO 2 RBO 2 27 Cross Roll RFO 2 Cross Roll LBO 2 28 Cross Roll LFO 1 Cross Roll RBO 1 29 Cross Roll RFO 1 Cross Roll LBO 1 30

Tango

Cross Roll LFO 1 Cross Roll RBO 1 31 Cross Roll RFO/I

Change edge 3 Cross Roll LBO/I

Change edge & very short RFI

3

80

ARGENTINE TANGO

81

ITALIAN FOXTROT Originated by: Odoardo Castellari

Music: Foxtrot 4/4 Tempo: 96 Beats Hold: Waltz, Tandem, Kilian Pattern: Set Notes:

All Steps, not otherwise described are RUNS

Tandem position Steps 15,16 and 17, for tandem position is intended one partner just behind the other.

Steps 1,2 The lady is slightly in front on the right of the man. Steps 3 – 4 Waltz position.

Step 5 This steps begins with the partners "in front", then the lady goes on the left of the man, the free leg swings forward, the skating foot changes the edge with the second beat.

Step 10 This step is a feature of the dance, it is a vivacious step with quick movements of the free leg. Beat 1 the free foot goes near the tracing foot. Beat 2 the partners push the free foot outside, while the tracing foot changes the edge, then the free foot comes back near the tracing foot to prepare for the next step.

Step 14 The lady makes the three in front of the man.

Steps 15,16,17 Steps very sprung with knees bent, the foot which is free is pushed slightly forward.

Step 29 The lady guided by the man, goes forward and then to his left, the step ends with the lady behind the shoulder of the man.

Steps 30A,30B After the forward step, the couple during the three turn of the lady, must go away for a short time, before assuming the waltz position.

Step 31 Waltz position. To make this step we advise to lean the free foot (Right for the man and Left for the lady) in closed position but slightly behind (as regards the direction of the step) the tracing foot. So it is possible to make the push of the foot easier (forward for the man and backward for the lady), which will be free. The step ends with a short change of edge to prepare for the first step of the dance. Attention points:

- Respect of the required positions and pattern. - Good execution of the Cross chasses. - The change of edge and the quick outside movement of the free leg on step

10 must be clear. - Pay attention to timing and outside edge of the step 13.

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- The tandem sequence must have good edges. - The inside edges of steps 18 and 19 must be clear. - The final sequence (steps 28,29, 30 & 31) must be made with fluidity.


1 LFO 1 RBO 1 2 XB-RFI 1 XF-LBI 1 3 LFO 1 RBO 1 4 RFI 1 LBI 1 5 LFO/I Swing 4 RBO/I Swing 4 6 RFI 1 LFO 1 7 LBI Open Mohawk 1 XB-RFI Chasse 1 8 RBO 1 LFO 1 9 LBI 1 RFI 1 10 RBO/I 2 LFO/I 2 11 LBO 1 RFO 1 12 XF-RBI 1 XB-LFI 1 13 LBO 2 RFO 2

Waltz

14A RBO 1 LFO Three 2 14B LBI Chasse 1 15 RBO 2 RBO 2 16 LBO 1 LBO 1

Tandem

17 RBO 1 RBO 1 18 LFI Choctaw 2 LFI Choctaw 2 19 RFI 2 RFI 2 20 LFO 1 LFO 1 21 XB-RFI 1 XB-RFI 1 22 LFO 1 LFO 1 23 RFI 1 RFI 1 24 LFO 2 LFO 2 25A XF RFO 1 XF RFO Three 2

Kilian

25B LFI Chasse 1 26 RFO 2 LBO 2 27A XF LFO Three 2 XB RBO 1

Waltz

27B LBI Cross Chasse 1 Kilian 28 RBO 2 RBO 2

29 XB LBO 2 XB LBO 2 30A RFO Mohawk 1 RFO Three 2

See note

30B LFI Chasse 1 Waltz 31 RFO/I 2 LBO/I 2

83

ITALIAN FOXTROT

84

STARLIGHT WALTZ Originated by: Courtney Jones & Peri Horne

Music: Waltz 3/4 Tempo: 168 Beats Hold: Waltz, Foxtrot, Kilian Pattern: Set Notes: The dance opens in Waltz hold with three chasses, the man skating a left forward outside chasse first. After the third chasse, both partners skate a change of edge for six beats (step 9). Both skaters may interpret the movement of the free leg during the first three beats as they so desire. Then both partners swing for six beats (step 10). Continuing in Waltz hold, the man skates 3 three turns, the lady 2 three turns, steps 11-15 inclusive, being the three turns, freedom of movement and interpretation is left to the skaters providing the steps are skated in a waltz hold. After the man's final three turn (step 15) he skates a RBO-LBI run whilst the lady skates a left forward outside to right back outside mohawk. Both partners then skate a right back outside for six beats (step 17) with a double lift (a second lift) of the free leg on the fourth beat. Partners skate a left forward inside edge (step 18) in Foxtrot hold. The man skates a right forward inside edge for three beats whilst the lady moves back into waltz hold with a mohawk (steps 19A and 19B). The lady's movement continues into a RBO swing (step 20). She then turns into Foxtrot hold whilst she skates another mohawk turning backwards into a swing (step 23). The man matches with a right forward outside swing (step 23). This chasse/mohawk is reversed once more until the partners coincide on step 26 (LFO man, RBO lady). During this step the man releases the lady's right hand and places his left across his back, lowering it to hip height or lower as the change takes place, the lady clasping this hand with her right. The man drops his right hand to allow him to turn the LFO three behind the lady. During steps 26-28 the man may bring the right arm forward or place it by his side. On step 30 LFO the partners change to Kilian hold which is maintained until step 32A when the lady turns an open three, with a backward lift of the free leg in time to the music, into Waltz hold to restart the dance. Attention points:

- Pay attention to start sequence of Chasses - The change of edge of step 9 must be clear and Swing must be made with

fluidity. - Pay attention to timing, closed position and fluidity of Three turn sequence

throughout. - The dance has a very quick tempo, pay attention to the timing. - The double lift of the free leg on step 17 must be clear. - The inside edges of steps 18 & 19 must be clear. - During sequence steps from 20 to 26 pay attention to Lady’s Mohawk.

85

- The end sequence of steps must be executed with fluidity and without hesitation during the change of holds. Good outside edges for the Lady on step 28 and for both partners on step 31.

List of Steps: Hold Steps Man Beats Lady BeatsWaltz 1 LFO 2 RBO 2 2 RFI Chasse 1 LBI Chasse 1 3 LFO 3 RBO 3 4 RFO 2 LBO 2 5 LFI Chasse 1 RBI Chasse 1 6 RFO 3 LBO 3 7 LFO 2 RBO 2 8 RFI Chasse 1 LBI Chasse 1 9 LFO/I change of edge 6 RBO/I change of edge 6 10 RFO Swing 6 LBO Swing 6 11 LFO Three LBI 3 RBO 3 12 RBO 3 LFO Three LBI 3 13 LFO Three LBI 3 RBO 3 14 RBO 3 LFO Three LBI 3 15 LFO Three LBI 3 RBO 3 16A RBO 2 LFO Closed Mohawk 3 16B LBI Run 1 Foxtrot 17 RBO 6 RBO 6 18 LFI 3 LFI 3 19A RFI 3 RFI Open Mohawk 2 Waltz 19B LBI 1 20 LFO Swing 6 RBO Swing 6 21 RFO 2 LFI Open Mohawk 2 22 LFI Chasse 1 RBI 1 23 RFO Swing 6 LBO Swing 6 24 LFO 2 RFI Open Mohawk 2 25 RFI Chasse 1 LBI 1 See Note 26 LFO 3 RBO 3 27 RFO Cross Roll 3 LBO Cross Roll 3 28 LFO Cross Roll Three

LBI 3 RFO 3

29A RBO 3 LFO 2 29B XB-RFI Chasse 1 Kilian 30 LFO 3 LFO 3 31 RFO Cross Roll Swing 6 RFO Cross Roll Swing 6 32A LFO 3 LFO Three 3 Waltz 32B RFI Slow Chasse 3 LBI 3

86

STARLIGHT WALTZ

87

List of Steps (Small Pattern): Hold Steps Man Beats Lady BeatsWaltz 1 LFO 2 RBO 2 2 RFI Chasse 1 LBI Chasse 1 3 LFO/I change of edge 6 RBO/I change of edge 6 4 RFO Swing 6 LBO Swing 6 5 LFO Three LBI 3 RBO 3 6 RBO 3 LFO Three LBI 3 7 LFO Three LBI 3 RBO 3 8 RBO 3 LFO Three LBI 3 9 LFO Three LBI 3 RBO 3 10A RBO 2 LFO Closed Mohawk 3 10B LBI Run 1 Foxtrot 11 RBO 6 RBO 6 12 LFI 3 LFI 3

3 Waltz 13B LBI 1

3 RBO 15 RFO Cross Roll 3 3

16 LFO Cross Roll Three LBI

3 RFO 3

17A RBO 3 LFO 1

Kilian 18 3 LFO 3 LFO 19 RFO Cross Roll Swing 6 RFO Cross Roll Swing 6 20A LFO 3 LFO Three 3 Waltz 20B RFI Slow Chasse 3 LBI 3

13A RFI RFI Open Mohawk 2

See Note 14 LFO 3 LBO Cross Roll

2 17B XB-RFI Chasse

88

STARLIGHT WALTZ (Small pattern used only when authorised)

89

ICELAND TANGO Originated by: Miss.Katie Schmidt

Music: Tango 4/4 Tempo: 100 Beats Hold: Tango Promenade, Waltz, Pattern: Set

After the opening steps (1,2 &3) the partners are then in a reversed Foxtrot position

Step 8 The change of edge Three turn (six beats) is counted 3-4-1-2-3-4. The man moves to the left so that the lady is on the right for the change edge. The change of edge must be on count 1 and the turn on count 3, not before.

Step 14 Lady strikes an RFO edge of four beats, swinging her free leg forward on the third to coincide with the raising of the man's free leg on step 14B. Her free leg is then brought to the heel in preparation for the next step, a closed Choctaw.

Foxtrot, Tango Notes: Unison of leg movement is an essential feature of the dance.

The man's right, and lady's left, shoulder leading. The extended arms are following.

Step 4 is a closed choctaw, i.e. with the resultant free leg following.

Step 5 Waltz position.

Step 9 is skated with the lady on the man's left side. The free legs swing in unison and a quick change of edge has to be made at the end to permit the next step slightly towards the barrier.

Step 13 The free leg should be in front for the second beat and the tracing knee should be well bent before and after the turn. The edges are only deep enough to permit the next step being aimed slightly towards the centre of the rink.

Steps 15 & 16 commence with free legs following and again swing in unison.

Attention points:

- Respect of required positions and pattern.

- Pay attention to final sequence of steps 14 to 18. These should have good edges and swings, in time and with fluidity.

- Pay attention to step 3, timing and good edges. - Pay attention to edges of steps 4 & 5. - Check the timing of step 8, change of edge and three. - The change of edge of step 9 is very short but must be evident. - Step 13 must be made on the correct beat and with fluidity.

90

List of Steps:

Hold

Steps Man Beats Lady BeatsRFO Run 1 LFI Run 1

2 LFI Run 1 RFO Run 1 Tango Promenade

3 RFO 2 2 LFI 4 Choctaw LBI 4 Choctaw RBO 4 5 RFO 4 LBO 4 6 LFO Run 1 RBO Run 1

Waltz

7 RFI Run 1 LBI Run 1 8 LFO/I Three

LBO 6 RBO/I Three RFO 6

9 XB RBO ending with rockover

4 4

10 LFO Run 1 RFI Run 1 11 RFI Run 1 LFO Run 1 12 LFO Run 2 RFI Run 2

Foxtrot

13 RFI Bracket RBO 4 LFO Three LBI 4 14A XB LBO 2 RFO Swing 4 14B XF RBI 2 15 LFO Swing 4 Choctaw LBI

Swing 4

16 Choctaw RBI Swing

4 RFO Swing 4

17A LFO Run 1 LFO Three LBI 2 17B RFI Run 1 18 LFO 2 RBO 2

1

Foxtrot

Tango

XB LFO ending change edge

Partial Tango

Waltz

91

ICELAND TANGO

92

VIENNESE WALTZ Originated by: Eric van Weyden & Eva Keats

Music: Waltz 3/4 Tempo: 138 Beats Hold: Waltz, Tango, Pattern: Set Reverse Tango, Foxtrot

Notes:

However by the end of steps 4 and 19 the partners should be in partial tango position (partner to the right) and during the change of edge on steps 5 and 20 should change to the opposite sides of each other.

The timing of steps 1, 2, 3, 4 and 16, 17, 18, 19 is unusual and, since it adds a pleasant and distinctive touch to the dance, must be closely adhered to.

-

The forward steps 2 and 17 are runs. On steps 5 and 20 a smooth change of edge is taken with the free foot passing as close to the skating foot as possible. The partner positions on steps 1, 2, 3 and 16, 17, 18 may be directly opposite each other (true closed position) or slightly to one side (partial tango position).

On step 8, care should be taken that this step is directed properly and on a true edge. The lady should be careful to aim at the man and trail him on this step. On the last beat of step 8 there should be a slight change-of-edge.

Many men experience difficulty on step 9 (LFI), but if there is a proper change of lean at the end of step 8 and if the man skates ahead on step 9, while the lady follows and parallels his tracing on her step 9 (RFO) little trouble will be encountered at this point, during step 9, the partners are momentarily in Foxtrot position with the shoulders parallel to the tracing.

After the mohawk (steps 10 and 11), the lady's LBI (step 12) is placed at the side and slightly back of the right foot. The right foot is then held forward on the LBI.

On step 13, the partners change from Waltz position to partial Tango position (right hips together) for a proper take-off for the cross roll on step 14.

Note that steps 1, 2 and 16, 17 are one beat steps, followed by three beat steps 3 and 18.

Care should be taken to follow this timing, which is a departure from the typical 1-2-3, 1-2-3 Waltz Attention points:

- Respect of required positions and pattern. - Pay attention to timing of steps from 1 to 4 and from 16 to 19. - Pay attention to the changes of edge on steps 5 & 20. - The inside edge of the man of step 9 must be strong and clear.

Pay attention to timing during the sequence of steps from 9 to 11.

93

List of Steps:

Steps Man Hold Lady Beats

RBO 1 LBI Run 1

Waltz

3 LFO RBO 3 Tango 4 XF RFO XB LBO 1

5 XB LFI/O XF RBI/O 2+1 6 XB RFI XB LBI 3 7 LFO Three LBI RBO 3

Rev.Tango

8 RBO Slight change edge

LFO Slight change edge

3

RFO 3 10 RBO LFO Open Mohawk 2

Foxtrot

11 XB LBI RBO 1 12 RFI LBI 3 Waltz 13 LFO RBO 3 14 Cross Roll RFO

Three RBI Cross Roll LBO 3

RFO 3 LFO 1

17 LBI Run RFI Run 1 Waltz

18 RBO LFO 3 19 XB LBO XF RFO 1 Tango 20 XF RBI/O XB LFI/O 2+1 21 XF LBI XB RFI 3 22 RBO LFO 3

Rev.Tango

23 Cross Roll LBO Cross Roll RFO Three RBI

3

Waltz 24 RFO LBO 6

1 LFO 2 RFI Run

9 LFI Closed Choctaw

Tango

15 LBO 16 RBO

94

VIENNESE WALTZ

95

PASO DOBLE Originated by: Reginald Wilkie & Daphne Wallis

Music: Paso Doble 2/4 Tempo: 112 Beats Hold: Tango, Waltz, Foxtrot Pattern: Set Notes: All edges are of one beat, except one two beat (Step 17) and one three beat (step 28) for the lady, and two two beat (steps 17 and 20) and one three beat (step 28) for the man. The partner's relative positions change during the dance. Steps 1 to 15 are skated in Tango position, steps 16 to 20 in Waltz position, and steps 21 to 28 in Foxtrot position. The dance starts with a run (step 2) followed by two chasses (steps 4 and 6), forward for the man and backward for the lady. The man keeps his partner to his right, hip to hip (Tango position) to step 15. Steps 8 and 9 are, however, most unusual being skated on the flat with both feet on the skating surface and foot sliding by foot very closely. The man brings his right foot (step 8) close to the left with both knees straightened, throwing all his weight on his right and then bending this knee strongly, allowing the left leg, rigidly held, to shoot forward without being lifted from the skating surface. For step 9 his feet are reversed, the left foot being brought back to the right then the left knee is flexed, pushing the stiffened right leg forward on the rink. The steps for the lady correspond, except that she is travelling backwards. On her step 8 the weight is transferred to the left foot, which is bent as her right foot passes to the front, followed by transferring the weight to the right foot as the left foot moves forward for step 9. Step 10 must not be slurred but the feet lifted distinctly from the skating surface. The following change of edge (step 11) should be skated boldly by both and the effect to be attained is a pronounced outward bulge of the pattern. The man's steps 12-16 consist of a crossed in front RFI (step 12), a RFI Run (step 14) and a mohawk begun crossed behind (steps 15 and 16), whilst his partner skates LBI crossed behind (step 12), RBO (Step 13), LBI crossed behind (step 14), RBO (step 15) and a front crossed LBI (step 16). The following two beat edge on step 17, where the man extends his free leg in front to match the lady's which is held behind on her corresponding RFI edge, is the first two beat edge in the dance, and the first of four consecutive edges skated in waltz position.

96

The man then makes a backward chasse, LBI crossed in front (step 19), then a two beat RBO (step 20) and turning forward into Foxtrot position skates a chasse (step 22) and run (step 24). During this period the lady is skating a forward cross chasse (step 19) followed by two open chasses (steps 20-22) and a run (step 24). The first (step 20) of the two open chasses is skated by the lady in two steps (steps 20a and 20b) of one beat each, during which the man does a RBO edge (step 20) of two beats.

The lady's steps 21-28 are identical with the man's with the exception of the end step 28, when she skates a short open swing mohawk to enable her to start the dance sequence again in Tango position.

Probably the most difficult portion of the dance is the cross rolling movement on steps 26, 27 and 28, where the man's and lady's edges are identical except for the final part of the last step. These edges must be definitely cross rolled, the deeper the cross roll the better. This necessitates very supple knee action and usually takes considerable practice to do well, owing to the fast tempo of the dance and the fact that these cross rolls last only one beat of the music each. On the last cross roll, step 28, (a 3 beat edge) both partners skate a bold RFO which changes to RFI. The free legs are swung a little to the front and then back to the heel, while the man remains on the RFI and the lady makes a quick open mohawk to LBI and immediately places her right foot down close to the left on RBO, which is the opening step of the repetition of the dance sequence. Perhaps the pattern might be called a ragged ellipse distorted here and there by inward and outward bulges. As to the contour of the dance: the opening steps ( 1 and 2) are on a curve, but the general direction of the chasse and scissor steps (3-9) is rather straight. Steps 10 and 11 are a sudden outward bulge, followed by steps 12 to 25 which are all on a true circle. After this come outward and inward deviations on the cross rolls, steps 26 to 28, and finally an outward bulge at the end of step 28.

Attention points:

- Respect of required positions and pattern. - Pay attention to Chasse. - Step 8 & 9 are flat. Pay attention to correct execution.

- Step 10 must be made with a cross, pay attention to lift the foot at the end of last flat step.

- Change of edge of step 11 must be strong and clear. - Step 26,27,28 are quick Cross Rolls made smooth without jumping.

97


1 RBO 1 Run 1 LBI Run 1

3 LFO 1 RBO 1 4 RFI Chasse 1 LBI Chasse 1 5 LFO 1 RBO 1 6 RFI Chasse 1 LBI Chasse 1

1 RBO 1 1 LB Right foot forward 1 1 RB Left foot forward 1 1 XB LBO 1 1 XF RBI/O Change of

edge 1

1 XB LBI 1 1 RBO 1

Run 1 XB LBI 1 15 XB LFO Open

Mohawk 1 RBO 1

Tango

16 RBO 1 XF LBI 1 17 LBI 2 RFI 2 18 RBO 1 LFO 1

LBI Cross Chasse 1 RFI Cross Chasse 1 20A RBO 2 LFO 1

Waltz

20B RFI Chasse 1 21 LFO 1 LFO 1 22 RFI Chasse 1 RFI Chasse 1 23 LFO 1 LFO 1

1 RFI Run 1 1 LFO 1

26 Cross Roll RFO 1 Cross Roll RFO 1 27 Cross Roll LFO 1 Cross Roll LFO 1

Foxtrot

28 Cross Roll RFO/I Change of edge

3 Cross Roll RFO/I Change of edge followed by short swing open Mohawk to LBI

3

1 LFO 2 RFI

7 LFO 8 RF Left Foot Forward 9 LF Right Foot Forward 10 XF RFO 11 XB LFI/O change of

edge 12 XF RFI 13 LFO 14 RFI

19

24 RFI Run 25 LFO

98

PASO DOBLE

16 X FRONT LBI

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RULES FOR FREE SOLO DANCE General notes on Technical Merit: All Steps and turns are permitted. Free Skating movements appropriate to the rhythm, music and character of the dance are permitted. Intricate footwork must be included and must display both originally and difficulty.

• A free dance programme which contains more than the above number of spins or jumps will be penalized by the judges.

Kneeling or laying on the floor is only allowed at the beginning and/or end of the programme. This may be done for a maximum of five (5) seconds at the beginning or at the end. Certain free skating movement such as turns, arabesque, pivots, jumps and spins are permitted with the following limitation:

• No more than three (3) revolution per spin are permitted, the total number of spins must not exceed three (3).

• Small dance jumps are permitted but must not exceed more than one revolution, with the total number of jumps not exceeding five (5).

The penalty for each violation will be 0.3 in A mark.

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RULES AND REGULATIONS FOR FREE DANCE (COUPLES) Free Dance Music – SR 3.42 3.42.01 The music chosen for the free dance programme is left to the discretion of each team, but the music chosen must :

• Be dance music suitable for roller skating

• Have a tempo, rhythm and character suitable for dance skating • Not necessary be constant in tempo, but may vary from fast to slow; or slow to

fast, etc. • Have a beat • Not contain vocal music: however, background musical effects considered

expressive of a particular type of folk music may be included. • Not have one rhythm so short that it fails to create a change

3.42.02 Acceptable music is as follows:

• All types, including classical, ballet, folk and contemporary, provided that it is suitable for dance skating.

• Classical music like symphonies, sonatas, or concertos only if transcribed to the rhythm of dance music.

• Portions of a ballet or opera only if transcribed or originally based on folk music, jazz or ballroom rhythms

Free Dance Technical Content – SR 3.43 3.43.01 All steps, turns and changes of edge and position are permitted. 3.43.02 Free skating movements, appropriate with the rhythm, music and character of the dance are permitted. 3.43.03 Intricate footwork must be included and must display both originality and difficulty. 3.43.04 Feats of strength and skill inserted to demonstrate physical prowess are not permitted. 3.43.05 The following movements are not permitted: standing, sitting, or leaning on partner’s boots; holding the partner’s boots or skates; sitting or lying over a partner’s leg without having at least one skate in contact with the skating surface; or lying on the skating surface. Kneeling or laying on the floor is only allowed at the beginning and/or end of the performance. This may be done for a maximum of 5 (five) seconds at the beginning or at the end. 3.43.06 In the composition of the free dance, excessive repetition of any movements, i.e. toe stops; hand-in-hand position; skating side by side; skating one after the other; or mirror skating, should be avoided.

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Free Dance Technical Limitations – SR 3.44 3.44.01 Free skating movements such as turns, arabesques, pivots, jumps, lifts, partner separations, etc., are permitted in a free dance programme. A deduction of marks will be made by all judges if a free dance programme exceeds the rules. The movements are allowed with the following limitations: 3.44.02 Separations within the free dance to execute intricate footwork are permitted. No more than five (5) may be used, with a duration of no longer than five (5) seconds each. Separations at the beginning and at the end of the programme are permissible, provided the distance between the partners does not exceed five (5) metres and/or ten (10) seconds. 3.44.03 Arabesques and pivots are permitted. No more than three (3) may be used, with a duration no longer than four (4) measures of waltz music (3/4), or two (2) measures of other music (i.e. 4/4, 6/8, etc). 3.44.04 Spins are permitted, provided the number of revolutions per spin does not exceed three (3). 3.44.05 Dance lifts are permitted (as outlined in SR.45) to enhance the performance of the programme (not to display feats of strength or acrobatics). A maximum of 5 (five) lifts in free dance will be allowed. The number of revolutions may not exceed one-and-a-half (1.5), with the woman’s waist never held higher than the man’s shoulder. Any choreographic movements in which the partner is assisted aloft, and has both feet off the floor shall be considered a lift. The change of position in a lift is permitted. 3.44.06 Dance jumps involving change of foot or direction are permitted, provided their total number does not exceed five (5). (The jumps may be accomplished separately or by holding hands and they must not be thrown or lifted. Toe jumps and assisted jumps are included in the total permitted of five (5)). Jump not exceeding one-half (1/2) revolution may be executed by both partners at the same time. The partners must be in a dance position at a distance of no more than two (2) arm-lengths. Jumps of great magnitude with a maximum of one (1) revolution must be executed by only one partner at a time.

3.44.07 Short, jerky movements are acceptable only when they serve to emphasize the character of the music. 3.44.08 Stops in which teams remain stationary on the skating surface while performing body movements (twisting or posing, etc.) are permitted. The duration of these stops may not exceed two (2) measures of music.

Free Dance Technical Definitions – SR 3.45 3.45.01 A lift is an action whereby the woman is elevated to a higher level, sustained, then set down. The impetus of the lift is provided mainly by the man remaining on the skating surface. The woman’s waist must not be higher than the

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man’s shoulder at any time. The sustained position of the lift must be maintained through the support of the partner on the skating surface. In all lifts, the supporting partner may provide assistance with the hands or arms. Sitting or lying on the partner’s shoulder is considered a feat of strength and is therefore not allowed. 3.45.02 A carried lift is a lift which exceeds the permitted number of measures of music, four (4) measures of waltz music – 3 /4; or two (2) measures of other music – 4/4, 6/8, etc. 3.45.03 An assisted jump is a jump in which the partner gives passive assistance in a non-supportive role. In this action, there is one continuous ascending and descending movement. Free Dance Technical Merit and Artistic Impression – SR 3.46 3.46.01 Scores shall be assigned for the Free Dance as outlined below. 3.46.02 The first score (Technical Merit – A) shall be assigned based on the following factors exhibited by the team:

• Difficulty of steps and movements

• Expression of various rhythms

• Carriage

• Variety and inventiveness • Sureness of edge • Clearness of movement

3.46.03 The mark for technical merit covers the elements of difficulty, variety, clearness and sureness. These might be considered the athletic components of a team’s performance, the tangible part. Difficulty is evaluated as to the whole programme, not just individual moves. Smooth, harmonious transitions are difficult, and variety in itself is difficult. A well-planned programme skated to the music (an essential in dance) rates higher than one which does not relate so intimately with the musical phrasing and rhythm. A programme performed with firm edges which are well skated to their conclusion and with good lean, and steps which are skated with conviction and authority demonstrate clearness and sureness over one which looks as though it is only half-learned, or appears to be a walking rehearsal. The mark for technical merit is an estimate of the team’s skating ability as demonstrated in the programme. 3.46.04 The second score (Artistic impression – B) shall be assigned based on the following factors exhibited by the team:

• Neatness of footwork • Timing of steps to music • Body timing • Unison of team

• Harmonious composition of the programme as a whole • Utilization of the skating surface

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3.46.05 The mark for artistic impression is designed to evaluate the aesthetic elements, the intangibles of the performance. These include the harmonious and artistic composition and arrangement of the programme and its relation to the music chosen; balanced utilization of the skating surface; easy movements in time with the music; unison of the partners with each other and the rhythm; and the team’s form and carriage. 3.46.06 The following areas should be considered by both contestants and judges during a free dance programme:

• Is the structure of the programme blended in harmony of sequence and design? • Is there a variety of difficulty and rhythm?

• Does the team demonstrate control, flow and glide?

• Are the various sections of the free dance related? • Does the free dance move in a connected and continuous manner? • Does the programme demonstrate creative ability? • Does the programme contain original and surprise moves? • Has the team complied with the rules as to the number of separations, jumps

etc?

• Does the team demonstrate good form, posture and unison? • Is the performance rhythmic? • Does it express the mood of the music? • IS THE TEAM REALLY DANCING?

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DEDUCTION GUIDELAINES FOR DANCE EVENTS – SR 3.47 3.47.01 An interrupted Compulsory or Original Set Pattern dance shall be resumed at the nearest technically practical point in the step sequence and not necessarily at the actual point of interruption. 3.48.02 The following deductions shall be applied by the judges in scoring a Compulsory or OSP dance performance marred by a fall or interruption: Fault Deduction Small 0.1 – 0.2 Medium 0.3 – 0.7 Major 0.8 – 1.0

A small fault refers to a brief (down and up) interruption. A medium fault refers to interruptions involving up to half a sequence. A major fault refers to interruptions involving more than half a sequence.

Original Set Pattern – SR 3.49 3.49.01 The deductions outlined in SR 3.48 shall be used as applicable, with the actual deduction reflected in the first score for Technical Merit. If the fall or interruption affects the further presentation of the dance, it must then be reflected in the Artistic Impression (second) score as well. The severity of this deduction is left to the discretion of the judge. Free Dance – SR 3.50 3.50.01 The severity of the deduction for a fall or interruption in the Free Dance portion of the contest is left to the discretion of the judge. If a deduction is made, it must be reflected in the score for Artistic Impression (second mark). 3.50.02 In the free dance programme, Technical Merit marks must be deducted by the judges for violations of the rules as follows: 3.50.03 Fault Deduction Lift violations 0.2 each (from the “A” mark) Carried Lifts 0.2 each (from the “A” mark) Arabesques, pivots, spins 0.2 each (from the “A” mark) Excess jumps and/or revolutions 0.2 each (from the “A” mark) Separations in excess of duration 0.2 each (from the “A” mark) Kneeling or laying on the floor 0.3 each (from the “B” mark) Timing Violations – Compulsory, OSP and Free Dance – SR 3.51 3.51.01 Any deduction made by a judge for an incorrect timing to the music must be based on the duration of the fault. For a timing fault, there must be a minimum deduction of zero point two (0.2) points.

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General – ER 5.17 5.17.01 This event shall be conducted for teams consisting of two contestants, one male and one female. Introductory Steps – ER 5.20 5.19.01 Commonly called “starting” or “opening” steps, introductory steps for both compulsory and original set pattern dances are optional as to the construction and are not judged except as outlined in ER 5.19.02

5.19.02 The number of beats to be used for all dances must not exceed 24 beats of music. The timing will begin with the first movement of the skater/skaters. A movement is defined as any movement of the arm, head, leg or foot.

THE ABOVE RULES AND REGULATIONS FOR DANCE (COUPLES), ARE FROM THE CIPA (WORLD GOVERNING REGULATIONS), AND APPLY TO ALL EUROPEAN EVENTS.

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CEPA/CIPA COSTUME RULES In all artistic competitive roller skating events (including official training days), the costume for both women and man should be in character with the music, but should not be such so as to cause embarrassment to the skater, judges or spectators. To clarify the paragraph above, the "appearance" of nudity of a costume is considered a violation of the above rules and will be penalised. (This means too much use of body-stocking material which gives the appearance of nudity). Costume which are very low cut at the neck, or which show bare midriffs are considered show costume and are not suitable for Championship skating.

The man’s costume must not be sleeveless. The neckline of the costume must not expose the chest more than three (3) inches or eight (8) centimetres below the collarbone. Transparent material is not permitted.

Any beads or diamante trimmings used on the costume must be very securely stitched so as not cause obstruction to the following contestants. The woman’s costume must be constructed so that it completely covers the tights (pants), hops and posterior. French-cut leotards are strictly prohibited, i.e. leotards which are cut higher than the hip bone. All costumes must have a skirt.

Props of any nature are not permitted.

Penalty resulting from the violation of the costume rules will range between five-tenths (0,5) and one point zero (1,0), according to the degree of the violation. At the instruction of the referee, this penalty will be deducted from the “B” mark after the score has been assigned by the judges.

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DANCE HOLDS Hand in Hand Position: Partners face in the same direction and are side by side with arms comfortably extended, the man’s right hand in his partner’s left. The woman is on the right unless otherwise noted. Closed or Waltz Position: Partners face each other directly, one skating forward while the other skates backwards. The man’s right hand is placed firmly against his partner’s back at her shoulder blade with elbow raised and bent sufficiently to hold her close. The woman’s left hand is placed against the man’s right shoulder with her are resting comfortably on his, elbow on elbow. The man’s left arm and woman’s right are extended at average shoulder height. The shoulders are parallel. Open or Foxtrot position: Hand and arm positions are similar to those of closed position, but the partners turn slightly so that both may skate in the same direction. Outside or Tango position: Partners face in the same direction, one skating forward while the other skates backward. Unlike the closed position, partners skate hip to hip, the man being either to the right or left of the woman. Kilian Position: Partners face in the same direction, woman at the right of the man, man’s right shoulder behind the woman’s left. Woman’s left arm is extended in front across man’s body to his left hand, while his right arm is behind her back, both right hands clasped and resting at her waist over hip bone. Tandem Position: Partners directly behind each other, skating identical edges. Hold can be either both hands for both skaters, on woman’s waist, or one hand on woman’s waist (both skaters) with the other one outstretched.

Hand in Hand: Tandem:

Waltz (or Closed) Position:

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Kilian: Kilian Reverse:

Tango (or Outside): Tango promenade:

Tango Reverse: Foxtrot (or Open) Position:

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CEPA COMPULSORY DANCES MINIS ESPOIR 1-Country Polka 1-Denver Shuffle 2-Rhythm Blues 2-Canasta Tango 3-Glide Waltz 3-Tudor Waltz 4-Olympic Foxtrot 4-Swing Foxtrot 5-Skaters March 5-Skaters March 2003 2004 2005 2006 Cadet 14 Step Denver Shuffle 14 Step Denver Shuffle Tudor Waltz Little Waltz Tudor Waltz Little Waltz Swing Foxtrot Siesta Tango Swing Foxtrot Siesta Tango Youth Kilian 14 Step Kilian 14 Step European Waltz Association Waltz European Waltz Association Waltz Imperial Tango Keats Foxtrot Imperial Tango Keats Foxtrot

Junior Blues Rocker Foxtrot 14 Step Blues Harris Tango Flirtation Waltz Imperial Tango Harris Tango

OSPD Tango Charleston Paso Doble Samba Senior Paso Doble Quickstep Italian Foxtrot Starlight Waltz Westminster Waltz Viennese Waltz Argentine Tango Iceland Tango

OSPD Tango Charleston Paso Doble Samba

SOLO DANCE

2003 2004 2005 2006 Minis Olympic Foxtrot Country Polka Skaters March Country Polka Glide Waltz Rhythm Blues Olympic Foxtrot Glide Waltz Espoir Skaters March Denver Shuffle Skaters March Denver Shuffle Canasta Tango Tudor Waltz Swing Foxtrot Canasta Tango Cadet 14 step Little Waltz Tudor Waltz Denver Shuffle

Swing Foxtrot Siesta Tango Swing Foxtrot Little Waltz OSPD Jive Tango Charleston Paso Doble

Youth Kilian Keats Foxtrot Kilian 14 Step Association Waltz Imperial Tango European Waltz Association Waltz

OSPD Tango Charleston Paso Doble Samba Junior Rocker Foxtrot Blues 14 Step Blues Flirtation Waltz Harris Tango Harris Tango Imperial Tango Senior Quickstep Italian Foxtrot Quickstep Starlight Waltz Westminster Waltz Viennese Waltz Argentine Tango Paso Doble

Important!!!: All Dances must be performed for both men and ladies the ladies steps.

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Italy

CEPA COMMITTEE

President Margaret Brooks “Villa Ruscelli”

Contrada Ferrini 22 63022 Falerone (AP)

Tel. (++39) 0734-710133 Fax (++39) 0734-718028 E-mail [email protected]

E-mail

Vice-President Chris Laheij Wearbuorren 1 NL-9067 DL Roodkerk Netherlands Tel. (++31) 58-2563492 Fax (++31) 58-2563439

[email protected] Members Marco Faggioli Via Roberto Preti 111/H I-40059 Medicina (BO) Italy

Tel.+Fax (++39) 051-6970743 E-mail [email protected] Cornelia Bork Bruchweg 16 D-30900 Wedemark Germany Tel. (++49) 5130-39069 Fax (++49) 5130-36853 E-mail [email protected] Gonda Verbruggen Langeveld 180 B-3220 Holsbeek Belgium Tel. (++32) 16449153 Fax (++32) 16448552 E-mail [email protected] Maria Elisabete Claro Rua Dr.Manuel Laranjeira 854 4200 Porto Portugal Tel.+Fax (++351) 225090312 E-Mail [email protected]

mailto:[email protected]




Compulsory Dances for Europe - FIHP

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