INTERNATIONAL SKATING UNION
Communication No. 1677
ICE DANCE
Requirements for Technical Rules with ongoing validity
Redrafts and updates effective July 1st, 2011
Technical Rules specify that some of them need to be completed by requirements decided by
the Ice Dance Technical Committee.
Requirements defined in the Technical Rules as valid for one season only are:
- Pattern Dances for Novice International Competitions,- rhythms or themes, guidelines and Required Elements for Short Dance,- Required Elements for Free Dance.
For season 2011/12, those annual requirements were included in Communication 1670.
The other requirements for Technical Rules are defined with an ongoing validity and can be
updated when necessary. They are listed below.
1.

Scales of Values for Sections of Pattern Dances (when Pattern Dance(s) is (are) a
segment of a competition) included in Communication 1400 and Communication 1522
are valid.

2.

Calling specifications and marking guide for Grades of Execution of Sections ofPattern Dances (when Pattern Dance(s) is (are) a segment of a competition) included
in Communication 1567, chapter 5, are valid.

3.

Marking guide for Components of Pattern Dances (when Pattern Dance(s) is (are) a
segment of a competition) included in Communication 1522, chapter 7, is valid.

4.

Scales of Values for Required Elements: see page 2

5.

Calling specifications and Levels of Difficulty for Required Elements: see page 3

6.

Marking guide for Grades of Execution of Required Elements: see page 24

7.

Marking guide for Program Components: see page 26

8.

Restrictions for clothing: see page 31

9.

Glossary of terms: see page 31

Milan,

Ottavio Cinquanta, President

May 24, 2011
Lausanne,

Fredi Schmid, Director General
1

4.

SCALES OF VALUES FOR REQUIRED ELEMENTS
Scales of Values for Required Elements included in Communication 1621, chapter VI:
 are valid for Dance Spins, Short Lifts, Sets of Sequential/Synchronized
Twizzles and Step Sequences, have been updated effective July 1st, 2011 for Pattern Dance Elements and Long
Lifts. Updated content is underlined.
Scale of Value for Not Touching Circular Step Sequence is introduced.
CC1Sq1
CC1Sq2
CC1Sq3
CC1Sq4

+3
1.5
1.5
1.5
1.5

+2
1.0
1.0
1.0
1.0

+1
0.5
0.5
0.5
0.5

Base
3.00
5.00
6.00
7.00

-1
-0.5
- 0.5
- 0.5
- 0.5

-2
-1.0
- 1.0
- 1.0
- 1.0

-3
-1.5
- 1.5
- 1.5
- 1.5

CC2Sq1
CC2Sq2
CC2Sq3
CC2Sq4

1.5
1.5
1.5
1.5

1.0
1.0
1.0
1.0

0.5
0.5
0.5
0.5

3.00
5.00
6.00
7.00

- 0.5
- 0.5
- 0.5
- 0.5

- 1.0
- 1.0
- 1.0
- 1.0

- 1.5
- 1.5
- 1.5
- 1.5

R1Se1
R1Se2
R1Se3
R1Se4

1.5
1.5
1.5
1.5

1.0
1.0
1.0
1.0

0.5
0.5
0.5
0.5

3.00
5.00
6.00
7.00

-0.5
- 0.5
- 0.5
- 0.5

-1.0
- 1.0
- 1.0
- 1.0

-1.5
- 1.5
- 1.5
- 1.5

R2Se1
R2Se2
R2Se3
R2Se4

1.5
1.5
1.5
1.5

1.0
1.0
1.0
1.0

0.5
0.5
0.5
0.5

3.00
5.00
6.00
7.00

- 0.5
- 0.5
- 0.5
- 0.5

- 1.0
- 1.0
- 1.0
- 1.0

- 1.5
- 1.5
- 1.5
- 1.5

Serpentine Lift

SeLi1
SeLi2
SeLi3
SeLi4

3.0
3.0
3.0
3.0

2.0
2.0
2.0
2.0

1.0
1.0
1.0
1.0

3.00
5.00
7.00
8.00

-0.6
- 1.0
- 1.0
- 1.0

-1.4
- 2.0
- 2.0
- 2.0

-2.0
- 3.0
- 3.0
- 3.0

Reverse Rotational
Lift

RRoLi1
RRoLi2
RRoLi3
RRoLi4

3.0
3.0
3.0
3.0

2.0
2.0
2.0
2.0

1.0
1.0
1.0
1.0

3.00
5.00
7.00
8.00

-0.6
- 1.0
- 1.0
- 1.0

-1.4
- 2.0
- 2.0
- 2.0

-2.0
- 3.0
- 3.0
- 3.0

Combination Lift

The Base Values of the first two executed Short Lifts in a Combination Lift will be added
and one GOE (the same as for Serpentine Lift and Reverse Rotational Lift) will beapplied to the entire Combination Lift.

Not Touching Circular
Step Sequence

NtCiSt1
NtCiSt2
NtCiSt3
NtCiSt4

Cha Cha Congelado
Sequence with Step # 1 on
the Judges’ side

Cha Cha Congelado
Sequence with Step # 1 on
the Judges’ opposite side

RhumbaSequence with Step # 1 on
the Judges’ side

RhumbaSequence with Step # 1 on
the Judges’ opposite side

1.5
3.0
3.0
3.0

1.0
2.0
2.0
2.0

2

0.5
1.0
1.0
1.0

3.50
5.00
6.50
8.00

- 0.5
- 1.0
- 1.0
- 1.0

- 1.0
- 2.0
- 2.0
- 2.0

- 1.5
- 3.0
- 3.0
- 3.0

5.

CALLING SPECIFICATIONS AND LEVELS OF DIFFICULTY OF REQUIRED ELEMENTS
Calling specifications and Levels of Difficulty of Required Elements, previously included in Communications 1610 and 1621 updated by
Communication 1632, have been redrafted and updated effective July 1st, 2011.
The information is laid out in the following order:
 basic principles of calling applicable to all Required Elements;
 for each Required Element:- additional principles of calling,- additional definitions, specifications to definitions and notes, applicable to additional principles of calling and Levels of Difficulty,- Levels of Difficulty including Characteristics of Levels and Adjustment to Levels.
Updated content is underlined.

5.1.

BASIC PRINCIPLES OF CALLING APPLICABLE TO ALL REQUIRED ELEMENTS

1. The Technical Panel shall identify what is performed despite what is listed on the Program Content Sheet (e.g. if the sheet says a Reverse
Rotational Lift is planned but only the first part is completed, perhaps due to a Fall or interruption, a Rotational Lift shall be identified).
2. Adjustments to Levels shall apply to the Level determined according to the Characteristics of Levels fulfilled. They shall not result in giving
No Level to a Required Element as long as the requirements for Level 1 are met.
3. To be given any Level, a Required Element must meet all the requirements for Level 1.
4. If a program concludes with the partners performing an element, the element and its Level shall be identified until the movement stops
completely.
5. Elements started after the required duration of the program (plus the 10 seconds allowed) shall not be identified.

3

5.2.

PATTERN DANCE ELEMENTS

5.2.1. ADDITIONAL PRINCIPLES OF CALLING
1. The process used by the Technical Panel to identify Key Points and their correct execution is the same process as for identification of Required
Elements and Levels (i.e. by majority).
2. If a Fall or interruption occurs at the entrance to or during a Pattern Dance Element and the element is immediately resumed, the element shallbe identified and given a Level according to the requirements met before and after the Fall or interruption, or No Level if the requirements forLevel 1 are not met.
5.2.2. ADDITIONAL DEFINITIONS, SPECIFICATIONS TO DEFINITIONS AND NOTESKey Point and Key Point Features: a Key Point is correctly executed when all its related Key Point Features are met.
For season 2011/12, the Key Points and Key Point Features are the following:
Cha Cha Congelado
Sequence with Step # 1 on
the Judges’ side (CC1)

Key Point 1
Lady & Man Steps 3 & 4 (Slip Steps)

Key Point 2
Lady Steps 14 & 15 (XB-LFI OpMo, RBI)

Key Point 3
Lady Steps 23-25 (LFI Sw-ClMo, RBI, XFLBO)

Key Point Features

1. On straight line
2. Both blades are held on the ice
3. Free foot slides forward on ice to full
extension

1. Correct Edges on LFI (#14) and RBI (#15)
2. Correct Turn
3. Correct placement of the free foot1. Correct Edges on LFI (#23), RBI (#24) andLBO (#25)
2. ClMo: correct Turn
3. ClMo: correct placement of the free foot4. XF-LBO: free leg crossed in front of theskating leg

Sequence with Step # 1 on
the Judges’ opposite side
(CC2)

Key Point 1
Lady Step 10 & 11 (RFI ClMo, LBI
excluding RBO)

Key Point 2
Man Steps 23-25 (RFO Sw-ClMo, LBO, XFRBI)Key Point 3
Lady & Man Steps 31-36 (from XB-LFI to
LFI SwR)

Key Point Features

1. Correct Edges on RFI (#10) and LBI (#11)
2. Correct Turn
3. Correct placement of the free foot1. Correct Edges on RFO (#23), LBO (#24)
and RBI (#25)
2. ClMo: correct Turn
3. ClMo: correct placement of the free foot4. XF-RBI: free leg crossed in front of theskating leg

1. Correct Edges on LFI (#31), RFI (#32), RFI(#35) and LFI (#36)
2. XB-LFI (#31): free leg crossed behind theskating leg
3. XB-RFI(#35): free leg crossed behind theskating leg

4RhumbaSequence with Step # 1 on
the Judges’ side (R1)

Key Point 1
Lady & Man Step 3 (Changes of EdgeLFOIO)Key Point 2
Lady Steps 11 to 13 (Wd-LFI Wd-XF
OpCho, RBO Wd-XB ClCho, LFI)Key Point 3
Man Steps 11 to 13 (Wd-LFI Wd-XF
OpCho, RBO Wd-XB ClCho, LFI)Key Point Features

1. Correct Changes of Edge (Outside to Inside
to Outside)

1. Stepped at least two blade lengths wide on
Steps #11, #12 and #13
2. Correct Edges LFI (#11), RBO (#12) andLFI (#13)
3. Correct placement of free foot4. Correct Turns

1. Stepped at least two blade lengths wide on
Steps #11, #12 and #13
2. Correct Edges LFI (#11), RBO (#12) andLFI (#13)
3. Correct placement of free foot4. Correct Turns

Sequence with Step # 1 on
the Judges’ opposite side
(R2)

Key Point 1
Lady & Man Step 3 (Changes of EdgeLFOIO)Key Point 2
Lady Steps 11 to 13 (Wd-LFI Wd-XF
OpCho, RBO Wd-XB ClCho, LFI)Key Point 3
Man Steps 11 to 13 (Wd-LFI Wd-XF
OpCho, RBO Wd-XB ClCho, LFI)Key Point Features

1. Correct Changes of Edge (Outside to Inside
to Outside)

1. Stepped at least two blade lengths wide on
Steps #11, #12 and #13
2. Correct Edges LFI (#11), RBO (#12), and
LFI (#13)
3. Correct placement of free foot4. Correct Turns

1. Stepped at least two blade lengths wide on
Steps #11, #12 and #13
2. Correct Edges LFI (#11), RBO (#12) andLFI (#13)
3. Correct placement of free foot4. Correct Turns

Note: Steps and additional descriptions of the Steps are defined/described in Rule 604 and ISU Handbook Ice Dance 2003, paragraph I-17 (Cha Cha
Congelado) and paragraph I-19 (Rhumba).
5.2.3. LEVELS OF DIFFICULTY
Characteristics of Levels:
Level 1

Level 2

Level 3

Level 475% of Pattern Dance
Element is completed byboth partners

100% of Pattern Dance Element is completed
by both partners

100% of Pattern Dance Element is completed
by both partners

100% of Pattern Dance Element is completed
by both partners

AND

AND

AND

1 Key Point is correctly executed

2 Key Points are correctly executed

3 Key Points are correctly executed

5

5.3.

DANCE SPINS

5.3.1. ADDITIONAL PRINCIPLES OF CALLING
1. In programs where one Dance Spin is a Required Element, the first performed Dance Spin shall be identified as the required Dance Spin,classified as Spin or Combination Spin, and given a Level, or No Level if the requirements for Level 1 are not met. Subsequent Dance Spinsshall be identified either as Transitional Dance Spins with no value, or as Dance Spins classified as Extra Element with no value: the number of
any allowed subsequent Transitional Dance Spin(s) is specified in the descriptions of Required Elements for Short Dance and Well Balanced
Free Dance Programs.
2. In case a Spin is required and a Combination Spin is not permitted, the required Dance Spin performed as a Combination Spin shall beclassified as an Extra Element with no value.
3. If a Fall or interruption occurs at the entrance to or during a Dance Spin and is immediately followed by a spinning movement (for the purposeof filling time), the element shall be identified and given a Level according to the requirements met before the Fall or interruption, or No Level
if the requirements for Level 1 are not met, and the additional part shall not be identified (Note: an interruption in rotations to perform features
such as the change of direction in a Dance Spin Option 2 or a one foot turn on the spot before resuming the rotations shall not be considered assuch an interruption).
5.3.2. ADDITIONAL DEFINITIONS, SPECIFICATIONS TO DEFINITIONS AND NOTES
Basic Positions in Dance Spins:
1. Upright Position: if the angle between the thigh and shin of the skating leg is less than about 120 degrees, the position shall be considered as a
Sit Position.
2. Sit Position: if the angle between the thigh and shin of the skating leg is more than about 120 degrees, the position shall be considered as an
Upright or Camel Position depending on the other criteria that characterize these positions.
3. Camel Position: if the waist line is not horizontal and/or the core of the body is more than 45 degrees above the horizontal line the position
shall be considered as an Upright Position. If the angle between the thigh and shin of the skating leg is less than about 120 degrees, the position
shall be considered as a Sit Position.
Difficult Variations of Basic Positions (examples):1. For Upright Position:a) “Biellmann” type – body upright with the heel of the boot pulled by the hand behind and above the level of the head;b) Full layback with upper body arched back towards the ice or sideways with upper body bent to the side towards the ice;c) Split with both legs straight and the boot/skate of the free leg held up higher than the head (may be supported by partner);6d) Upper body arched back or sideways with free foot almost touching the head in a full circle (doughnut/ring: maximum of half a blade length
between head and blade).
2. For Sit Position:a) Free leg bent or straight directed forward with thigh of skating leg at least parallel to the ice;b) Free leg bent or straight directed backward with thigh of skating leg at least parallel to the ice;c) Free leg bent or straight directed to the side with not more than 90 degrees between thigh and shin of skating leg;d) Free leg crossed extended behind, and directed to the side, with not more than 90 degrees between thigh and shin of skating leg;e) Free leg crossed behind and touching the skating leg, with thigh of skating leg at least parallel to the ice;f) Free leg directed forward, with not more than 90 degrees between thigh and shin of skating leg, and back of upper body parallel to the ice.
Note:
 Examples b) and e) executed right after each other shall be considered as the same Difficult Variation of Sit Position.
3. For Camel Position:a) Upper body (shoulder and head) turned upwards – facing up so that the line of the shoulders is at least 45 degrees past the vertical point;b) Body nearly horizontal or bent sideways horizontally with head and free foot almost touching (doughnut/ring: maximum of half a blade
length between head and blade);c) Body nearly horizontal with the heel of the boot pulled by the hand above the level of the head;d) Body bent forward to the spinning leg and free leg extended backward and upward up to almost a full split (with the angle between thighs
about 180 degrees);e) Simple Camel Position by the man with the free leg on horizontal line or higher.
Note: Simple camel spin by the lady shall not be considered as a Difficult Variation of Camel Position
Notes:
 Examples d) for Upright Position and b) for Camel Position (doughnut/ring) shall be considered as the same Difficult Variation.
 Examples a) for Upright Position (Biellmann) and c) for Camel Position (heel of the boot pulled by the hand above the level of the head) shallbe considered as the same Difficult Variation when performed by the same partner but as two different Difficult Variations when performed bydifferent partners.
 Rotations shall be taken into consideration for the purpose of total number of rotations when performed fully, continuously, on one foot andsimultaneously by both partners.
 Rotations in Difficult Variation shall be taken into consideration for the purpose of Level when performed continuously in a fully establishedposition.

7

Options of Dance Spins:
 Spin Option 1: without change of spinning direction;
 Spin Option 2: with simultaneous change of spinning direction for both partners;
 Combination Spin Option 1: with same spinning direction for both parts;
 Combination Spin Option 2: with different spinning direction for each part.
5.3.3. LEVELS OF DIFFICULTY
Characteristics of Levels:
Level 1

Level 2

Level 3

Level 4Spin
Spinning movement started
on one foot by bothpartnersAND
At least 3 rotations

OPTION 1
2 different Difficult Variations from 2
different Basic Positions (1 by one partnerand 1 by the other partner): each Difficult
Variation for at least 2 rotations.
OPTION 2
At least 2 rotations in each direction
AND
1 Difficult Variation from any Basic
Position by one partner: Difficult Variation
for at least 2 rotations.

OPTION 1
2 different Difficult Variations from 2
different Basic Positions (1 by one partnerand 1 by the other partner performed
simultaneously): each Difficult Variation
for at least 5 rotations.
OR
3 different Difficult Variations from 3
different Basic Positions (3 by same partneror 2 by one partner and 1 by the otherpartner): each Difficult Variation for at least
2 rotations.
OPTION 2
At least 2 rotations in each directionAND
2 different Difficult Variations from 2
different Basic Positions (2 by same partner
or 1 by one partner and 1 by the otherpartner): each Difficult Variation for at least
2 rotations

8

OPTION 1
4 different Difficult Variations from 3
different Basic Positions (2 by both partners
or 3 by one partner and 1 by the other partner,
at least 1 Difficult Variation being performedby partners simultaneously): each Difficult
Variation for at least 2 rotations.
OPTION 2
At least 2 rotations in each direction.
AND
3 different Difficult Variations from 3
different Basic Positions (3 by same partneror 2 by one partner and 1 by the otherpartner): each Difficult Variation for at least
2 rotations.

Level 1

Level 2

Level 3

Level 4

Combination Spin
Spinning movement started
on one foot by both partners
AND
At least 3 rotations in bothparts

OPTION 1

OPTION 1

OPTION 1

2 different Difficult Variations from 2
different Basic Positions (2 by same partner or
1 by one partner and 1 by the other partner):each Difficult Variation for at least 3 rotations

3 different Difficult Variations from 3
different Basic Positions (3 by same partner or
2 by one partner and 1 for the other partner):each Difficult Variation for at least 3 rotations

4 different Difficult Variations from 3
different Basic Positions (2 by both partners or
3 by one partner and 1 by the other partner):each Difficult Variation for at least 3 rotations

OPTION 2

OPTION 2

OPTION 2

1 Difficult Variation from any Basic Position:
each Difficult Variation for at least 3 rotations

2 different Difficult Variations from 2
different Basic Positions (2 by same partner or
1 by one partner and 1 by the other partner):each Difficult Variation for at least 3 rotations

3 different Difficult Variations from 3
different Basic Positions (3 by same partner or
2 by one partner and 1 by the other partner):each Difficult Variation for at least 3 rotations

Adjustments to Levels:
1. If the spinning movement has been started and one or both partners is/are still on two feet after half a rotation, the Level shall be reduced by one
Level if one partner starts on two feet and by two Levels if both partners start on two feet.
2. If a loss of control occurs after the Dance Spin has commenced, resulting in one of the following mistakes:
 additional support (touch down by free leg/foot and/or hand(s) by one partner,
 one partner off the ice without sustaining action,
 both partners not holding,for up to half a rotation, and the Dance Spin continues according to Dance Spin requirements after the mistake, the Level shall be reduced by 1
Level per mistake. But if the mistake lasts for more than half a rotation, this shall be considered as an interruption and additional principles ofcalling shall apply.
Notes:
 this provision does not apply to staying on two feet during the change of foot in a Combination Spin. However, the Level shall be
reduced by 1 Level per partner staying on two feet more than half a rotation;
 this provision does not apply to one partner off the ice with a sustaining action which qualifies this move as a Dance Lift.
9

5.4.

DANCE LIFTS

5.4.1. ADDITIONAL PRINCIPLES OF CALLING
Applicable to all Types of Dance Lifts:
1. The first performed Dance Lift(s) shall be identified as the required Dance Lift(s) and given a Level, or No Level if the requirements for Level
1 are not met. Subsequent Dance Lifts shall be identified either as Transitional Dance Lift with no value, or as Dance Lift classified as Extra
Element with no value: the number of required Dance Lifts and any allowed subsequent Transitional Dance Lift(s) is specified in thedescriptions of Required Elements for Short Dance and Well Balanced Free Dance Programs.
2. Any required Dance Lift of a repeated Type shall be classified as an Extra Element with no value (except in a Senior Free Dance with 4 Short
Lifts where two of the Short Lifts can be from the same Type).
3. Any required Dance Lift of a Type not according to the Required Elements for Short Dance or the Well Balanced Free Dance Program shall beclassified as an Extra Element with no value.
4. A brief movement in which both skates of one of the partners leave the ice with support by the other partner and the lifted partner is notsustained in the air shall not be considered as a Dance Lift.
5. If a program begins with the partners in a Dance Lift before the music starts, the Dance Lift and its Level shall be identified when one of thepartners begins to move.
6. If a Fall or interruption occurs at the entrance to or during a Dance Lift, the element shall be identified and given a Level according to therequirements met before the Fall or interruption, or No Level if the requirements for Level 1 are not met.
Applicable to Rotational Lifts:
1. A Rotational Lift shall be identified as such if the lifting partner moves through more than one rotation. Up to one rotation at the beginning or
end of any Dance Lift which is not a Rotational Lift or a Reverse Rotational Lift shall be considered part of the entry or exit.
2. In a Rotational Lift, if the lifting partner stops traveling, the rotations and Difficult Pose/Position or Change of Pose from that point on shall not
be considered for Level.
Applicable to Reverse Rotational Lifts:
1. A Reverse Rotational Lift shall be identified as such if the lifting partner moves through more than one rotation in both directions.
2. In each direction of a Reverse Rotational Lift, if the lifting partner stops traveling, the rotations and Difficult Pose/Position or Change of Posein that direction from that point on shall not be considered for Level.
Applicable to Combination Lifts:
1. A Combination Lift shall be identified with the first two fully established Types of Short Lifts performed forming two approximately equalparts or it shall be identified as a Short Lift of the Type forming the larger part. The Level of each of the two Types of Short Lifts shall be given
separately.
10Applicable to Long Lifts:
1. If an error occurs in the first or second part of an attempted Long Lift, so that the second part (second Type of Short Lift of an attempted
Combination Lift, reverse rotations of an attempted Reverse Rotational Lift, second curve of an attempted Serpentine Lift) cannot be identified,
the performed part of the Dance Lift shall be identified as a Type of Short Lift (first Type of Short Lift in case of an attempted Combination
Lift, Rotation Lift in case of an attempted Reverse Rotational Lift, Curve Lift in case of an attempted Serpentine Lift), given the reached Leveland classified as “Combo”, in order to avoid that a subsequent similar Type of Short Lift be classified as Extra Element (the word “Combo”
means an intention to skate one Long Lift).
5.4.2. ADDITIONAL DEFINITIONS, SPECIFICATIONS TO DEFINITIONS AND NOTES
Difficult Pose for lifted partner (examples):a) Full split: when the legs of the lifted partner are extended in one line with the angle between thighs about 180 degrees;b) full “Biellmann”: body upright with the heel of the boot pulled by the hand behind and above the level of the head;c) full doughnut/ring: upper body arched back, with one or both feet almost touching the head in a full circle (maximum of half a blade length
between head and blade);d) upside down combined with difficult hold;e) from a vertical position lady is cantilevered out: lady’s torso is extended away from the man and the only one additional point of support are
the hands;f) balancing in a horizontal position with only one additional point of support;g) leaning out (forwards or backwards) with the only one additional point of support being the legs;h) full layback with arched pose with no support from the lifting partner above the thigh;i) extended out with the majority of body weight in a horizontal line with the only one additional point of support being shoulders and/ or
upper back.
Notes:
 a chosen example of Difficult Pose shall be considered for Level only the first time it occurs, whether it be in a Short Lift or in a part ofLong Lift; Examples b) (full “Biellmann) and c) (full doughnut/ring) shall be considered as the same example of Difficult Pose.
Change of Pose for lifted partner:
A Change of Pose shall be considered for Level if it fulfills the following characteristics:
 lifting partner changes hold and lifted partner changes hold and body pose so that it is a significant change (i.e. a photographer would
produce two different photos). A mere change of position of arm(s) and/or legs, changing to the reverse side (mirror) or changing theheight of the body is not enough to constitute a Change of Pose; the change of body pose and changes of hold occur simultaneously;11 each pose, preceding and following the change is clearly defined and the first pose is attained and clearly shown prior to the change tothe second pose; in Rotational Lifts, the movement through the Change of Pose occurs during rotations of both lifting and lifted partners.
Note: Changes of Pose shall be considered for Level only the first two times they occur, whether they are in Short Lifts or in parts of Long Lift.
Difficult Position for lifting partner (examples):a) one foot;b) Shoot the Duck (thigh at least parallel to the ice) with any position of free leg;c) Spread Eagle – inside: same edges (one forward one backward) on the same curve;d) Spread Eagle – outside: same edges (one forward one backward) on the same curve;e) Spread Eagle – on a straight line (for Straight Line Lift only): same edges (one forward one backward) on the same line;f) Ina Bauer: same or different edge (one forward one backward) on parallel tracing;g) Crouch with two knees bent (thighs at least parallel to the ice) on two feet;h) Crouch with one knee bent (thigh at least parallel to the ice) on two feet with one leg extended to side;i) Lunge (thigh at least parallel to the ice) with any position of free leg;j) One Hand/Arm Lift: with no contact other than the lifting partner’s hand/arm and the lifted partner.
Notes:
 examples g) h) and i) (Crouch or Lunge) shall not be considered for Level in a Stationary Lift which is not rotating; a chosen example of Difficult Position shall be considered for Level only the first time it occurs, whether it be in a Short Lift or in a partof Long Lift (exception: Reverse Rotational Lift Levels 3 and 4 Option 2, where the One Hand/Arm Lift is considered for Level in both
directions);
 if the three different examples of Spread Eagle (c), d) and e)) are performed, only the two first performed different examples shall beconsidered for Level; if an Ina Bauer (example f) skated on same edges) and an example of Spread Eagle (c), d) or e)) are performed on the same edges, only
the first performed of the two Difficult Positions shall be considered for Level.
Creative/Difficulty Entry (Groups of examples):a) unexpected entry without any evident preparation;b) entry from a Difficult Position for the lifting partner: the Difficult Position must be reached before the lifted partner leaves the ice;c) entry from a difficult transition by the lifting partner: series of at least two difficult Turns (e.g. Bracket, Choctaw, Counter, Outside Mohawk,
but not progressives) before the Dance Lift;d) significant transitional movement performed by the lifted partner to reach and establish the desired pose (Note: this is not the same as a
Change of Pose, because the movement is transitional and not established).
Notes:
 a chosen Group of examples of Creative/Difficult Entry a), c) or d) shall be considered for Level only in the Dance Lift where it is first
performed;
12 a chosen example of Creative/Difficult Entry from Group b) shall be considered for Level only in the Dance Lift where it is first
performed;
 if the three different examples of Spread Eagle (c), d) and e) of paragraph Difficult Position for lifting partner) are performed as
Creative/Difficult Entry, only the two first performed different examples shall be considered for Level; if an Ina Bauer (example f) of paragraph Difficult Position for lifting partner skated on same edges) and an example of Spread Eagle (c),d) or e) of paragraph Difficult Position for lifting partner) are performed as Creative/Difficult Entry on the same edges, only the first
performed of the two Creative/Difficult Entry shall be considered for Level.
One Hand/Arm Rotational Lift Extra Feature:
Only One Hand/Arm Lift is used to lift, hold and set down the lifted partner, and the lifting partner is on one foot for at least one rotation;
 and/or the lifting partner significantly changes the level of his skating legs (knees) with a continuous motion;
 and/or the lifting partner’s holding arm is fully extended in front with a significant distance between partners.
Notes:
 if performed as the first part of a Combination Lift, the setting down in One Hand/Arm Lift requirement does not apply;
 if performed as the second part of a Combination Lift, the lifting in One Hand/Arm Lift requirement does not apply.

13

5.4.3. LEVELS OF DIFFICULTY
Characteristics of Levels:
Level 1

Level 2

Level 3

Level 4

Stationary Lift, Straight Line Lift, Curve Lift
Lifted partner is held off
the ice for at least 3 seconds

Lifted partner sustains a Difficult Pose for atleast 3 seconds or moves through a Change of
Pose

Lifted partner sustains a Difficult Pose for atleast 3 seconds or moves through a Change of
Pose

OR

AND

Lifting partner sustains a Difficult Position
for at least 3 seconds

Lifting partner sustains a Difficult Position
for at least 3 seconds

OPTION 1

OPTION 1

Requirements for Level 3
AND
Creative/Difficult Entry

Rotational Lift
Lifted partner is held off
the ice through at least 3
rotationsAND
Lifting partner moves
through at least 3 rotations

Lifted partner sustains a Difficult Pose
through at least 3 rotations or moves througha Change of Pose

Lifted partner sustains a Difficult Pose
through at least 4 rotations or moves
through a Change of Pose

AND

AND

Lifting partner moves through at least 4
rotations

Lifting partner moves through at least 5
rotations

OPTION 2
Lifting partner in One Hand/Arm Lift
through at least 2 rotations

OPTION 2
Lifting partner in One Hand/Arm Lift
through at least 3 rotations

OPTION 1.a)Requirements for Level 3 Option 1
AND
Creative/Difficult Entry
OPTION 1.b)Lifted partner sustains a Difficult Pose
through at least 5 rotations or moves
through a Change of Pose
AND
Lifting partner moves through at least 6
rotations
OPTION 2
Requirements for Level 3 Option 2
AND
One Hand/Arm Rotational Lift Extra
Feature14

Level 1

Level 2

Level 3

Level 4

Reverse Rotational Lift
Lifted partner is held off
the ice through at least 2
rotations in each direction
AND
Lifting partner moves
through at least at least 2
rotations in each direction

OPTION 1
Lifted partner sustains a Difficult Pose
through at least 2 rotations or moves througha Change of Pose in one direction
AND
Lifting partner moves through at least 5
rotations in total (at least 2 rotations in eachdirection)
OPTION 2
Lifting partner in One Hand/Arm Lift
through at least 2 rotations in one direction

OPTION 1
Lifted partner:
sustains a different Difficult Pose
through at least 3 rotations during eachdirectionORsustains a Difficult Pose through at least
3 rotations in one direction and moves
through a Change of Pose in the otherdirection
AND
Lifting partner moves through at least 3
rotations in each direction
OPTION 2
Lifting partner in One Hand/Arm Lift
through at least 2 rotations in eachdirection and moves through at least 5
rotations in total
OPTION 3
In one direction:
Lifting partner in One Hand/Arm Lift
through at least 3 rotations
In other direction:
Lifted partner sustains a Difficult Pose
through at least 3 rotations or moves
through a Change of Pose
AND
Lifting partner moves through 3
rotations

15

OPTION 1.a)Requirements for Level 3 Option 1or 3
AND
Creative/Difficult Entry
OPTION 1.b)Lifted partner moves through a Change ofPose in each direction
AND
Lifting partner moves through at least 3
rotations in each direction
OPTION 2
Requirements for Level 3 Option 2
AND
Only One Hand/Arm Lift is used to lift,
hold and set down the lifted partner (anadditional mean of support during change ofdirection may be used)Level 1

Level 2

Level 3

Level 4

Serpentine Lift
Lifted partner is held off
the ice for at least 3 seconds
on each curve.

OPTION 1
Lifted partner:
sustains a different Difficult Pose for 3
seconds on each curveORmoves through a Change of Pose on eachcurve
ORsustains a Difficult Pose for 3 seconds on
one curve and moves through a Change ofPose on the other curve
OPTION 2
Lifted partner sustains a Difficult Pose for
3 second or moves through a Change of Poseon one curve

Lifted partner:
sustains a different Difficult Pose for 3
seconds on each curve

Requirements for Level 3
AND
Creative/Difficult EntryOR
moves through a Change of Pose on eachcurve
ORsustains a Difficult Pose for 3 seconds on
one curve and moves through a Change ofPose on the other curveAND
Lifting partner sustains a different Difficult
Position for 3 seconds on each curveAND
Lifting partner sustains a Difficult Position
for 3 seconds on one curve.
OPTION 3
Lifting partner sustains a different Difficult
Position for 3 seconds on each curve

Combination Lift

Any Level 3 Short Lift (except Rotational Lift Option 2) forming any of the two parts of a Combination Lift is upgraded to Level 4 if the Short Lift
forming the first part of the Combination Lift is performed with a Creative/Difficult Entry.
A Rotational Lift Option 2 Level 3 forming any of the two parts of a Combination Lift is upgraded to Level 4 if it is performed with a One
Hand/Arm Rotational Lift Extra Feature.

16

Adjustments to Levels:
1. In a Rotational Lift or Reverse Rotational Lift, if the lifting partner rotates for a while, stops rotation, and then continues to rotate some more, if
the lifted partner is in a Difficult Pose when the rotation stops, the Level shall be reduced by one Level.
2. If a loss of control with additional support (touch down by free leg/foot and/or hand(s)) occurs after a Dance Lift has commenced and the Dance
Lift continues after touchdown (without interruption), its Level shall be reduced by 1 Level per touchdown (in a Combination Lift only theLevel of the Short Lift where the touchdown occurred shall be reduced by 1 Level).

17

5.5.

SET OF SEQUENTIAL/SYNCHRONIZED TWIZZLES

5.5.1. ADDITIONAL PRINCIPLES OF CALLING
1. The first performed Set of Sequential/Synchronized Twizzles shall be identified as the required Set of Sequential/Synchronized Twizzles andgiven a Level, or No Level if the requirements for Level 1 are not met. Subsequent Sets of Sequential/Synchronized Twizzles shall not be
identified.
2. If a Fall or interruption occurs at the entrance to or during a Set of Sequential/Synchronized Twizzles and is immediately followed by otherTwizzles (for the purpose of filling time), the element shall be identified and given a Level according to the requirements met before the Fall orinterruption, or No Level if the requirements for Level 1 are not met, and the additional part shall not be identified.
5.5.2. ADDITIONAL DEFINITIONS, SPECIFICATIONS TO DEFINITIONS AND NOTES
Options of Sets of Sequential/Synchronized Twizzles:
 Set of Sequential/Synchronized Twizzles Option 1: with change of foot or step(s) between Twizzles.
 Set of Sequential/Synchronized Twizzles Option 2: skated on one foot without change of foot.
Additional Features (Groups of examples):Group A (upper body and hands):
 elbow(s) at least at level with or higher than the level of the shoulders (hand(s) could be above the head, at the same level as the head, or
lower than the head); significant continuous motion of arms;
 core of body is shifted off vertical axis;
 hands clasped behind back and extended away from the body; straight arms clasped in front and extended away from the body (between the waist and chest level and lower that the level of shoulders);
 executing Twizzles with the head bent all the back with the face to the ceiling.
Group B (skating leg and free leg): free leg crossed behind above the knee; free leg extended to the side or backward at least 45 degree angle from the vertical;
 sit position (at least 90 degrees between the thigh and shin of the skating leg); changing the level of the skating leg (knee) with a continuous motion;
 Coupée in front or behind with free foot at least at the top of the calf and hip in fully open position;
 Attitude front, behind or to the side in at least 45 degrees, with free leg bent or extended; holding the blade or boot of the free foot.
18

Group C: both partners perform a third Twizzle of at least 3 rotations, performed correctly, started with different entry edge than the first two
Twizzles, and preceded by a maximum of one step for Set of Sequential Twizzles or a maximum of three small steps for Set of
Synchronized Twizzles;
 clear change of side: both partners cross pattern at least once during the rotations; Set of Sequential/Synchronized Twizzles performed side by side in opposite direction (mirror); Set of Sequential/Synchronized Twizzles performed following one another face to face; Set of Sequential/Synchronized Twizzles performed following one another back to back; entrance to the first Twizzle from a Dance Jump (the entry edge for the Twizzle will be determined by the landing edge of the DanceJump).
Notes:
 A chosen Additional Feature shall be considered for Level if it is executed simultaneously by both partners.
 A chosen Additional Feature from Groups A and B shall be considered for a Level if it is fully achieved and established:- within the first half rotation of the Twizzle, and- held until the number of rotations needed for that Level is fully completed (2 rotations for Level 2, 3 rotations for Level 3, 4 rotations
for Level 4).
 There is no limit on turns or movements performed on one foot between Twizzles for Option 2.
 There is no limit on turns or movements performed on the change of foot or the steps between Twizzles for Option 1.
 For Set of Sequential/Synchronized Twizzles Option 2, if there is a touch down or a push with free foot between Twizzles, the element will beconsidered as a Set of Sequential/Synchronized Twizzles Option 1.
5.5.3. LEVELS OF DIFFICULTY
1. A Set of Sequential/Synchronized Twizzles that deserves different Levels for the two partners shall be given the lowest of the two Levels, or No
Level if the requirements for Level 1 for any of the partners are not met.
2. If a loss of control with additional support (touch down by free leg/foot and/or hand(s)) occurs after a Twizzle has commenced and the Twizzle
continues after touchdown (without interruption), only the clean rotations before the touchdown shall be considered for Level.
3. If a skater performs a Three Turn, checks rotation and then starts a Twizzle, the entry edge and number of rotations of that Twizzle will be
determined after the Three Turn, from the starting edge of the proper Twizzle.

19

Characteristics of Levels:
Level 1(for each partner)
At least one rotation ineach of the two Twizzles

Level 2(for each partner)

Level 3(for each partner)

Level 4(for each partner)

Different entry edge and different direction ofrotation for the two Twizzles

Different entry edge and different direction ofrotation for the two Twizzles

Different entry edge and different direction ofrotation of the two Twizzles

AND

AND

AND

At least 2 rotations in each of the two Twizzles

At least 3 rotations in each of the two Twizzles

At least 4 rotations in each of the two Twizzles

AND

AND

AND

OPTION 1

OPTION 1

OPTION 1

2 different Additional Features
OPTION 2
1 Additional Feature

2 different Additional Features fromdifferent Groups
OPTION 2
2 different Additional Features

3 different Additional Features from 3
different Groups
OPTION 2
2 different Additional Features fromdifferent Groups

Adjustments to Levels:
1. If any part of any Twizzle becomes a Pirouette or checked Three Turns, its Level shall be reduced:
 by one Level if one or two of the four Twizzles become Pirouettes or checked Three Turns;
 by two Levels if three or four of the four Twizzles become Pirouettes or checked Three Turns.
2. If there is a full stop before the first Twizzle by one or both partners, the Level of the Set of Sequential/Synchronized Twizzles shall be reduced
by one Level.
3. If there is a full stop before the second Twizzle, by one or both partners, the Level of the Set of Sequential/Synchronized Twizzles shall be
reduced by one Level.
4. If there is more than one step between Twizzles in a Set of Sequential Twizzles or more than three steps in a Set of Synchronized Twizzles, theLevel of the Set of Sequential/Synchronized Twizzles shall be reduced by 1 Level if the mistake is performed by one partner and by 2 Levels if
the mistake is performed by both partners.

20

5.6.

STEP SEQUENCES

5.6.1. ADDITIONAL PRINCIPLES OF CALLING
1. The first performed Step Sequence of a required Type shall be identified as the required Step Sequence of that Type and given a Level, or No
Level if the requirements for Level 1 are not met. Subsequent Step Sequences of that Type and Step Sequences of a Type not according to theRequired Elements for Short Dance or the Well Balanced Free Dance Program shall not be identified.
2. If a Fall or interruption occurs at the entrance to or during a Step Sequence and the element is immediately resumed, the element shall beidentified and given a Level according to the requirements met before and after the Fall or interruption, or No Level if the requirements forLevel 1 are not met.
5.6.2. ADDITIONAL DEFINITIONS, SPECIFICATIONS TO DEFINITIONS AND NOTES
Types of Difficult Turns: Bracket, Rocker, Counter, Choctaw, Outside Mohawk, Twizzle (for Levels 1 and 2)/Double Twizzle (for Levels 3 and 4)
skated on distinct and recognizable Edges and in accordance with the description in Rule 604.
Types of One Foot Section Turns: Bracket, Rocker, Counter, Twizzle, skated on distinct and recognizable Edges and in accordance with thedescription in Rule 604.
Extra Feature (examples): Double Threes skated simultaneously in Dance Hold, Spread Eagle, Lunge, Shoot the Duck, Ina Bauer, Toe Steps, Dance
Jump, or a combination of those, not exceeding one measure of music.
Note: Double Threes shall not be considered as Extra Feature for Step Sequence Not Touching.
Dance Holds: Kilian (or Kilian variation), Waltz (or Tango) and Foxtrot. To be considered for Level, a Dance Hold must be held long enough, clearlyrecognized and not performed as a transitional movement between other Holds.
Change of Hold: to be considered for Level, a Change of Hold must be distinct (e.g. from Waltz to Foxtrot or from Waltz to Kilian or from Foxtrot toTango, but not from Waltz to Tango or from Waltz to Hand-in-Hand facing each other).
5.6.3. LEVELS OF DIFFICULTY
A Step Sequence that deserves different Levels for the two partners shall be given the lowest of the two Levels, or No Level if the requirements forLevel 1 for one of the partners are not met.

21

Characteristics of Levels:
Level 1(for each partner)

Level 2(for each partner)

Level 3(for each partner)

Level 4(for each partner)

Footwork includes at least 3 different Types ofDifficult Turns (one of which being a
Twizzle)Footwork includes at least 4 different Types ofDifficult Turns (one of which being a Double
Twizzle)Footwork includes at least 5 different Types ofDifficult Turns (one of which being a Double
Twizzle)

AND

AND

AND

A one foot section includes at least 2 different
Types of One Foot Section Turns

Turns are multidirectional

Turns are multidirectional

AND

AND

A one foot section includes at least 3 different
Types of One Foot Section Turns

A one foot section includes the 4 different
Types of One Foot Section Turns

AND

AND

At least 1 Change of Hold is included

Difficult Turns, Twizzles and, if any, the first
performed 2 Extra Features cover at least 75%of the chosen pattern

Difficult Turns, Twizzles and, if any, the first
performed 2 Extra Features cover at least 75%of the chosen pattern

AND

AND

AND

At least 2 different Dance Holds are included.

At least 2 Changes of Hold are included

100% of Difficult Turns are performed clearlyon correct Edges and all other Steps/Turns
are clean

Step Sequence In HoldAt least 50% of the Step
Sequence is completed
AND
Footwork includes at least 2
different Types of Difficult
Turns (one of which being a
Twizzle)AND
Difficult Turns, Twizzles and, if any, the first
performed 2 Extra Features cover at least 75%of the chosen patternANDAND
At least 2 different Dance Holds are includedAND
At least 3 Changes of Hold are includedAND
At least 3 different Dance Holds are included

22

Level 1(for each partner)

Level 2(for each partner)

Level 3(for each partner)

Level 4(for each partner)

Footwork includes at least 3 different Types ofDifficult Turns (one of which being a
Twizzle)Footwork includes at least 4 different Types ofDifficult Turns (one of which being a Double
Twizzle)Footwork includes at least 5 different Types ofDifficult Turns (one of which being a Double
Twizzle)

AND

AND

AND

A one foot section includes at least 2 different
Types of One Foot Section Turns

Turns are multidirectional

Turns are multidirectional

AND

AND

A one foot section includes at least 3 different
Types of One Foot Section Turns

A one foot section includes the 4 different
Types of One Foot Section Turns

AND

AND

Difficult Turns, Twizzles and, if any, the first
performed 2 Extra Features cover at least 75%of the chosen pattern

Difficult Turns, Twizzles and, if any, the first
performed 2 Extra Features cover at least 75%of the chosen pattern

Step Sequence Not Touching
At least 50% of the Step
Sequence is completed
AND
Footwork includes at least 2
different Types of Difficult
Turns (one of which being a
Twizzle)AND
Difficult Turns, Twizzles and, if any, the first
performed 2 Extra Features cover at least 75%of the chosen patternAND
100% of Difficult Turns are performed clearlyon correct Edges and all other Steps/Turns
are clean

Adjustments to Levels:
If all criteria for a Level are met but Difficult Turns for that Level, Twizzles and, if any, the first performed two Extra Features cover: between 50% and 75% only of the chosen pattern, the Level shall be reduced by one Level; less than 50% of the chosen pattern, the Level shall be 1, or No Level if the requirements for Level 1 are not met.

23

6.

MARKING GUIDE FOR GRADES OF EXECUTION OF REQUIRED ELEMENTS
The Grade of Execution of a Required Elements is determined by selecting the grade
which applies for the average value of the Characteristics of Grade of Execution. This
grade is further adjusted, if necessary, according to the Adjustments to Grade of
Execution.

6.1.

CHARACTERISTICS OF GRADES OF EXECUTION
The marking guide for Characteristics of Grade of Execution, included in the upper
part of the charts of Communication 1522, chapter 6.b) and Communication 1621,
chapter III: is valid for Dance Spins, Dance Lifts, Sets of Sequential/Synchronized Twizzles
and Step Sequences, has been updated effective July 1st, 2011 for Pattern Dance Elements. Updated
content is underlined.

PATTERN DANCEELEMENTS

-3

-2

-1

Base

+1

+2

+3

Quality/correctnessof Edges/Steps/
Turns for thewhole of Pattern
Dance Element40%
or less clean
Edges/Steps/
Turns withmany errors
very flat

60%
clean
Edges/Steps/
Turns with
1 majorerror
some flats

75%
clean
Edges/Steps/
Turns withno major
error
shallow80%
clean
Edges/Steps/
Turns withno majorerror
good curves

90%
clean
Edges/Step/
Turns withno major
error
deep

100%
clean
Edges/Step/
Turns

Depth of Edges

50%
clean
Edges/Steps/
Turns with
2 majorerrorsgenerally
flat

Correct Holds

40%

50%

60%

75%

80%

90%

100%

Correct Pattern(correct tracking
and restart and its
repetition if morethan one Sequenceis required)

40%

50%

60%

75%

80%

90%

100%

6.2.

very deep

ADJUSTMENTS TO GRADES OF EXECUTION
The marking guide for Adjustments to Grade of Execution, previously included inCommunication 1621, chapters III (for Pattern Dance Elements) and IV (for otherRequired Elements), has been redrafted and updated effective July 1st, 2011. Updated
content is underlined.

PATTERN DANCE ELEMENTS
Reduce by:Not holding Edges/Steps for required number of beats for one or both partners on a Key
Point (per Key Point)
 in order to facilitate the technical execution of the Key Point for any other reason
Not holding Edges/Steps for required number of beats for one or both partners for morethan 25% of Steps of the Pattern Dance Element
Pattern Dance Element missed through interruption of up to ¼ element24

No higher than:

2 grades1 grade-1-1

DANCE SPINSReduce by:Not on spot (travelling):
 in one part of Combination Spin or one direction of Spin Option 2
 in Spin Option 1, both parts of Combination Spin or both directions of Spin Option 2
Pose awkward or not aesthetically pleasing
Dance Spin does not fit to the phrasing of the music
Re-centers completely except Dance Spin with different directions of rotation (Option 2)
Change of feet not simultaneous (Combination Spin)

No higher than:

1 grade-1
1 grade-1-1-1Increase by:

Body lines and pose of both partners beautiful and aesthetically pleasing
Speed of rotation maintained or accelerated during the Dance Spin
Entry is unexpected and/or creative
Dance Spin fits to the phrasing of the music
DANCE LIFTS

1 grade1 grade1 grade1 gradeReduce by:Pose awkward or not aesthetically pleasing
More than ½ turn within (Straight Line/Curve Lift) or between curves (Serpentine Lift)
Dance Lift does not reflect the character of the chosen danceDance Lift does not fit to the phrasing of the music

No higher than:

1 grade1 grade1 grade-1
Increase by:

Body lines and pose of both partners beautiful and aesthetically pleasing
Speed maintained or accelerated during the Dance Lift
Dance Lift with special attribute for lifting partner
Entry is unexpected and/or creative
Dance Lift reflects character of the chosen dance and fits to the phrasing of the music
SET OF SEQUENTIAL /SYNCHRONIZED TWIZZLES

1 grade1 grade1 grade1 grade1 gradeReduce by:

Execution not simultaneous: one Twizzle
 two Twizzles
Execution of Turn incorrect: (linked Three Turns, Pirouettes):
 one Twizzle incorrect
 two or more Twizzles incorrect

No higher than:

1 grade-10-1Increase by:

Exit with running edge maintained (no immediate step down)
Set of Sequential/Synchronized Twizzles reflect the character of the chosen dance
Fast rotation of Twizzles
Fast movement across the ice
STEP SEQUENCES

1 grade1 grade1 grade1 gradeReduce by:Pattern/placement incorrect or incomplete
More than two arms length between partners (Step Sequence Not Touching)
Inclusion of Not Permitted Element (per each)
Separation to change a Hold exceeds one measure of music
Sustained Hand-in-Hand Hold with fully extended arms (Step Sequence in Hold)
Step Sequence does not reflect the character of the chosen dance
Step Sequence is not skated to the Rhythm pattern of the music
Lack of flow (movement across the ice)

No higher than:

1 grade1 grade2 grades1 grade1 grade1 grade-1-1Increase by:

Step Sequence is skated to the Rhythm pattern of the music and reflects character of thechosen dance
Skating with good speed and flow
LOSSES OF BALANCE, STUMBLES AND FALLS

1 grade1 gradeReduce by:

Loss of Balance by one partner
Loss of Balance by both partners
Stumble by one partner
Stumble by both partners
Fall by one partner
Fall by both partners

No higher than:

1 grade
0
0
-1
-2
-3
25

7.

MARKING GUIDE FOR PROGRAM COMPONENTS
The marking guide to evaluate Program Components according to the criteria of Rule 611, paragraphs b) (i) and (ii), previously included
in Communication 1621, chapter V, has been redrafted and updated effective July 1st, 2011. Updated content is underlined.
The mark for each Program Component is established at a certain degree according to the majority of Characteristics of Program
Component which are met. This mark is further adjusted, if necessary, according to the Adjustments to Program Component.

7.1.
RANGE OFMARKS

10.0 – 9.00
OUTSTANDING

8.75 – 8.00
SUPERIOR

CHARACTERISTICS OF PROGRAM COMPONENTS
CHARACTERISTICS OFSKATING SKILLSCHARACTERISTICS OF
TRANSITIONS/LINKINGFOOTWORK/MOVEMENTS deep, quiet, sure,seemingly effortlessedges
 deep/fluid knee action
 elegant and precise
steps/turns
 seamless use of all
directions
 effortless acceleration
 extensive skill range forboth difficult, intriguing,
varied network of edges,
steps, turns, holds for both one move flows
seamlessly into the next
 creative pattern and lobes
 creative linking of Pattern
Dance Elements and restof the dance (SD): 100%

 strong, sure, fluid edges
 supple knee action
 stylish, precise,interesting and neat
steps/turns
 ease in accelerating evenduring difficult steps
 always multidirectional
broad skill range forboth difficult, varied,sequences ofedges/steps/turns/holds
for both throughout
 one move flows easily
into the next
 superior ice coverage creative linking of Pattern
Dance Elements and restof the dance (SD): 100%













CHARACTERISTICS OFPERFORMANCE/EXECUTION

CHARACTERISTICS OFCOMPOSITION/CHOREOGRAPHY

CHARACTERISTICS OF
INTERPRETATION/TIMING

move as one, superb
matching
elegant /sophisticated stylerefined line of body andlimbs
precise execution of body
movements
both spellbinding
projection exceptional (toaudience or in themselves
if music requires) wide range of steps, moves,and required elements
superbly motivated by music
 ingenious use of music,
space, symmetry
 memorable highlights
distributed evenly
 change of pace/tempo
incorporated seamlessly
 total utilization of personal
and public space choreography gives the
feeling of a completely
unified dance (SD): 100%

 skaters/music/nuances as one
 motivation from “heart”
 wide range of inspired movements,
gestures skaters stay “in character” for thewhole program exceptional ability to relate as one
and to reflect music, theme
 superb expression of the music’s
style and character timing: 100% correct expression of Rhythms (SD): 100%
correct

coordinated movements,
excellent matchingsuperb carriage and lines
effortless change ofdifficult holds
project strongly

 superior choreography,
clearly understandable
 variety of innovative moves
that develop theme
 change of pace/tempo
incorporated with ease
 excellent use ofmusic/space/symmetry
 choreography gives the
feeling of a completely
unified dance (SD): 90%

 skaters and music meld
 internal motivation
 very good range of interesting
movements/gestures excellent ability to relate as one toreflect music/theme
 excellent expression of the music’s
style and character timing: 100% correct expression of Rhythms (SD): 100%
correct

26

RANGE OF
MARKS

7.75 – 7.00
VERY GOOD

6.75 – 6.00
GOOD

5.75 – 5.00
ABOVE
AVERAGECHARACTERISTICS OFSKATING SKILLSCHARACTERISTICS OF
TRANSITIONS/LINKINGFOOTWORK/MOVEMENTS strong, sure, confidentedges strong, flexible knee
action polished & clean
steps/turns
 very good use of multi
directions
 ability to accelerate
easily wide skill range 75% oftime for both variety and complexity ofpattern/steps/turns/holds
for both fluid and intentional
movements from one
move to another varied use of holds withface to face positions
 creative linking of Pattern
Dance Elements and restof the dance (SD): 100% reasonable, sure edges
 good knee action
 good variety ofsteps/turns, all directions
with ease 75% of thetime gain and maintain speed
and flow easily
 good skill range for both difficulty and variety ofedges/steps/turns for bothfor 75 % of time minimal use of cross cutsor running some breaks in continuity
 varied use of holds with apredominance of face toface positions
 creative linking of Pattern
Dance Elements and restof the dance (SD): 100% moderately sure edges
 some variety of knee
action/steps/turns
 even speed and flow
throughout
 above average skill
range for both series of variableedges/steps/turns andposes/holds for both limited use of cross cutsor running above average use ofholds with many face toface positions
 creative linking of Pattern
Dance Elements and restof the dance (SD): 100%














CHARACTERISTICS OFPERFORMANCE/EXECUTION

CHARACTERISTICS OFCOMPOSITION/CHOREOGRAPHY

CHARACTERISTICS OF
INTERPRETATION/TIMING

move as couple, matchedwith easeeasy use of change of all
holds
excellent carriage/lines
both project most of time interesting moves derived
from theme
 very good use ofmusic/space/symmetry
 unity of skaters in use ofmusic content
 directed to all sides of therink choreography gives the
feeling of a completely
unified dance (SD): 80%

 skating/music integrated
 very good internal motivation
 skaters stay “in character” for over
75% of program very good partner relationship very good expression of themusic’s style and character timing: 100% correct expression of Rhythms (SD): 100%
correct

good unison, move as
couple 75% of time
good line of body andlimbs and good carriage
both are able to project
75% of time

 known and some interesting
creative moves that use
rhythm(s) effectively
 good variation of speed
according to music
 good distribution ofhighlights
 use of creative set-ups forrequired elements
 very good use of ice pattern choreography gives the
feeling of a completely
unified dance (SD): 70%

 skating fits music well movements in character 75% oftime skaters able to play with music partner relationship 75% of time good expression of the music’s
style and character timing: 90% correct expression of Rhythms (SD): 100%
correct

unison broken occasionallyabove average
carriage/lines with somebreaksconsistent, pleasing line ofbody and limbs
projection skills variable
but both are able to project variable moves often related
to theme and music
 program highlights generally
well distributed but focused
occasionally to one side interesting composition
 above average use of changeof pace above average use of ice
pattern
 variation of speed according
to music
 choreography gives the
feeling of a completely
unified dance (SD): 60%

 slight difference in motivation ofmoves above average use ofaccents/nuances above average expression ofrhythms or theme
 above average emotional
connection to music
 reasonable partner relationship timing: 80% correct expression of Rhythms (SD): 100%
correct

27

RANGE OF
MARKS

4.75 – 4.00
AVERAGE

3.75 – 3.00
FAIR

2.75 – 2.00
WEAK

CHARACTERISTICS OFSKATING SKILLSCHARACTERISTICS OF
TRANSITIONS/LINKINGFOOTWORK/MOVEMENTS shallow edges withvariable edge quality
and knee action
 average range ofsteps/turns,
multidirectional 50% oftime skill level similar
abilities
 consistent speed andflow 50% of time an equal proportion of
simplicity and difficulty
 one partner has some
sections with simple
workload varied use of holds withseveral face to facepositions creative linking of Pattern
Dance Elements and restof the dance (SD): 50% some flat edges
 limited knee action, stiff
at times
 few steps/turns, able toskate in all directions on
simple turns and forsome difficult turns;
 variable skills for bothand occasionallydiffering ability
 lack of flow, somechange in speed

 some basic edges/steps
 some simple
turns/poses/holds
 one partner performs
difficulty and other on 2
feet in some sections
 little use of partner facinghold simple linking of Pattern
Dance Elements and restof the dance (SD) short and weak steps/
flat edges
 little power, toe pushingor wide stepping morethan 75% of time few steps/turns, able toskate in both directions
on simple turns only variable skills with one
weaker in sections

 many parts have basicedges/steps
 simple turns/poses/holds
 one partner performs
difficult moves and otheron two feet 75 % of time many sections in hand-inhand or side by side hold,minimal use of partner
facing holds
 simple linking of Pattern
Dance Elements and restof the dance (SD)












CHARACTERISTICS OFPERFORMANCE/EXECUTION

CHARACTERISTICS OFCOMPOSITION/CHOREOGRAPHY

CHARACTERISTICS OF
INTERPRETATION/TIMING

unison sometimes broken
carriage /lines variable,
mostly pleasing posturereasonable line of body andlimbs
only one projects or both
only 50% of time

 program corresponds wellwith music elements generally welldistributed but sometimes toomuch emphasis to one sideof the rink choreography gives the
feeling of a completely
unified dance (SD): 50%

 skating fits music with minor
exceptions
 some motivated moves
 moderate use of accents andnuances correct expression of the music’s
style and character partner relationship 50% of time
 timing: 70% correct expression of Rhythms (SD): 90%
correct

variable unison
variable line of body andlimbs/carriage /extensions
holds relatively stable
only one projects 50% oftime or both only
occasionally project some isolated groups ofmoves that fit music/theme
 music is background fordifficult elements
 often program directed tojudges side reasonable placement ofelements on surface
 choreography gives the
feeling of a completely
unified dance (SD): 40%

 some motivated moves, but often
seem meaningless appropriate use of music but
expression is fair and they weave
in and out of character some partner relationship timing: 70% correct expression of Rhythms (SD): 75%
correctinconsistent stability ofholds and some unison
breaksweak line of body andlimbs/carriage/extensions
limited projection skills,
both cautious

 some moves do not appear
to fit music/theme, minimal
relation program to music
 lack of change of pace
 program directed to judgesside choreography gives the
feeling of a completely
unified dance (SD): 30%







28

weak use of accents and nuances
occasional partner relationshipunmotivated movementtiming: 50% correct
expression of Rhythms (SD): 50%
correct

RANGE OF
MARKS

1.75 – 1.00
POOR

0.75 – 0.25
VERY POOR

CHARACTERISTICS OFSKATING SKILLSCHARACTERISTICS OF
TRANSITIONS/LINKINGFOOTWORK/MOVEMENTS

 short and poor
steps/edges
 slow, little flow, toe
pushing few steps/turns, mainly
in one direction
 minimal variation in
speed weak basic skills with
one being “carried” insections

 predominance ofstroking/simple
turns/poses many large sections in
hand-in-hand or side byside hold only poor linking of Pattern
Dance Elements and restof the dance (SD) very poor steps andshaky edges
 mostly on two feet forboth uncontrolled movements
 struggle withsteps/turns: always in
one direction
 poor basic skills for both
 cannot gain speed

 basic stroking and poor
posing throughout
 few sustained edges, andpattern consists of straightlines
 mostly use of hand inhand or side by side hold very poor linking ofPattern Dance Elements
and rest of the dance (SD)











CHARACTERISTICS OFPERFORMANCE/EXECUTION

CHARACTERISTICS OFCOMPOSITION/CHOREOGRAPHY

CHARACTERISTICS OF
INTERPRETATION/TIMING

struggle in holds andunisonout of unison
poor matchingpoor line of body andlimbs/carriage/extensions
very limited projection
skills many moves do not appear to
fit music
 little relation program tomusic mainly program directed tojudges side placement of moves lacks
coherence monotonous choreography gives the
feeling of a completely
unified dance (SD): 20%

 inappropriate dynamics
 moves seem unrelated torhythm/character little or no partner relationship timing: 25% correct expression of Rhythms (SD): lessthan 50% correct

unstable holds,
uncontrolled matching andunisonvery poor line of body andlimbs/carriage/extensions
projection skills lacking,both labored most moves do not appear to
fit music
 total program directed tojudges side placement of moves appears
random some areas of ice untouchedand often use of straight lines
or barrier skating
 choreography gives the
feeling of a completely
unified dance (SD): 10%

 lacks dynamics
 isolated and apparently random
gestures not related to music
character/nuances/accents
 no partner relationship, two “solos”
 timing: less than 25% correct expression of Rhythms (SD): lessthan 50% correct

Notes:
 Under Interpretation/Timing, the characteristic “timing” means:- skating primarily to rhythmic beat,- program well synchronized with musical phrasing, If a Fall affects the rest of the program or part of the program, certain characteristics of one or several Program Components may be
impacted.

29

7.2.

ADJUSTMENTS TO PROGRAM COMPONENTSSKATING SKILLSCOMPOSITION/CHOREOGRAPHY

Outside of Required Elements:
 Skating with hand(s) on ice at any time
including during introduction and/or
conclusion:¾ by one partner- 0.5 per each
¾ by both partners- 1.0 per each Loss of Balance or Stumble:¾ by one partner¾ by both partners- 0.5 per each
- 1.0 per each

INTERPRETATION/TIMING

Violations of full stop restrictions (per fullstop)*:- 0.5

Violation of music restrictions (Short Dance**)(with a maximum total of -2.0):

Violations of pattern restrictions (SD) (perviolation)*:- 0.5 per eachMusic without audible rhythmic beat: up to 10 seconds- 0.5
 from 10 to 20 seconds- 1.0
 from 20 to 30 seconds- 1.5
 more than 30 seconds- 2.0

Violations of separation restrictions (perseparation)*:- 0.5
Transitional Dance Lift(s)/Spin reflectcharacter of the music/dance:+ 0.5 in total
If there is a story or theme in the program andit is not clearly understandable to the audience(Free Dance):- 1.0 to - 2.0

Incorrect Rhythms:
 up to 1 minute more than 1 minute

- 1.0
- 2.0

Incorrect tempo on Pattern Dance Elements (perelement):
 up to ½ element- 1.0
 more than ½ element- 2.0
Pattern Dance Element not started on required beat
(Short Dance):- 0.5 (per element)
The music does not have an uplifting effect (Free
Dance):- 1.0 to - 2.0* Restrictions on stop, pattern and separations are stipulated in Rules 609 and 610, and are included in a synthetic chart in the Judges and Referee
Handbook (to be published).
** In Free Dance, violation of music restrictions mentioned in Rule 609, paragraph 1.c) are not penalized under Interpretation/Timing but as a
specific deduction (see Rule 353, paragraph 1.n) (ii))

30

8.

RESTRICTIONS FOR CLOTHING
Rule 612 provides that the Ice Dance Technical Committee may waive the restrictions
mentioned in the Rule. Currently, all restrictions apply, and the following
clarifications to the Rule, published in Communications 1610 and 1632, are valid:- “Lady’s skirt”: it must go around the entire waist. However there may be slits in theskirt on one or both sides up to the waist.
- “Excessive nudity of lady”: the majority of the upper body must be covered.
- “Appropriateness for athletic competitions”: costumes of either partner must nothave so much material or decorations that the bodyline of the skater cannot be seen.
- “Accessories and props”: this includes part of the costume used as a support in a
Dance Lift.

9.

GLOSSARY OF TERMS
The technical terms of this Communication written with capital letters refer to thefollowing definitions.

9.2.

TERMS USED FOR CALLING SPECIFICATIONS AND LEVELS OF DIFFICULTY OF
THE PATTERN DANCE ELEMENTS OF SEASON 2011/12
Cha Cha Congelado
Change of Edge
Closed Choctaw
Closed Mohawk
Crossed Behind
Crossed Forward
Crossed Open Choctaw
Edge
Open Choctaw
Open Mohawk
Pattern Dance Sequence
RhumbaSlip Step
Swing Mohawk
Turn

9.2.

ISU Handbook Ice Dance 2003, § I-19
Rule 604, § 1.b)Rule 604, § 13.b)Rule 604, § 12.b)Rule 604, § 5
Rule 604, § 4
Rule 604, § 13.d)Rule 604, § 1.a)Rule 604, § 13.a)Rule 604, § 12.a)Rule 603, § 3
ISU Handbook Ice Dance 2003, § I-17
Rule 604, § 9Rule 604, § 12.c)
Rule 604, § 11

OTHER TERMS
Additional Feature
Adjustment to Grades of Execution
Adjustment to Levels
Adjustment to Program Components
Basic Position
BracketCamel Position
Change of Hold (in Step Sequence)
Change of Pose
Characteristics of Grades of Execution
Characteristics of Levels

present Communication, § 5.5.2.
present Communication, § 6.2.
present Communication, § 5.1.
present Communication, § 7.2.
Rule 604, § 14.e) (iii)
Rule 604, § 11.g)
Rule 604, § 14.e) (iii)
present Communication, § 5.6.2.
present Communication, § 5.4.2.
present Communication, § 6.1.
present Communication, § 5.1.
31

Characteristics of Program Components
Choctaw
Combination Lift
Combination Spin
Combination Spin Option 1
Combination Spin Option 2
Component of Pattern Dance
Composition/Choreography
Counter
Creative/Difficult Entry
CrouchCurve Lift
Dance Hold (in Step Sequence)
Dance Jump
Dance Lift
Dance Spin
Dance Spin Option 1
Dance Spin Option 2
Difficult Pose
Difficult Position
Difficult Turn
Difficult Variation of Basic Position
Double Three

Double Twizzle
Edge
Extra Element
Extra Feature
Fall
Foxtrot Hold
Free Dance
Grade of Execution
Group of Additional Features
Group of Creative/Difficult Entry
Hand-in-Hand Hold
Hold
Ina BauerInterpretation/Timing
Key Point Feature
Key Point
Kilian Hold
Level
Level of DifficultyLong Lift
Loss of Balance
Lunge
Mohawk32

present Communication, § 7.1.
Rule 604, § 13
Rule 604, § 16.g)
Rule 604, § 14.e) (ii)present Communication, § 5.3.2.
present Communication, § 5.3.2.
Rule 608, § 3.b) (i)Rule 611, § b) (i)Rule 604, § 11.i)
present Communication, § 5.4.2.
Rule 604, §18.a)
Rule 604, § 16.c)present Communication, § 5.6.2.
Rule 604, § 17.b)
Rule 604, § 16
Rule 604, § 14.e)
Spin/Combination Spin Option 1
Spin/Combination Spin Option 2
present Communication, § 5.4.2.
present Communication, § 5.4.2.
present Communication, § 5.6.2.
present Communication, § 5.3.2.
two Threes performed continuously onsame foot without push or touchdown
between Threes
Twizzle of two full rotations
Rule 604, § 1.a)present Communication, § 5.3.1. 1) and5.4.1. 1) to 3)
present Communication, § 5.6.2.
Rule 653, § 1.n) (ii)
Rule 605, § 3
Rule 610
Rules 611, § a) (iii) and 608, § 3.a) (ii)present Communication, § 5.5.2.
present Communication, § 5.4.2.
Rule 605, § 1
Rule 605
Rule 604, §18.b)
Rule 611, § b) (i)present Communication, § 5.2.2.
present Communication, § 5.2.2.
Rule 605, § 5means Level of Difficulty
Rule 611, § a) (ii)
Rule 604, § 16.e) to g)loss of balance without additional support
by free foot or hand
Rule 604, §18.c)
Rule 603, § 12

Not Permitted Element

movement not permitted in a Step
Sequence, as specified by the Ice Dance
Technical Committee in the Requirements
for Technical Rules of the season
Not Touching Circular Step Sequence
Rule 603, § 4
One Foot Section Turnpresent Communication, § 5.6.2.
One Hand/Arm Lift Rotational Lift Extra Featurepresent Communication, § 5.4.2.
One Hand/Arm Lift
present Communication, § 5.4.2.
Outside Mohawk
Mohawk performed from an outside Edge
to an outside Edge
Pattern
Rule 602
Pattern Dance Element
Rule 609, § 2 – Sequence/Section ofPattern Dance or combination of
Steps/Turns from Pattern Dance
Pattern Dance
Rule 607
Performance/Execution
Rule 611, § b) (i)Pirouette
Rule 604, § 14.d)
Program Component
Rule 611, § b) (i)Required Elements
Rules 609, § 2 and 610, § 2
Reverse Rotational Lift
Rule 604, § 16.e)
RhythmRule 606, § 3
RockerRule 604, § 11.h)Rotational Lift
Rule 604, § 16.d)
Scale of Value
Rules 611, § a) (i) and 608, § 3.a) (i)Section of Pattern Dance
Rule 608, § 2
Sequence of Pattern Dance
Rule 603, § 3
Serpentine Lift
Rule 604, § 16.f)
Set of Sequential Twizzles
Rule 604, § 14.b) (ii)
Set of Sequential/Synchronized Twizzles Option 1
present Communication, § 5.5.2.
Set of Sequential/Synchronized Twizzles Option 2
present Communication, § 5.5.2.
Set of Synchronized Twizzles
Rule 604, § 14.b) (i)Shoot the Duck
Rule 604, §18.e)
Short Dance
Rule 609
Short Lift
Rule 604, § 16.a) to d)
Sit Position
Rule 604, § 14.e) (iii)
Skating Skills
Rule 611, § b) (i)Spin
Rule 604, § 14.e) (i)Spin Option 1
present Communication, § 5.3.2.
Spin Option 2
present Communication, § 5.3.2.
Spread Eagle
Rule 604, §18.f)
Stationary Lift
Rule 604, § 16.a)
Step
Rule 604, § 1
Step Sequence
Rule 603, § 4
Step Sequence In Hold
Rule 603, § 4
Step Sequence Not Touching
Rule 603, § 4
Straight Line Lift
Rule 604, § 16.b)

33

Stumbleloss of balance with additional support by
free foot or hand
Tango Hold
Rule 605, § 4
ThreeRule 604, § 11.a)Toe Step
Rule 604, § 10
Transitional Dance Lift
permitted Dance Lift performed optionallyafter the required Dance Lift(s)Transitional Dance Spin
permitted
Dance
Spin
performed
optionally after the required Dance Spin
Transitions/Linking Footwork/Movements Rule 611, § b) (i)Turn
Rule 604, § 11
TwizzleRule 604, § 14.a)Type of Dance Lift
Rule 604, § 16.a) to g)
Type of Step Sequence
Rule 603, § 4.a) to d)Types of Difficult Turnspresent Communication, § 5.6.2.
Types of One Foot Section Turnspresent Communication, § 5.6.2.
Upright Position
Rule 604, § 14.e) (iii)
Waltz Hold
Rule 605, § 2Well Balanced Free Dance Program
Rule 610, § 234