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The Original Dance is the second of the three Ice Dancing event segments. It consists of 4 elements and is nominally 2 minutes 30 seconds in duration, but can be up to 10 seconds longer or shorter. There is a time deduction of 1.0 points for every 5 seconds or part thereof over the maximum or under the minimum. If a program is more than 30 seconds under minimum the team gets no score and is withdrawn from the competition. There is also a 2.0 point deduction for any extra elements beyond the four permitted, with one exception noted below.
Over many years and changes in rules the Original Dance evolved from an original set pattern dance into a mini free dance. The dance is choreographed to a prescribed rhythm and subject matter that is published by the ISU prior to the start of each season. The detailed requirements of the dance are contained in an ISU Communications that is released typically in June or July each year.
Conforming to the required rhythm and/or character of the dance is extremely important in the Original Dance. More so than for Singles and Pairs Short Programs. The Orin gal Dance for the 2009/10 season is a Folk/Country dance. There has been considerably controversy and discussion this season regarding the authenticity of the choreography of the Russian couple Domnina & Shabalin. Other couples have gone to great lengths to stress the authenticity of their dances, but the bottom line is the authenticity of the choreography is not a significant factor in the judging of this dance. All that matters is whether the couples can sell their interpretation to the judges.
The four elements consist of the following:
Dance lifts differ from Pairs lifts in that the man does not raise the woman over his head with fully extended arms. In dance the woman cannot be raised above the man's head. Pairs lifts are categorized by the hold used for the takeoff of the lift, while in Dance they are categorized by the pattern on the ice. In the Original Dance, the lift cannot exceed six seconds in duration. When scores posted in the arena show a deduction and there has not been a fall it is often due to either an "extended lift" (a lift longer than the permitted time) or a time deduction.
Four types of lifts are permitted in the Original Dance: stationary (the skaters are not in motion over the ice); straight line (the lift moves across the ice in a straight line; curve (the lift rotates as it moves across the ice).
Dance lifts can have fairly complex positions with the lady draped over the man's body, legs, etc. in various intricate designs. Look for twisting, complex entries of the lady into and out of the lift to add difficulty to the lift. As in pairs, look for a secure lift of the woman by the man, and pay attention to his feet to see that he move securely and cleanly across the ice with steady feet. Changes in position in the air should be neat and under control.
Watch the exit from the lift to see that is is clean and under control. When the woman is retuned to the ice, both skaters should flow out of the lift smoothly. and immediately into connecting steps as they continue the program.
The couples are permitted a second lift, but this lift is not score as an element. If executed, and usually it is, it is listed on the marks detail as Li+Trans, with a value of zero. Credit for this lift is included in the mark for transitions (Linking Movements and Footwork). This second lift is not considered an extra element. A third lift, however, would, and would receive the deduction for an extra element.
This element is a step sequence with the two skaters hold onto each other in dance hold. Most commonly these will be in waltz, foxtrot or kilian position. Of these the waltz position is the most difficult since it requires one skater to state forwards and the other backwards.
Both skaters will not execute the same steps, edges and movements as is the case in a Pairs step sequence. The couples should skate close together, and can separate only briefly to change dance hold. The closer the skaters can skate together without bumping and pushing each other the more credit the sequence deserves..
Look for clean steps and edge, good positions under control, and a smooth flow through the element. This element is scored using the principle of least common denominator; that is; the quality of the element is determined by the skater who displays the lesser skill.
This is a good element for evaluating the skating skills of the skaters, so pay attention to the difficulty of the steps and edges, the ability of the skaters to skate on all edges, and to turn clockwise or counter clockwise as they move across the ice. This element is also a good element to develop the Interpretation component of the program, so pay attention to how the step sequence actually relates to the music and how it fits into the overall choreography of the program.
This element is very similar to a pairs step sequence, as the skaters are not holding onto each other as is usually the case in a Pairs step sequence. Both skaters will execute the same steps, edges and movements in unison as they move down the ice, except for brief highlights withing the step sequence. The distance between the skaters should be no more than two arms lengths (finger tips barely touching if both their arms were outstretched). The skaters should remain more or less abreast and one skater should not get too far ahead of the other in the sequence.
As in all step sequences, look for clean steps and edge, good positions under control, and a smooth flow through the element. This element is scored using the principle of least common denominator. The worse of the two sequences is what determine the level and quality of the element. The unison of this element is also very important, so look for identical timing and technique in the steps and movements in the element.
This is a good element for evaluating the skating skills of the skaters, so pay attention to the difficulty of the steps and edges, the ability of the skaters to skate on all edges, and to turn clockwise or counter clockwise as they move across the ice. This element is also a good element to develop the Interpretation component of the program, so pay attention to how the step sequence actually relates to the music and how it fits into the overall choreography of the program.
A twizzle is a type of turn that looks like a traveling spin. It is executed on one foot and rotates several times as the skater moves across the ice. Sequential refers to the requirement that the skater must do two of these rotating in opposite directions. Skaters who do not have facility with this turn might execute traveling three turns instead. This is not correct and a serious error.
Skilled skaters will execute this element with high speed and arm and body positions that add to the difficulty. Look for clean edges and precise control without the skaters throwing up snow, scrapping edges, wobbling the free leg, or worst of all, putting down the free foot. The best skaters will execute these in a blur of speed, while lesser teams will struggle trough on the verge of disaster.
Copyright 2010 by George S. Rossano