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

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

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

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

Original Short Dance Layout

1PSt

2Pst

Non-touch midline step sequence (style A)

Twizzles

Lift

Patterned Short Dance Layout

Pattern 1

Pattern 2

Non-touch midline step sequence (style A)

Twizzles

Lift

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

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

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

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

An example of key points:

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

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

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

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

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

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

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

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

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

Now for some theme ideas:

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

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

2025-2026 - Original Short Dance - Jig

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

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

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

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

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

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

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

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

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

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

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

2029-2030 - Original Short Dance - Nuevo Latin

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

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

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

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

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

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

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

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

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

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

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

As we wrap up the month of August (crazy how fast it went by), we have gotten a sneak preview of what new rhythm dances look like at summer sectional events as well as Lake Placid. And as I type this JGP Bangkok kicks off and we will get a wider picture of the wide variety of interpretation and composition we will see at the junior level. While there is a lot of focus on the 80s as a theme--much more of an "original dance" sort of construct--the technical changes are in many ways more interesting.

Notable changes to the "well-balanced" composition requirements for the rhythm dance this year. Both juniors and seniors may have any part of the body touch the ice during their midline or diagonal StSq provided it does not last more than five seconds, and the entry or exit edge of a difficult turn which temporarily changes overall direction of travel shall not count as a retrogression. For example, a skater could hold the exit edge of their bracket long enough 75% of a semi-circle is completed and the exit velocity points in a completely different direction.

On the junior level:

One of the two pattern sequences will be skated using the steps of the opposite gender.

On the senior level:

The ChRS (choreographic rhythm sequence) from last season which was essentially a ChSt (choreographic character step) has been re-defined to be essentially a choreographic pattern, where the team is required to skate the Silver Samba pattern. Last season, there was an unrestricted number of stops in the ChRS as long as they did not last longer than five seconds, this year none are permitted. Only one skater is required to do the steps at all times, i.e. steps 9-47 must all be skated but partners can switch between the man's and woman's steps and only one partner is required to maintain continuity. The silver samba ChRS must be skated at a MINIMUM of 100bpm, separations can not be wider than two arm lengths and/or last longer than two measures of music.

Additionally, the two-step per partner PSt must consist of a back entry Rocker, Counter, Bracket and Forward Outside Mohawk, removing the 2Tw as an option for level and solely for choreographic transition. The PSt and Style B StSq can be skated at any tempo, so either can be at the same tempo as the ChRS or neither.

Q #210:

Hi anon,

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

DiSt:

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

EB: hopped RBI counter, flat on rocker RBO exit

SyTw:

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

OFT:

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

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

A few other thoughts from people on twitter so far:

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

originality

Q #214:

Hi anon,

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

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

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

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

Q #215:

Combining with another similar ask as well for conciseness:

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

Hi anons,

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

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

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

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

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

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

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

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