nda competition rule book nda allstar competition...

UPDATED AS OF 09/06/18 ALL-STAR DANCE RULE BOOK • 1

NDA ALL-STAR COMPETITION RULESNDA RESERVES THE RIGHT TO BE THE ARBITRATOR AND INTERPRETER OF ALL RULES COVERED IN THIS DOCUMENT.

NDA COMPETITION RULE BOOKFOR ALL-STAR TEAMS

NDA ALL-STARNATIONAL CHAMPIONSHIP

January 25-27, 2019Dallas, TX

THE WORK IS WORTH IT.

NDA USES USASF DANCEWORLDS SCORE SHEETSFor Pom, Hip Hop, Jazz and

Contemporary/LyricalWorlds Divisions

UPDATED AS OF 09/06/181 • ALL-STAR DANCE RULE BOOK


How to Qualify for the 2019 NDA All-Star National Championship

Code of Conduct

Performance Area

Music Guidelines

Regional, Classic and National Championship Music Information

Music Tips

Video Media Policy

Logo Usage

Inappropriate Choreography / Music / Costuming

Interruption of Performance

Dance General Rules

Choreography, Music and Costuming

Props

USASF Dance Safety Rules

NDA Scoring Process

Legality Verification

All-Star Dance Divisions

Divisions & Categories Rules

Eligibility Policy

USASF Athlete ID

Judging Panels

Category Descriptions

2018 - 2019 Score Sheet Samples and Explanations

NDA Glossary of Terms

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22*See NDA Soloist & Small Group Rule Book for divisions and rules concerning Solos, Duets, & Ensembles.*All updates/changes are displayed in RED font.

2018 - 2019 USASF DANCE SAFETY RULESFor the most up-to-date USASF Safety Rules for the 2018 - 2019 championship season, please visit http://usasf.net.

NDA All-Star Competitions follow USASF Dance Guidelines for Age Divisions, Combining and Splitting, Crossovers, Division Categories

and Choreography and Costuming.



HOW TO QUALIFY FOR THE2019 NDA ALL-STAR NATIONAL CHAMPIONSHIPTeams competing in the All-Star divisions do not need to qualify to be eligible to compete at the 2019 NDA All-Star National Championship. Classics and Regional Championships are also open to all teams, no qualification required.

CODE OF CONDUCTTo ensure the most positive experience for all attendees, NDA asks that the following Code of Conduct be adhered to during all NDA Championships:

• Any questions or concerns that affect a team’s performance or experience must be communicated by the coach to the NDA Information Table. The appropriate NDA Official will then be called to discuss the situation with the coach.• Participants, coaches and spectators are prohibited from making contact with the judges during the competition.• Judges’ rulings are final related to deductions, final team placements and legalities.• Any unruly, aggressive or belligerent behavior by participants, coaches or spectators toward any other attendee or NDA Event Staff will result in potential team disqualification, removal from the event and/or barred participation from future NDA Events and possible disqualification or suspension of team in following years.• Varsity Spirit reserves the right to remove any persons from a competition for unsafe or unsportsmanlike conduct.

NDA fervently encourages and supports sportsmanship, integrity and fairness among participants and coaches in all facets of dance including, but not limited to team/squad practice and performance. We strive to uphold the highest standards and promote this to the best of our abilities, and believe that coaches are instrumental in promoting and instilling this among their respective team members.



PERFORMANCE AREAGenerally, at Classic and National Championships, teams will perform on a Marley dance floor. Strips are typically 38’ long and 4’ 11” wide running from front to back. Performance surfaces and dimensions may vary by championship based on venue size and restrictions, divisions offered and other factors. Please refer to the specific championship for which you are attending and make note of the Performance Area Information.

Generally, at Regional Championships, teams will perform on a standard gym floor. Please refer to the specific championship for which you are attending.

MUSIC GUIDELINESNDA will follow the Varsity Spirit Music Guidelines for all competitions. Please visit varsity.com/music for the most up-to-date guidelines and latest resources.

CHALLENGE PROCESSIf there are concerns regarding a certain team’s use of music, a Challenge Form must be completed immediately following the team’s performance. A challenge can only be made by the official coach, advisor, director or gym owner of a team competing at the event at which the challenge is being made.

• All music challenges must be submitted in writing to the event director immediately following the team’s performance.• There will be $100 fee to request a music challenge and must be in the form of a check made out to St Jude Children’s Research Hospital.• Challenges will be reviewed and finalized within 48 hours of the event.• If the challenge is correct, fees collected will be voided. If the challenge is incorrect, fees will be donated to St. Jude.

REGIONAL, CLASSIC AND NATIONAL CHAMPIONSHIP MUSIC INFORMATIONNDA requires that you have (2) forms of music available, one on CD and one on a MP3 player (i.e. iPod). Jump/flash drives will not be acceptable as forms of music. If you have questions concerning music playback, contact NDA.

National, Classic and Regional Championships: Music should be on CD or digital music player (iPod, iPhone, MP3). If utilizing CD, Duplicate CDs must be available at the music table in case of lost or broken CDs. Coaches are strongly advised to create routines (mix music) that finish a few seconds under the time limit to ensure that the team does not go over time. Judges’ decisions on timing of total routine and music portion of routines are final.

If utilizing digital music player, NCA & NDA will provide the necessary cables. Be sure to follow these steps below prior to your performance: • Set up a playlist for each routine • Turn OFF any equalizer, sound check and/or volume limit • Turn your volume up to 100% • If using a phone, make sure it is in airplane mode to avoid incoming calls during performance



MUSIC TIPSWhen you work with audio, you need to make sure you set proper levels at each stage of your audio production.

PRODUCTION During this phase, you record the elements used in your music, such as sound effects, voice-overs, and so on. This is the first and most critical step in any audio production process. Any audio recorded poorly at this phase will be difficult to fix later in the process. This also goes for selecting music. Make sure that you are using high quality music files. There is no match for properly recorded sound, no matter how good your audio cleanup tools are.

CAPTURE Transferring your production audio to your editing software should be a transparent process that affects your audio as little as possible. The audio levels of your source footage and captured media files should match exactly.

AUDIO PEAK DETECTIONAudio that is too loud causes distortion and often cannot be salvaged. Most editing software has the capabilities to find audio peaks.

AUDIO GAIN AND NORMALIZATION Before cutting and mixing multiple audio sources together, you may need to normalize varying audio levels that are intended to match. Audio that is too quiet should be raised to an acceptable level before mixing and output.

MIXING AND OUTPUT During mixing and final output, you need to ensure that audio levels are consistent compared to a reference audio level, such as audio tone. Loud parts should be consistently loud, and quiet parts should be consistently quiet (but not so quiet that they get lost in the noise). The dynamic range (the change in levels between quiet and loud) should be large enough to create a varied mix, but not so large that viewers have to constantly adjust the volume when listening to the final music track.

VIDEO MEDIA POLICYNo commercial recording (audio or visual) or commercial live streaming is allowed in the event venue or other event-related venues (including, but not limited to, hotels and restaurants) or on the grounds of any such venues (collectively, “Event Locations”). In the event a team authorizes the commercial recording or streaming in any Event Location, the team will be automatically disqualified. In addition, the personal, non-commercial use of live streaming apps (such as Periscope, Facebook Live, etc.) to capture all or any part of a performance during the event is not permitted. By attending/purchasing admission to the event, each attendee grants permission to Varsity Spirit, LLC and its affiliates, designees, agents, licensees, and invitees to use the image, likeness, actions and statements of the attendee in any live or recorded audio, video, film, or photographic display or other transmission, exhibition, publication, or reproduction made of, or at, the event in any medium, whether now known or hereafter created, or context for any purpose, including commercial or promotional purposes, without further authorization or compensation.

LOGO USAGETeams will not be allowed to use any Varsity Spirit Brand logo including: banners, rings, bows, t-shirts, etc. without prior approval from the Varsity Spirit office. The use of the brand letters will be allowed.



INAPPROPRIATE CHOREOGRAPHY / MUSIC / COSTUMINGAll facets of a performance or routine, including choreography, music selection and outfitting (dance uniforms or costumes), should be suitable for family viewing and listening. Routines, music and uniforms/costumes for all team types should be appropriate for the age of the participants performing the routine.

Deductions will be given for vulgar or suggestive choreography, which includes but is not limited to, movements such as hip thrusting and inappropriate touching, gestures, hand/arm movements and signals, slapping, positioning of body parts and positioning to one another. Deductions will be given for music or words unsuitable for family listening, which includes, but is not limited to: swearwords and connotations of any type of sexual act or behavior, drugs, mention of specific parts of the body and/or violent acts or behavior. Removing improper language or words from a song and replacing with sound effects or other words

constitutes as inappropriate, and deductions will be made accordingly.

INTERRUPTION OF PERFORMANCEINJURYThe Legality Official, Head Judge, coach or NDA Official reserves the right to stop a routine due to an obvious injury. In the event that an injury causes the team’s routine to be interrupted during a Nationals Preliminary Competition or a U.S. Championship Competition, the team will have 30 minutes to regroup before performing their routine again from the beginning. Judging will resume from the point at which the injury/interruption occurred as determined by the Judges. All point deductions accumulated to that point will carry over. If a team prefers not to re-work the routine, then at the coach’s discretion, they may take the score they have received up to that point. If a skill has not been performed, or all elements of the score sheet have not been performed, a “0” will be given in the category. In the event that an injury causes the team’s routine to be interrupted during Final Competition (Nationals), the judges will determine if there is sufficient time and feasibility for the team to complete their performance. If not, scores will be based on the performance prior to the injury.

UNIFORM DISTRACTIONSThe Legality Official, Head Judge or NDA Official reserves the right to stop a routine, assess a deduction, and/or disqualify a team for a uniform distraction (i.e. garment not being securely fastened/attached, straps break, pants split, etc.). Each performer is required to take the necessary steps to avoid inappropriate exposure prior to the performance. If a judge stops the routine or a performer leaves the floor to adjust a uniform, a penalty or disqualification may result. The team may or may not be given an opportunity to return to complete their performance.

MUSICIn the event a technical error causes a team’s music to be interrupted, the coach will have the opportunity to stop the performance and begin again immediately. It is recommended that coaches have a backup CD with them at the music table. Judging and timing will resume from the point at which the malfunction occurred as determined by the Judges.

INTERPRETATIONS / RULINGSNDA has the authority to make a decision on any issue, protest, penalty or rule that is unclear or not specifically addressed in this book. NDA will render a judgment in an effort to ensure that the Competition is conducted in a manner consistent with the general spirit of the Competition and NDA.

QUESTIONS AND DISPUTE RESOLUTIONSAt an Event, questions or concerns regarding score sheets, legalities and other issues should be addressed exclusively by the coach. Please direct such inquiries to the Event Information Booth. The appropriate competition official will be contacted to discuss any questions or concerns.

Copyright © 2018 U.S.All Star Federation

8/29/18

2018-2019

USA

SF Dance R

ules G

ENER

AL R

ULES

1 All team

s must be supervised during all official functions by a qualified coach/instructor.

2 Coaches must consider the dancer and team

skill level with regard to skills incorporated and proper progression.

3 All participants agree to conduct them

selves in a manner displaying good sportsm

anship throughout the event. The director/coach of each team is responsible

for seeing that team m

embers, coaches, parents, and any other person affiliated w

ith the team conduct them

selves accordingly.

4 All program

s should have and review an em

ergency action plan in the event of an injury.

5 Each team w

ill have a minim

um of 1 m

inute and 45 seconds (1:45) to a maxim

um of 2 m

inutes and 15 seconds (2:15) to demonstrate their style and expertise.

Timing w

ill begin with the first choreographed m

ovement or note of the m

usic. Timing w

ill end with the last choreographed m

ovement or note of the m

usic, w

hichever happens last.

6 Substitutions may be m

ade in the event of an injury or other serious circumstance. Substitutes m

ust also abide by the age restrictions in all divisions in which

they compete.

7 Use of fire, noxious gases, live anim

als, weapons and other potentially hazardous elem

ents are strictly prohibited (including but not limited to guns, knives,

swords, nun-chucks, etc.). V

iolation of this rule may result in disqualification. Please subm

it questionable items and how

it used/choreographed into routine for prior approval via U

SASF Coach A

pp.

8 Teams m

ay not comprom

ise the integrity of the performance surface. (Exam

ples: residues from sprays, powders, oils, etc.) Team

s are responsible for clearing the perform

ance surface from debris (Exam

ples: poms, props, petals, etc.)

9 Legality officials shall document and report any im

minent safety concerns to the D

irector of Rules and Safety. C

HO

REO

GR

APH

Y, M

USIC

, and CO

STUM

ING

1 Routine choreography, music, costum

ing (including make up) should be appropriate and acceptable for fam

ily viewing. V

ulgar or suggestive material is not

permitted. This m

ay include music, m

ovement and/or choreography that is profane, inflam

matory, offensive, sexual in content, and/or relays lew

d gestures. Inappropriate choreography, costum

ing and/or music m

ay also affect the panel judges’ overall impression and/or score of the routine. M

usic labeled “explicit” is not allow

ed. Music labeled “radio” or “clean” is perm

issible as long as it is suitable for family audiences.

2 Footwear is recom

mended but not required. W

earing footwear w

ith wheels, socks and/or footed tights only is prohibited. (Exception: socks are allow

ed on a carpeted perform

ance surface) 3 Jew

elry as a part of a costume is allow

ed. (Clarification: safety of the dancer should be considered) PR

OPS

1 Wearable and/or handheld item

s are allowed in all categories and m

ay be removed and discarded from

the body. (Clarification: may not be used to elevate

dancer(s) from the perform

ance surface). 2 Standing props that are used to bear the w

eight of the dancer(s) are not allowed. (Exam

ples: chairs, stools, benches, ladders, boxes, stairs, etc.) Effective June 1, 2018 to M

ay 31, 2019 and are subject to review by the USASF Rules Com

mittee at any tim

e.




NDA SCORING PROCESSScores for each category will range from 0 - 100. These scores will be entered into a computer that will add the scores and then average them. All penalties will be deducted from the average score to get the FINAL SCORE.

MAJOR FALLSMajor falls including multiple falls in a single sequence/series or multiple dancers falling or falls from a lift, will result in a 0.5 point deduction for each major fall.

TIME LIMIT VIOLATIONS (ROUTINE TIME LIMITS = MINIMUM OF 1 MINUTE, 45 SECONDS / MAXIMUM OF 2 MINUTES, 15 SECONDS)Judges will time each routine with a stop watch or similar device. Their time will be considered the official time of the routine. Due to speed variations on different sound systems, the judges will not give a deduction until their clock shows three seconds over the time limit.

Time limit violations (for both the music portion and/or total routine time) are as follows:• 3 - 5 seconds under/over time will result in a 0.5 point deduction• 6 - 10 seconds under/over time will result in a 1.5 point deduction• 11 or more seconds under/over time will result in a 2.5 point deduction

SAFETY VIOLATIONS/GENERAL COMPETITION RULESA deduction will be given for EACH safety/general competition rule violation. The point value of this deduction will range from 0.5 to 2.5 depending upon the severity of the violation. Safety Violations are in effect until the team leaves the performance floor. Please read and study the appropriate USASF Safety Rules section to ensure your team does not have any safety violations. Please visit USASF.net for the most up-to-date USASF Dance Rules. NDA reserves the right to make decisions on any violations not covered in this book and interpretation of rules covered.

Deductions and/or penalties are assessed at the sole discretion of the judges based on the criteria set forth in this book. All judges’ decisions are final. Ties will not be broken. Tying teams will share the title and/or ranking.



LEGALITY VERIFICATIONAs a coach, it is important to be current on the NDA Safety Rules. If you have questions concerning any safety rules or questions regarding specific performance elements, please follow these steps. This will ensure that you receive a timely and accurate response to your video inquiry.

• All questions must be in written form.• Due to the differences in interpretation and terminology, no phone calls will be accepted.• Due to variance in camera angles/perspective, rulings on videos are not guaranteed.• Do not rely on prior rulings from NDA Championships.• Costume approval must be submitted in photograph format with at least one (1) athlete wearing the costume in question. Front and back views of costume must be shown. Official approval cannot be given to sketches or drawings.• Music approval must be submitted in either MP3 or WAV format.• For all legality questions, you must send a video that contains the skill in question (each skill in question should be sent as a separate video clip).• A separate video must be submitted for each competition to ensure legality.• Video must include the following: 1. Front, side and back view of skill. 2. Name of the Championship where you will be performing skill and the Division you will be performing in. 3. Include your name, team name, email and phone number with your video. 4. Do not send the entire Routine, only the skill(s) in question. Your video will be kept on file at NDA.

VIDEOS THAT ARE NOT IN THE ABOVE FORMAT WILL NOT BE VIEWED.

VIDEOS MUST BE RECEIVED IN THE NDA OFFICE at least THREE WEEKS PRIOR to the Championship date. Videos not received in the NDA office three weeks prior to the championship date will NOT be reviewed.

You may mail your videos to: NDA Legality Verfication 640 Shiloh Road Building 2, Suite 200 Plano, Texas 75074

Or you may email your videos to: [email protected]

DO NOT DEPEND ON YOUR CHOREOGRAPHER OR COACH TO DETERMINE IF SOMETHING IS LEGAL.

IF YOU FEEL THAT SOMETHING MAY BE ILLEGAL,SEND A VIDEO TO THE NDA OFFICE.



NDA ALL-STARNATIONAL CHAMPIONSHIPKay Bailey Hutchison Convention CenterDallas, TX | February 20 - 21, 2016

2018 - 2019 ALL-STAR DIVISIONSPlease check Division and indicate number of Participants in each Category.

The following Divisions will follow USASF Safety Rules.

AGE NUMBER COMPETING AND DIVISIONS REQUIREMENTS CATEGORIES OFFERED MEMBERS GENDER

C/L : Contemporary/Lyrical

*NOTE: For Nationals, Prep division have different awards from all other divisions. National Champions in prep divisions will receive a team banner and team award and each individual and up to 2 coaches will receive a National Champion Hoodie.

** Tiny (Novice): Reserved for teams who do not meet age eligibility of Tiny (Competitive). Cheer novice regulations do not apply.

*** OPEN TEAM DIVISIONS: The USASF member database will calculate the age on December 31, 2019.

o Tiny (Novice)**

o Tiny (Competitive)

o Mini Prep

o Mini Small

o Mini Large

o Mini Coed

o Mini Male

o Youth Prep

o Youth Small

o Youth Large

o Youth Coed

o Youth Male

o Junior Prep

o Junior Small

o Junior Large

o Junior Coed

o Junior Male

o Senior Prep

o Senior Small

o Senior Large

o Senior Small Coed

o Senior Large Coed

o Senior Male

o Open Small***

o Open Large***

o Open Small Coed***

o Open Large Coed***

o Open Male ***

3 Years - 6 Years

4 Years - 6 Years

5 Years - 9 Years

5 Years - 9 Years

5 Years - 9 Years

5 Years - 9 Years

5 Years - 9 Years

7 Years - 12 Years

7 Years - 12 Years

7 Years - 12 Years

7 Years - 12 Years

7 Years - 12 Years

9 Years - 15 Years

9 Years - 15 Years

9 Years - 15 Years

9 Years - 15 Years

9 Years - 15 Years

11 Years - 18 Years

11 Years - 18 Years

11 Years - 18 Years

11 Years - 18 Years

11 Years - 18 Years

11 Years - 18 Years

14 Years & Older

14 Years & Older

14 Years & Older

14 Years & Older

14 Years & Older

___ Jazz ___ Pom ___ Hip Hop ___ C/L

___ Jazz ___ Pom ___ Hip Hop ___ C/L ___ Kick ___ Variety





___ Hip Hop





___ Hip Hop





___ Hip Hop






___ Hip Hop





___ Hip Hop

4 or more Dancers

4 or more Dancers

min. of 4 Dancers

4 - 14 Dancers

min. of 15 Dancers

min. of 4 Dancers

min. of 4 Dancers

min. of 4 Dancers

4 - 14 Dancers

min. of 15 Dancers

min. of 4 Dancers

min. of 4 Dancers

min. of 4 Dancers

4 - 14 Dancers

min. of 15 Dancers

min. of 4 Dancers

min. of 4 Dancers

min. of 4 Dancers

4 - 14 Dancers

min. of 15 Dancers

4 - 14 Dancers

min. of 15 Dancers

min. of 4 Dancers

6-15 dancers

16-30 dancers

6-15 dancers

16-30 dancers

6-30 dancers

N/A

N/A

N/A

0 Males

0 Males

Male(s) & Female(s)

0 Females

N/A

0 Males

0 Males

Male(s) & Female(s)

0 Females

N/A

0 Males

0 Males

Male(s) & Female(s)

0 Females

N/A

0 Males

0 Males

Male(s) & Female(s)

Male(s) & Female(s)

0 Females

0 Males

0 Males

Male(s) & Female(s)

Male(s) & Female(s)

0 Females



COMBINING AND SPLITTING GUIDELINESThe USASF provides guidelines for COMBINING and/or SPLITTING divisions in the best interest of providing a competitive environment. Whenever possible, there should be at least 3 teams in any given division category. There will be instances, however, where there are not permissible combinations thus having a division that may only have one or two teams. The guidelines listed herein will provide the basis for how this will be accomplished. Event Producers may not further combine or split All-Star categories and/or divisions by style, level, skill, age or ability, other than outlined without prior written approval from USASF. DEFINITIONS: • May means that an event producer is permitted to combine or split but is not required. Anything that reads may is left to the discretion of the event producer. • Must means that an event producer is required to combine or split if the division meets the criteria set forth in the guidelines. • May not means that the event producer is prohibited to combine or split the division.

I. SPLITTING ALL STAR ELITE:1. Event Producer’s must first split by program. Teams from same program location will not be forced to compete against each other unless: i. The coach creates two teams in same div/cat: (Ex: 2 small junior jazz teams) ii. The coach may choose to have their teams compete against each other.2. Event Producer’s must then split by size and/or gender dependent upon which split will create the deepest competition for all teams entered in a particular division category while still ensuring no less than 3 teams remain in a particular division category.

PROGRAM NAME DIVISION CATEGORY TOTAL # OF ATHLETES FEMALE MALE

Program A* Youth Small Hip Hop 7 7 0

Program B Youth Small Hip Hop 10 10 0

Program C Youth Small Hip Hop 13 13 0

Program A* Youth Large Hip Hop 16 16 0

Program D Youth Small Coed Hip Hop 12 11 1

Program E Youth Large Coed Hip Hop 15 14 1

Program F Youth Large Coed Hip Hop 15 14 1

Program G Youth Large Coed Hip Hop 17 12 5

Program H Youth Large Coed Hip Hop 16 15 1

Program I Youth Large Coed Hip Hop 24 23 1

Example: 10 Teams are registered in Youth Hip Hop (3 YSHH, 1, YLHH, 1 YSCHH, 5 YLCHH). Program A* has entered an all-girl team in both Small and Large Youth Hip Hop. These teams will not be forced to compete against each, thus splitting by size is ideal placing 6 teams in YLHH and 4 teams in YSHH regardless of gender.



II. SPLITTING PREP:All performances, regardless of style, in these division categories will be judged against each other unless one of the splitting rules applies. Event Producers must split Prep routines into separate Categories (Prep Jazz, Prep Pom, Prep Hip Hop, Prep Contemporary/Lyrical, Prep Kick or Prep Variety) by Age Division if: a. There are two teams from the same program registered in the same Age Division. (Example: Junior Prep Jazz and Junior Prep Pom teams from the same program will not compete against each other. However, if a program chooses to register two teams in the same Age, Team Size and Category, the teams will compete against each other.) b. There are three or more teams in the same category style, and at least two remaining performances in any of the other category styles. (Example: 3 Junior Prep Hip Hop, 1 Junior Prep Pom, and 1 Junior Prep Kick will be split into Junior Prep Hip Hop (with 3 teams) and Junior Prep All Styles (with 2 teams: Prep Pom and Prep Kick)

III. SPLITTING TINY:All performances, regardless of style, in these division categories will be judged against each other unless one of the splitting rules applies. Then, Event Producers will split Tiny into separate Categories (Jazz, Pom, Hip Hop, etc.), if: a. There are two teams from the same program registered in the same Age Division. (Example: Tiny Jazz and Tiny Pom teams from the same program will not compete against each other. However, if a program chooses to register two teams in the same Age, Team Size and Category, the teams will compete against each other.) b. Event Producers must split Tiny Divisions within the same category into Small and Large (as outlined in grid) if there are 10 or more teams in the division before the split occurs. There must be at least 3 teams in each division once the split occurs c. There are three or more teams in the same category style, and at least two remaining performances in any of the other category styles

IV. COMBINING TO CREATE A “ALL STYLES” CATEGORY:Event Producer’s may create an “All Styles” category to combine routines of different styles within the same age division when fewer than three teams are registered in a particular category. If combined, all Category styles (Jazz, Pom, Hip Hop, Contemporary/Lyrical, Kick or Variety), in each Division, (Tiny, Mini, Youth, Junior, Senior or Open), may compete together in this category. (Example: When one team is registered in Junior Jazz and two teams are registered in Junior Pom, the event producer may combine Junior Jazz and Junior Pom to create Junior All Styles) EXCEPTIONS: a. Categories with 3 or more teams registered in a particular age division will not combined with other categories into an All Styles category. Example: If there are 3 teams in Junior Jazz, 2 in Junior Pom, 2 in Junior Hip Hop and 1 in Junior Kick, the event producer could combine the Pom, Hip Hop and Kick teams into the Junior All Styles Division/ Category and leave Junior Jazz as a separate Division/Category. Note: There should always be more than one team in the All Styles category. b. Categories will not combined into an All Styles category if it means that a program will compete against itself. (Example: Junior Jazz and Junior Pom teams from the same program will not be combined into the All Styles category if that would cause them to compete against themselves, unless the program is agreeable to such a combination. If a program chooses to register two teams in the same Age, Team Size and Category, the teams will compete against each other.) c. The “All Styles” category is not a Primary USASF or Worlds Bid category.



AGE REQUIREMENTS:The USASF recognizes the concern with fielding teams of a broad age range and highly recommends that individual programs be vigilant in monitoring participants of various ages on the same team and that, whenever possible, a team’s composition is made up of participants ofsimilar ages.

The age of the competitor as of August 31, 2018 will be the club age used for competition purposes throughout the 2018-19 season for Tiny, Mini, Youth, Junior* and Senior Age Divisions.

For Open (International) Divisions, the eligible age for the athletes will be determined by the “calendar year of the competition” (Dec. 31 of the same year that the competition occurs) for its age cut-off date. Athletes that are not 14 on or before December 31, 2018 may not compete with an Open team before November 1, 2018. A calendar year is considered January 1st – December 31st. • All USASF member athletes must be 3 years of age in order to participate. • Any team, from any country, may enter any USASF Division as long as they abide by the age requirements of that Division. • Junior teams that compete for a bid to The Junior Dance Worlds will follow the age requirements outlined in the application process posted on USASF.net • Age Requirements, Divisions and Categories for the 2019 Dance Worlds can be found at usasf.net and in The Dance Worlds Bid Packet.

CROSSOVERS1. Dancer(s) may compete in more than one division and/or category as long as they abide by the age requirements in all divisions in which they compete.2. Prep a. Dancer(s) may compete in both Prep and Non-Prep categories with the following limitations: i. They may not compete in routines in the same category. (i.e. Dancer(s) may not compete in Youth Hip Hop and Youth Prep Hip Hop) ii. They may not compete in routines in the same category in a different age division. (i.e. Dancer(s) may not compete in Youth Prep Pom and Junior Pom) iii. Jazz & Contemporary/Lyrical ONLY: Dancer(s) may not crossover and compete in Prep and Non-Prep performances in the Jazz & Contemporary/Lyrical categories. (i.e. Dancer(s) may not compete in Youth Prep Cont/Lyrical and Youth Jazz) b. Dancer(s) may progress from a Prep to a Non-Prep Team in the same category style over time, but may not first compete on a Non-Prep team and later compete on a Prep team in the same style. (Clarification: dancers may only move forward in levels of progression, not backward). (Exception: When only one team is registered in a Prep Division Category at an event the team may move to the Non-Prep category at that event without breaking Crossover Rule 2b at future events.)



ELIGIBILITY POLICYIn fairness to all, NDA strictly enforces its age requirements for each division. NDA reserves the right to assess a penalty, disqualify, reclaim any and all awards and/or remove television appearance for any team found to be in violation of the eligibility policy, whether before, during or after the Event. The USASF Official Event Roster must be completed and should include each participant’s name, age and birth date. This form must be signed and given to NDA during the event check-in. A gym/studio owner must sign and date this form.

NDA reserves the right to request from the gym/studio owner proof of age of any participating athlete, up to and including a birth certificate.

Note: The Performance Orders for NDA Competitions will not be adjusted to accommodate performers participating on multiple teams.

USASF ATHLETE IDIn lieu of the Team Eligibility Roster that was previously required by NCA & NDA, all cheer and dance participants must now be registered in the USASF Athlete ID program. Registration is required prior to your first competition of the 2018 - 2019 championship season. If you haven’t already registered, please see the process below.

ATHLETE ID PROCESSStep 1• Prior to attending your first event in the 2018 - 2019 season, register all cheer and dance athletes by entering information in member profiles at usasf.net.• Athlete birth certificates will be uploaded to USASF secure servers for birthdate verification by USASF staff. Once birthdates are verified, birth certificate files are digitally destroyed and not stored on any server.

Step 2• Create and print USASF Official Event Rosters for each team prior to each event and submit at check-in.

JUDGING PANELSHEAD JUDGEThe Head Judge is responsible for overseeing Panel Judges. Each Head Judge fills out his/her own score sheet for each performance. Head Judge’s scores carry the same weight as a Panel Judge. At select competitions, Head Judges are non-scoring. Decisions made by Head Judges are final.

PANEL JUDGESPanel Judges are responsible for scoring each team’s performance based on the NDA score sheet. Each Panel Judge fills out his/her own score sheet for each performance. Panel Judges do not determine or judge deductions or safety violations. Decisions made by Panel Judges are reviewed by the Head Judge and deemed final.

LEGALITY OFFICIALThe Legality Official is responsible for administering all safety/general competition rule violations. Decisions made by the Legality Official are final.



VARSITY ALL-STAR DANCE CATEGORY DESCRIPTIONSJAZZ A jazz routine can incorporate the following approaches to movement: traditional, stylized, hard-hitting, crisp and/or aggressive, all with possible moments of softness while integrating musicality. Emphasis is placed on body alignment, extension, control, uniformity, communication and technical skills.

POM A pom routine incorporates the following characteristics: clean, sharp, strong, precise motions; synchronization; visual effects. It may also include Pom Skills (i.e. pom passes, kick lines, leaps and turns, jumps, etc.). Pom pons must be used 80% of the routine. Males are not required to utilize poms.

HIP HOP A hip hop routine incorporates street style movements with emphasis on the following: body isolations and control, rhythm, style, creativity, execution, uniformity and musicality.

CONTEMPORARY/LYRICAL A contemporary or lyrical routine can incorporate the following approaches to movement: organic, pedestrian, traditional modern, and/or traditional ballet. Movement complements the lyric and/or rhythmic value of the music. Emphasis is placed on sustained, expressive movement, control, contraction/release, use of breath, body placement, uniformity, communication and technical skills.

KICKA kick routine incorporates a variety of kicks and kick combinations, formations, transitions and level changes, etc., for visual effect. Emphasis should be placed on proper kick technique crediting the dancers’ control, extension, posture, stamina and uniformity in timing and height of kicks.

VARIETY A variety routine must incorporate two or more styles throughout the routine. Emphasis should be placed on overall creativity and flow of routine and successful technical execution of the dance styles performed.

ALL STYLESA routine in this category may incorporate any one style or combination of styles. All styles will be judged against each other in this category. Varsity All-Star Dance Event Producers may choose to use this category when necessary to combine divisions for competitive purposes.

PREP: The Prep designation is offered for emerging teams and dancers. All Category styles in each Age Division will compete together in Prep (Prep Jazz, Prep Pom, Prep Hip Hop, Prep Contemporary/Lyrical, Prep Kick and/or Prep Variety), or may be split when the splitting rule for Prep applies. (See “Combining and Splitting,” below. Also see “Crossovers,” below, for rules about participating on Prep and Elite teams within the same style.)

NOTE: The term Elite is being introduced as a way to differentiate between what is traditionally offered in each category and Prep. Rather than referring to a category as “regular”, “traditional”, or “not Prep” the division will be referred to as Elite or simply by the Division and Category name. Example: Senior Elite Pom or Senior Pom. This term is also used in All Star Cheer.

NOTE: NDA will utilize the USASF Dance Worlds score sheets for all 2019 Senior Dance Worlds divisions and the IASF score sheets (visit iasfworlds.com to view) for all Open and Junior Dance Worlds divisions at NDA All-Star Nationals ONLY. All other NDA All-Star divisions at NDA All-Star Nationals and all divisions at other NDA Competitions (Regionals and Classics) will utilize the Varsity All-Star Dance Score Sheet.


GROUP EXECUTION 60 COMMENTS

OVERALL IMPRESSIONCommunication / Projection / Appropriateness 10

UNIFORMITYSynchronization / Timing 10

SPACING 10

EXECUTION OF TECHNICAL ELEMENTSProper Execution of Style Specific Skills & Featured Elements 10

MOVEMENT TECHNIQUE Placement / Control / Strength / Musicality 20

CHOREOGRAPHY 40

CREATIVITY & ORIGINALITYMusical Interpretation / Visual Effects / Variety 20

ROUTINE STAGINGFormations / Transitions / Flow of Routine 10

DIFFICULTYIncorporation of Level Appropriate Movement & Skills 10

TOTAL

DIVISION

TEAM TEAMSCORE

MAX.VALUE

varsityallstar.com

VARSITY ALL-STAR DANCE SCORE SHEET



VARSITY ALL-STAR JAZZ CATEGORYSCORE SHEET CRITERIA

GROUP EXECUTION Overall Impression – Genuine projection, confidence, and eye contact. Dancers must display expression and emotion to convey and maintain mood of intended style/story/concept. Appropriateness of music, costume and choreography. Reflects overall audience appeal and personal impression of each judge.

Uniformity – Consistent unison and timing/rhythm by the group as a whole. Clarity and accuracy demonstrated by the team throughout all movement, in both choreography and skills.

Spacing – The ability of dancers to gauge and position themselves correct distances between each other in and throughout all formations and transitions.

Execution of Technical Elements – The demonstration of proper execution of skills including, but not limited to, leaps, turns, lifts, etc.

Movement Technique – The dancers’ ability to exhibit the presented style effectively and continually throughout the routine. This includes the overall ease and execution in the strength of movement, as well as the dancers’ superior musicality, motion control and precision. This includes the accuracy of body placement, alignment, extension and posturing.

CHOREOGRAPHY Creativity & Originality – Originality of routine, new concepts and movement, incorporation of a variety of movement within the chosen style(s) that supports the flow of the routine and complements the music. Visual effects that are developed through use of creative floor work, group/partner work, level changes and opposition.

Routine Staging – The seamless incorporation of unique and challenging formations and transitions. Transitions create a natural flow within the routine and across the performance space.

Difficulty – The difficulty of the routine (does not reflect execution). Overall level, pace and intricacy of movement within each style such as footwork, direction changes and technical elements. Effective incorporation of challenging elements while utilizing the appropriate ability level of the team. The choreographic choice of mastered movement and technical elements, as well as utilizing a majority of the team to execute difficult movement and/or skills is also considered. Feature and/or soloist moments enhance the routine without dominating it.



VARSITY ALL-STAR POM CATEGORYSCORE SHEET CRITERIA

GROUP EXECUTION Overall Impression – Genuine projection, energy, and eye contact. Dancers must display confident, authentic expression to convey the intended message and/or concept. Appropriateness of music, costume and choreography. Reflects overall audience appeal and personal impression of each judge.

Uniformity – Consistent unison and timing/rhythm by the group as a whole. Uniformity and precision demonstrated by the team in both choreography and skills.


Execution of Technical Elements – The demonstration of proper execution of technical skills and elements including, but not limited to, pom passes, kick lines, jumps, leaps, turns, etc.

Movement Technique – The dancers’ ability to exhibit the presented style effectively and continually throughout the routine. This includes the overall strength and sharpness of pom motions and movement, as well as the dancers’ superior musicality, motion control and precision. This includes the accuracy of pom work and body placement.

CHOREOGRAPHY Creativity & Originality – Originality of routine, new concepts and visuals, incorporation of a variety of pom motions that supports the flow of the routine and complements the music. Creative and unpredictable visual effects that are developed through use of creative floor work, group/partner work, level changes, variety of pom motions and opposition.

Routine Staging – The seamless incorporation of unique and challenging formations and transitions. Transitions create a natural flow between formations and visuals within the routine and across the performance space.

Difficulty – The difficulty of the routine (does not reflect execution). Overall level, pace and intricacy of pom motions and movement such as footwork, direction changes and skills. Effective incorporation of challenging elements while utilizing the appropriate ability level of the team. The choreographic choice of mastered movement and technical elements, as well as utilizing a majority of the team to execute difficult movement and/or skills is also considered. Feature and/or soloist moments enhance the routine without dominating it.



VARSITY ALL-STAR HIP HOP CATEGORYSCORE SHEET CRITERIA

GROUP EXECUTIONOverall Impression – Genuine projection, energy, intensity and eye contact. Dancers must display confident, authenticexpression to convey the intended message and/or style(s). Appropriateness of music, costume and choreography. Reflectsoverall audience appeal and personal impression of each judge.

Uniformity – Consistent unison and timing/rhythm by the group as a whole. Uniformity of team movement within bothchoreography and skills. Commitment to the selected style(s) as a group.

Spacing – The ability of dancers to gauge and position themselves correct distances between each other in and throughoutall formations and transitions.

Execution of Technical Elements – The demonstration of proper execution of style specific skills and elements, includingthe approach, release, balance and form.

Movement Technique – The dancers’ ability to exhibit the presented style(s) effectively, continually and distinctly throughoutthe routine. This includes the overall quality of execution, approach and attack in the strength and intensity of movement, aswell as the dancers’ superior musicality, motion control, stabilization and momentum. The accurate demonstration of correcttechnique within the selected hip hop/street dance style(s).

CHOREOGRAPHYCreativity & Originality – Originality of routine, new concepts and movement, incorporation of a variety of movement withinthe selected style(s) that supports the flow of the routine and complements the music. Creative and unpredictable visualeffects that are developed through use of interactive group/partner work, levels, group builds, illusions and/or opposition.

Routine Staging – The seamless incorporation of unique and challenging formations and transitions. Transitions create anatural flow between formation changes and visuals within the routine and across the performance space.

Difficulty – The difficulty of the routine (does not reflect execution). Overall level, pace and intricacy of movement withineach style such as footwork, direction changes and technical elements. Effective incorporation of challenging elements whileutilizing the appropriate ability level of the team. The choreographic choice of mastered movement and technical elements, aswell as utilizing a majority of the team to execute difficult movement and/or skills is also considered. Feature and/or soloistmoments enhance the routine without dominating it.



VARSITY ALL-STAR CONTEMPORARY/LYRICAL CATEGORYSCORE SHEET CRITERIA

GROUP EXECUTION Overall Impression – Genuine projection, confidence and eye contact. Dancers must display authentic expression and emotion to convey and maintain mood of intended style/story/concept. Appropriateness of music, costume and choreography. Reflects overall audience appeal and personal impression of each judge.

Uniformity – Consistent unison and timing/rhythm by the group as a whole. Uniformity of team movement within both choreography and skills. Commitment to the style as a group.


Execution of Technical Elements – The demonstration of proper execution of style specific skills and elements including, but not limited to, leaps, turns, lifts, partnering, etc.

Movement Technique – The dancers’ ability to exhibit the presented style effectively and continually throughout the routine. This includes the overall ease and execution in the strength of movement, as well as the dancers’ superior musicality, use of breath, motion control, extension, and precision. This includes the accuracy of body placement, alignment and posture within the style.

CHOREOGRAPHY Creativity & Originality – Originality of routine, artistic interpretation of theme, story or unique concepts that supports the flow of the routine and complements the music and/or lyrics. Visual effects that are developed through use of creative floor work, interactive group/partner work, level changes and opposition.





VARSITY ALL-STAR KICK CATEGORY SCORE SHEET CRITERIA

GROUP EXECUTION Overall Impression – Genuine projection, confidence, and eye contact. Dancers must display confident, authentic expression to convey the intended message and/or concept. Appropriateness of music, costume and choreography. Reflects overall audience appeal and personal impression of each judge.

Uniformity – Consistent unison and timing/rhythm by the group as a whole. Clarity and accuracy demonstrated by the team throughout all movement, in both choreography and skills.


Execution of Technical Elements – The demonstration of proper execution of technical skills and elements including, but not limited to, leaps, turns, lifts, etc.

Movement Technique – The dancers’ ability to exhibit the presented style effectively and continually throughout the routine while maintaining stamina. This includes the overall ease and execution in the strength of movement, as well as the dancers’ superior motion control and precision. This includes the accuracy of body placement, alignment and posturing.

CHOREOGRAPHY Creativity & Originality – Originality of routine, new concepts and movement, incorporation of a variety of movement and kick variations that supports the flow of the routine and complements the music. Visual effects that are developed through use of creative floor work, group/partner work, level changes and opposition.

Routine Staging – The seamless incorporation of unique and challenging formations and transitions. Transitions create a natural flow between formations and visuals within the routine and across the performance space.




VARSITY ALL-STAR VARIETY CATEGORYSCORE SHEET CRITERIA

GROUP EXECUTION Overall Impression – Genuine projection, energy, and eye contact. Dancers must display confident, authentic expression to convey the intended message and/or concept. Appropriateness of music, costume and choreography. Reflects overall audience appeal and personal impression of each judge.

Uniformity – Consistent unison and timing/rhythm by the group as a whole. Uniformity and precision of each style throughout team movement, in both choreography and skills.


Execution of Technical Elements – The demonstration of proper execution of style specific skills and elements including, but not limited to, leaps, turns, lifts, power moves, pom passes, etc.

Movement Technique – The dancers’ ability to exhibit the presented styles effectively and distinctly throughout the routine. This includes the overall ease and execution in the strength of movement, superior musicality, motion control, and precision, including the accuracy of body placement within each style presented.

CHOREOGRAPHYCreativity & Originality – Originality of routine, new concepts and movement, incorporation of a variety of movement within each style that supports the flow of the routine and complements the music. Visual effects that are developed through use of creative floor work, group/partner work, level changes and opposition.

Routine Staging – The seamless incorporation of unique and challenging formations and transitions. Transitions create a natural flow from style to style within the routine and across the performance space.

Difficulty – The difficulty of the routine (does not reflect execution). Overall level, pace and intricacy of movement within each style such as footwork, direction changes and technical elements. Effective incorporation of challenging elements while utilizing the appropriate ability level of the team. The choreographic choice of mastered movement and technical elements, aswell as utilizing a majority of the team to execute difficult movement and/or skills is also considered. Feature and/or soloist moments enhance the routine without dominating it.



VARSITY ALL-STAR DANCE CATEGORYSCORE SHEET CRITERIA

GROUP EXECUTION Overall Impression – Genuine projection, energy, and eye contact. Dancers must display confident, authentic expression and emotion to convey and maintain mood of intended style/story/concept. Appropriateness of music, costume and choreography. Reflects overall audience appeal and personal impression of each judge.

Uniformity – Consistent unison and timing/rhythm by the group as a whole. Uniformity and precision of style throughout team movement, in both choreography and skills.


Execution of Technical Elements – The demonstration of proper execution of style specific technical skills and elements including, but not limited to, leaps, turns, lifts, power moves, pom passes, etc.

Movement Technique – The dancers’ ability to exhibit the presented style(s) effectively and continually throughout the routine. This includes the overall ease and execution in the strength of movement, as well as the dancers’ superior musicality, motion control and precision. This includes the accuracy of body placement within the selected style(s).

CHOREOGRAPHYCreativity & Originality – Originality of routine, new concepts and movement, incorporation of a variety of movement within the style(s) that supports the flow of the routine and complements the music. Visual effects that are developed through use of creative floor work, group/partner work, level changes and opposition.




ALL-STAR SAFETY / GENERAL DEDUCTIONS

OFFICIAL JUDGE

Minimum Time Limit 1:45 Small = 4-14 members

Maximum Time Limit 2:15 Large = minimum of 15 members

ALL ALL-STAR DIVISION CATEGORIES

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MAJOR FALL - TOTAL

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TOTAL RULE INFRACTION DEDUCTION(S)

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RULE INFRACTION WARNING

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2018-2019 USASF RULES GLOSSARY• Airborne (Executed by Individuals, Groups or Pairs): A state or skill in which the dancer is free of contact from a

person and/or the performance surface.• Airborne Hip Over Head Rotation (Executed by Individuals): A tumbling skill in which the hips continuously rotate

over the head and there is a moment of no contact with the performance surface (Example: Round Off or a Back Handspring).• Axis Rotation: An action in which a dancer rotates around his/her vertical or horizontal center.• Category: Denoting the style of a performance piece or competition routine. (Example: Jazz, Pom, Hip Hop, Contemporary/

Lyrical, Kick, and Variety)• Connected/Consecutive Skills: An action in which the dancer executes skills without a step, pause or break in between.

(Example: Double Pirouette or Double Toe Touch)• Contact (Executed by Groups or Pairs): When two (or more) people physically touch each other. Touching hair and

clothing does not qualify as contact.• Dance Lift (Executed by Groups or Pairs): A skill in which a dancer(s) is elevated from the performance surface by one

or more dancers and set down. A Dance Lift is comprised of an Executing Dancer(s) and a Supporting Dancer(s)• Division: Denoting the composition of a competing group of dancers. (Example: Senior Coed, Junior and Youth)• Drop: (Executed by Individuals) An action in which an airborne dancer lands on a body part other than his/her hand(s)

or foot/feet.• Elevated: An action in which a dancer is moved to a higher position or place from a lower one.• Executing Dancer: A dancer who performs a skill as a part of Groups or Pairs who use(s) support from another dancer(s)• Head Level: A designated and averaged height: the crown of the head of a standing dancer while standing upright with

straight legs. (Clarification: this is an approximate height to measure space, and is not changed by bending, inverting, etc.)• Hip Level: A designated and averaged height; the height of a standing dancer’s hips while standing upright with straight

legs. (Clarification: this is an approximate height to measure space, and is not changed by bending, inverting, etc.)• Hip Over Head Rotation (Executed by Individuals): An action characterized by continuous movement where a dancer’s

hips rotate over the head in a tumbling skill (Example: Back Walkover or Cartwheel)• Hip Over Head Rotation (Executed by Groups or Pairs): An action characterized by continuous movement where the

Executing Dancer’s hips rotate over their own head in a lift or partnering skill.• Inversion/Inverted: A position in which a dancer’s waist and hips and feet are higher than his/her head and shoulders.• Inverted Skills (Executed by individuals): A skill in which a dancer’s waist and hips and feet are higher than his/her

head and shoulders and there is a stop, stall, or change in momentum.• Partnering (Executed by pairs): A skill in which two dancers use support from one another. Partnering can involve both

Supporting and Executing skills.• Perpendicular Inversion (Executed by individuals): An inverted position in which the dancer’s head, neck and

shoulders are directly aligned with the performance surface at a 90 degree angle.• Prop: An object that can be manipulated and is typically used to enhance the visual effect of a routine.• Prone: A position in which the front of the dancer’s body is facing the ground, and the back of the dancer’s body is facing

up.• Shoulder Inversion (Executed by individuals): A position in which the dancer’s shoulders/upper back area are in

contact with the performance surface and the dancer’s waist and hips and feet are higher than his/her head and shoulders• Shoulder Level: A designated and averaged height; the height of a standing dancers’ shoulders while standing upright

with straight legs. (Clarification: this is an approximate height to measure space, and is not changed by bending, inverting, etc.)• Supine: A position in which the back of the dancer’s body is facing the ground, and the front of the dancer’s body is facing up.• Supporting Leg: The leg of a dancer that supports the weight of the body during a skill.• Supporting Dancer: A dancer who performs a skill as a part of “Groups or Pairs” who supports or maintains contact with

an Executing Dancer.



• Toss: A skill where the Supporting Dancer(s) releases the Executing Dancer. The Executing Dancer’s feet are free from the performance surface when the toss is initiated.

• Tumbling: A collection of skills that emphasize acrobatic or gymnastic ability, are executed by an individual dancer without contact, assistance or support of another dancer(s) and begin and end on the performance surface

• Working Leg: The leg of a dancer that is responsible for momentum and/or position during a skill.• Vertical Inversion (Executed by Groups or Pairs): A skill in which the Executing Dancer’s waist and hips and feet are

higher than his/her own head and shoulders and the Executing Dancer bears direct weight on the Supporting Dancer(s) by a stop, stall or change in momentum.

2018-2019 USASF SKILLS GLOSSARY• Aerial Cartwheel: (airborne hip over head rotation skill without hand support) A skill which emulates a cartwheel but is

executed without placing hands on the ground.• Axel: (airborne skill with axis rotation) A turn in which the working leg makes a circle in the air to passé as the supporting

leg lifts off the ground enabling the dancer to perform a rotation in the air and then lands on the original supporting leg.• Back Handspring: (airborne hip over head rotation skill with hand support) A skill in which a dancer starts from the feet

and jumps backwards rotating through a handstand position. The dancer then blocks off the hands by putting the weight on the arms and using a push from the shoulders to land back on the feet, completing the rotation.

• Back Walkover: (non-airborne hip over head rotation skill with hand support) A skill in which the dancer moves backward into an arched position, with the hands making contact with the ground first, then rotates the hips over the head and lands on one foot/leg at a time.

• Backward Roll: (non-airborne hip over head rotation skill with hand support) A skill in which the dancer rotates backward, rotating the hips over the head while curving the spine (a tucked position) to create a motion similar to a ball “rolling” across the floor.

• Calypso [ka-lip-SO]: (airborne skill) A turning leap in which the working leg extends making a circle in the air as the supporting leg lifts off the ground enabling the dancer to perform a rotation in the air, then the supporting (back) leg reaches behind the body, often in an attitude, and then lands on the original working leg.

• Cartwheel: (non-airborne hip over head rotation skill with hand support) A skill where the dancer supports the weight of the body with the arm(s) while rotating sideways through an inverted position landing on one foot at a time.

• Chassé [sha-SAY]: A connecting step in which one foot remains in advance of the other; meaning to chase.• Coupé [koo-PAY]: A position in which one foot is held lifted and close to the ankle. Also known as Coup de Pied: quickly

takes the place of the other; meaning to cut or cutting.• Développé [develop-AY]: An action in which the working leg moves through passé (bends) before extending into

position; meaning to develop.• Dive Roll: (airborne hip over head rotation skill with hand support) A forward roll where the dancer’s feet leave the ground

before the dancer’s hands reach the ground.• Forward Roll: (non-airborne hip over head rotation skill with hand support) A skill in which the dancer rotates forward,

rotating the hips over the head while curving the spine (a tucked position) to create a motion similar to a ball “rolling” across the floor.

• Fouetté [foo-eh-TAY]: A stationary turn usually done in a series, in which the working leg makes a circle in the air and then into passé as the dancer turns bending (plié) and rising (relevé) at each revolution; meaning to whip. Fouetté turns can also be done to the side or in second position (fouetté à la seconde).

• Fouetté à la Seconde: A stationary turn done in a series in which the working leg makes a circle in the air and extends at a 90° angle from the supporting leg remaining parallel to the ground as the dancer turns with a plié and relevé at each revolution.

• Front Aerial: (an airborne hip over head rotation skill without hand support) A skill which emulates a front walkover but is executed without placing hands on the ground.



• Front Walkover: (a non-airborne hip over head rotation skill with hand support) A skill where the dancer moves forward with the hands making contact with the ground first, then rotates the hips over the head passing through an arched position and lands on one foot/leg at a time.

• Glissade [glee-SOD]: A connecting step that transfers weight from one foot to the other; meaning to glide.• Handstand: (a non-airborne inverted skill with hand support) A non-airborne, non-rotating, skill where the dancer supports

him/herself vertically on his/her hands in an inverted position and the arms are extended straight by the head and ears.• Headstand: (an non-airborne inverted skill with hand support) A non-airborne, non-rotating, skill where the dancer

supports him/herself vertically on his/her head in an inverted position with hands in contact with the floor to support the body.• Jeté [juh-TAY]: A skill in which the dancer takes off from one foot by brushing the feet into the ground and swiftly

‘whipping’ them into the position and then landing on one foot. A jeté can be executed in various directions, sizes and positions.• Kip Up: (non-airborne in approach, airborne in decent, inverted skill) A skill where the dancer begins in a supine position,

rolls back onto their shoulders elevating their hips off the performance surface and into an inverted position. Using their arms and/or legs, core, and momentum, the dancer thrusts their body in an upward direction away from the floor. The movement is completed by bringing the feet to the performance surface keeping the body inline and following to an upright position.

• Leap: (airborne skill). A skill in which the dancer pushes from a plié (bend) off of one foot, becomes airborne, and lands on one foot.

• Passé [pa-SAY]: A position or movement in which the working leg bends and connects the foot to, or near, the knee of the supporting leg; meaning to pass. Passé can be executed with the hips parallel or turned out.

• Pirouette [peer-o-WET]: (axis rotation). A skill in which the dancer bends (plié) and rises (relevé) to one leg (supporting leg) making a complete rotation of the body; meaning to whirl. A pirouette can be executed in a variety of positions.

• Plié [plee-AY]: A preparatory and landing skill in which the dancer bends, softens his/her knees; meaning to bend.• Relevé [rell-eh-VAY]: A skill in which the dancer lifts up to the balls of his/her feet; meaning to rise.• Round Off: (airborne hip over head rotation skill with hand support). A skill that takes off on one foot and lands on two

feet simultaneously. (Clarification: the skill becomes airborne after the hips have rotated over the head).• Shushunova [shush-A-nova]: (airborne skill) A jump variation in which the dancer lifts extended legs to a toe touch or

pike position and then circles them behind the body dropping the chest and landing in a prone support/push up position.• Stationary Turn: A turn, such as a pirouette, that rotates on a single pivot point. (Note: Chainé and Piqué turns do not

qualify as Stationary Turns.)• Toe Touch: (airborne skill) A jump in which the dancer lifts the legs through a straddle position. Hips externally rotate to

turn out the legs and the chest is upright. Arms are typically held in a T position.• Tour Jeté: (airborne skill with axis rotation). A skill in which the dancer takes off from one leg, executes a half turn and

lands on the other leg.• Windmill: A skill in which a dancer spins from his/her upper back to the chest while twirling his/her legs around his/her

body in a V-shape. The leg motion gives the majority of the power, allowing the body to “flip” from a position on the back to a position with the chest to the ground.

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