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The 2011 UCWDC® Rules,
Contest Procedures and
Scoring Format
Copyright 1987©, Revised 2010, United Country Western Dance Council®
Unauthorized reproduction or use of these rules without written permission is strictly prohibited.
TABLE OF CONTENTSI. GENERAL UCWDC® INFORMATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
A. The United Country Western Dance Council® . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1B. Mission and Vision . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1C. Officers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1D. Regional Representatives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1E. World Championship Directors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1F. Business Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1G. Web Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
H. Notice to non-UCWDC® events: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
I. Membership for new Event Directors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
II. THE DANCE RULES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
A. The Dance Season . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2B. Eligibility Period . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2C. Dance Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2D. Gender Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2E. Age Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2F. Divisions Offered: (also See Chart, Appendix A) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
G. UCWDC® Associate Membership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
H. Division Entry Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 I. Division Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3J. Floor Craft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5K. Costuming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5L. Choreography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6M. Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6N. Graduation Criteria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7O. Dance Categories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8P. Contestant Conduct and Ethics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Q. Reporting and Staging Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10R. The Judge Meeting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10S. The Contestant Meeting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
III. AWARDS & OVERALL CHAMPIONSHIP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
A. Awards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11B. Overall Championship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
IV. WORLD CHAMPIONSHIP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
A. Eligibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11B. World Championship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
V. CONTINENTAL CHAMPIONSHIP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
VI. SCORING: (also See Appendix E) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
VII. JUDGE CERTIFICATION: (also See Appendix F) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
VIII. JUDGING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
A. Eligibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12B. Certification Regulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12C. Judge Review Board . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12D. Judges’ Review Board and Regulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12E. Judges’ Code of Ethics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
IX. INVIGILATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
X. UCWDC® Contest Coordinator Responsibilities and Requirements . . . . . . . . . . . . . . . . . . . . . . . 12A. Contest Coordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12B. Contest Coordinator Certification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
APPENDICES:Chart of Divisions Offered . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Appendix AGlossary of Movements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Appendix BClassic Line Dance Change Schedule . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Appendix CPerpetual Showcase Music Schedule . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Appendix DSummary of Scoring Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Appendix EUCWDC® Judge Certification Curriculum Outline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Appendix FDivision Names and Crossover Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Appendix GOlympiad Divisions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Appendix H
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The United Country Western Dance Council®2011 Dance Rules, Scoring Format and Contest Procedures
I. GENERAL INFORMATION
A. The United Country Western Dance Council®:
1. The UCWDC® is a group of Country dance event directors
who joined together to form a not-for-profit corporation.
2. The UCWDC® sanctions and advises the promoters and
directors of Country Dance Events and related events whichinclude, but are not limited to, Country Dance Competitionsand Country Dance Workshops in order to ensure theuniformity of operation and the quality of the experience ofthe guests attending these events.
3. The UCWDC® creates, revises and administers the use
of this uniform set of dance rules, scoring formats, contestprocedures and rating systems governing Country DanceCompetitions and Competitors at all of it’s worldwide events.
4. The UCWDC® surveys, develops, certifies and rates
Country Dance Judges to create a pool from which DanceEvent Directors may draw.
5. The UCWDC® sanctions, promotes, produces and
presents a World Championships of Country Dance to honorand recognize the achievement of the top Country WesternDancers and Line Dancers in the world each year.
B. The UCWDC®’s Mission and Vision:
1. Our mission is to promote, protect and advance Country
Western Dance and Line Dance both as art forms andworldwide Olympic and World Games competitive sports.
2. Our vision is to provide a sound and level platform on
which Country Western Dancing can be studied, taught,performed, rated and judged.
C. UCWDC® Officers:
1. President: Kathi Bittner - Tomball, Texas,
2. Vice President Judge Certification: Kathy St. Jean -Warwick, RI , [email protected]
3. Vice President Dance Rules, Contest Procedures and
Scoring Format: Beth Emerson - Oklahoma City,
Oklahoma, [email protected]
4. Secretary: Mona Brandt - Phoenix, Arizona,
5. Treasurer: Tracy Butler - Fort Worth, TX,
D. UCWDC® Regional Representatives:
1. Pacific USA: John Daugherty – San Diego, California
2. North Central USA: Randy Jeffries – Brookston, Indiana
3. South Central USA: Ben DePuew, Ft. Worth, TX,
4. Southeast USA: Bill Robinson – Atlanta, Georgia
5. Northeast USA: Barry Durand – Gaithersburg, Maryland
6. Canada: Judy MacDonald – Oakville, Ontario, CA
7. United Kingdom and Ireland: Damian Brady – Newry,
County Down, Northern Ireland
8. Scandinavia: Kathrine Strand-Hammond – Arnes, Norway
9. Continental Europe: Brigitte Zerah – Vanves, France
10. Asia: Hiromi Smith - Japan
E. World Championship Director: Worlds XX©,
Orlando, FL: Anthony Lee - Wood Ridge, NewJersey, [email protected]
F. Olympic Organizing Committee Chair: Jeff
Bartholomew - Camp Hill, PA,[email protected]
G. UCWDC® Business Office: The UCWDC Business Office is the official center for
submitting to the UCWDC®, information requests by letter,telephone, e-mail, or fax. Requests will be forwarded to the
appropriate UCWDC® Directors as needed. Mailing
address: UCWDC® Office: 159 N. 25th St. Camp Hill, PA 17011-3609
Email: [email protected]: 1-717-763-4416, Fax: 1-717-731-6060
If Voice Mail answers, please leave a detailed message with yourname, phone number (including country and city codes) and thebest time to return your call. Please also include your full mailingaddress with postal code and country.
H. The UCWDC® Web Page: www.UCWDC.org is
full of information about the organization and its danceevents. It contains many valuable contact links relating to
the UCWDC® and its member events. It also providesinfomation on the World Championship, judgecertification, dance rules, contest scoring formats, contest
procedures, and other related UCWDC® business.
I. Notice to non-UCWDC® events: International
Copyright laws protect the duplication and use of the
UCWDC® Dance Rules, Scoring Format and ContestProcedures, either in part or in their entirety. If you desireto use them, written permission must be obtained from the
UCWDC® President and filed at the UCWDC® BusinessOffice at least 60 days in advance and then the rules mustbe duplicated entirely, without alteration, and released to
participants. An official UCWDC® Contest Coordinatormust be present at the event to monitor rules and scoring.
J. Membership for new Event Directors:
1. Your event may qualify for membership in the UCWDC®.
An official application for sanctioning, a copy of the UCWDC®
Bylaws and the procedures for completing the process may be
obtained from the UCWDC® Office or Secretary.
2. Upon completion of your paperwork in accordance with the
UCWDC® Bylaws, the candidate Event Director must contact
the UCWDC® Office or Secretary to secure a spot on theCouncil’s Spring or Fall meeting agenda to present theapplication in person.
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II. THE DANCE RULES
A. The Dance Season: A year that begins the Day after
Worlds ends and continues until the last day of the nextWorld Championship event.
B. Eligibility Period: Each dancer’s period of eligibility is
the two (2) previous Dance Seasons combined with thecurrent Dance Season.
C. Dance Types:
1. Couples
2. ProAm and ProPro
3. Line Dance and ProAm Line Dance
4. Troupes and Teams
D. Gender Requirements:
1. A Couples dance pair must consist of one man and one
woman where the man leads and the lady follows, except formomentary role reversals.
2. A ProAm or ProPro dance pair must consist of one man
and one woman, of which one must be a student dancing withhis or her instructor.
3. ProAm and ProPro are gender-specific divisions.
4. A Line Dance contestant may compete in gender-specific
divisions and/or the Renegade and Choreography non-gender-specific divisions.
5. A Troupe or Team may compete with any gender make-
up except a Team Couple who must look like and portray oneman and one woman.
E. Age Requirements:
1. Your age for the entire Dance Season for UCWDC®
competition is the age you will be on the last day of thatDance Season.
2. Juniors contestants are those who are less than 18 years
of age.
a. Junior Primary-less than 10 years of age.
b. Junior Youth-at least 10 and less than 14 years ofage.
c. Junior Teen-at least 14 and less than 18 years of age.
d. All Junior Couples must dance in the older partner’sage group.
e. RisingStars contestants must be at least 14 and lessthan 20.
3. Adult contestants are those who are at least 18 years
old.
4. Adult Divisions
a. Open Age division contestants must be Adults exceptin couples an Adult may dance with a Junior who isage 16 or above.
b. Age-Restricted division contestants may dance in anyAge division for which they are eligible.
(1) Crystal division contestants must be at least 30.
(2) Diamond division contestants must be at least 40.
(3) Crown division contestants must be at least 40.
(4) Silver division contestants must be at least 50.
(5) Gold division contestants must be at least 60.
(6) Platinum division contestants must be at least 70.
F. Divisions Offered: See Chart, Appendix A for
Specific divisions.
1. ProAm Line Dance Divisions
a. Newcomer
b. Novice
c. Intermediate/Advanced Combined
2. ProAm and Line Dance Divisions:
a. Classic ProAm Syllabus A
b. Classic ProAm Syllabus B
c. Line Dance Starter
d. Classic Newcomer
e. Classic Novice
f. Classic Intermediate
g. Classic Advanced
h. Showcase
i. Classic Combined (Novice, Intermediate and Advanced
skill levels combined- Excludes Newcomers.) j. Spotlight
3. Couples Divisions:
a. Syllabus A
b. Syllabus B
c. Classic IV
d. Classic III
e. Classic II
f. Classic II/I Combined
g. Classic I
h. Showcase
i. Classic Combined (III, II and I skill levels combined-
Excludes Newcomers.)
4. Earned Divisions: Contestants must earn ascension from
the next lower division level.
a. Classic Masters
b. Showcase Masters
c. Crown
d. SuperStars
e. RisingStars
f. Legends
5. Troupes and Teams
a. Small Troupe (2, 3 or 4 members, Open Age)
b. Large Troupe (5, 6 or 7 members, Open Age)
c. Team (8 or more members)
(1) Open Age - all ages
(2) Junior - all members must be under 18
(3) Diamond - all members must be at least 40
d. Country Club Challenge Teams (CCC) (8 or moremembers, Open Age)
6. Line Dance Choreography
7. Line Dance Renegade
8. ShowTime (may consist of any number of members, Open
Age)
G. UCWDC® Associate Membership:
1. Country Dance enthusiasts, who need not be competitors,
may join the UCWDC® organization through AssociateMembership. No matter when you join during the year, yourannual membership always ends on January 15TH. New andrenewed Memberships begin each January 16TH. Membershipapplications are available at www.UCWDC.org, and may besubmitted online, by mail or by fax.
2. A printable copy of the Rules, Contest Procedures and
Scoring Format is available for download in electronic form on
the UCWDC® website. Maintaining Associate Membership for
dance contestants allows the UCWDC® to track each
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contestant’s competitive credentials for the current danceyear as well as the two-year Eligibility Period that precedesthe current dance year. Such tracking is used to verifyqualifications for the World Championship and to graduatecontestants from one competition divisional level to the nextat the end of the year’s World Championship.
3. Associate Membership is mandatory for:
a. All competitors, including Pros, who dance in each
and every UCWDC® Division at all events.
b. Each group “Name” (Small Troupe, Large Troupe,Team, Showtime or Country Club Challenge) musthave a distinct and separate membership for each“Name”. The group may not use the personalmembership of a group member who competes inanother division or Dance Type.
c. Each and every UCWDC® Contest Coordinator,Judge, Scrutineer, or Scoring Director who works atan event.
H. Division Entry Requirements:
1. Contestants may enter any division for which they are
qualified except for the following:
a. Couples and ProAm contestants may not dance foroverall in two skill levels. If they are dancing foroverall in one skill level, they may dance in the skilllevel above their own.
b. Couples and Line Dance contestants may not enterboth Classic and Showcase divisions with the samedance routines.
c. Each Troupe or Team member may only dance oncein any specific division at each event.
d. Couples division partnerships may not also enter a
UCWDC® event as a ProAm or ProPro student-teacher partnership or visa versa.
e. ProPro contestants may not compete as ProAmAmateurs.
2. Once a contestant has performed for Overall in a
UCWDC® division of their choice, they may not compete laterin a lower ranked skill level division in that Dance Type, except for the following:
a. Showcase and Spotlight contestants may danceeither II or I in Couples Classic, or Intermediate orAdvanced levels of Pro Am or Line Dance Classic.Thus Showcase and Spotlight contestants may notenter the Classic III or Novice level of dance or lower.
b. If the contestant does not compete during the entirecurrent Eligibility Period.
c. If a Junior dancer advances into an older age division,they may dance one skill level lower except JuniorPrimary and Youth Advanced dancers who maydance Novice as they advance in age.
d. New Partnerships may dance one skill level lowerthan the highest ranked partner. No competitor maydrop more than two skill levels from their original skilllevel.
e. Crown competitors may enter Open I or Advanced tovie for Masters or SuperStars, and when dancingOpen I or Advanced, may not judge that Dance Type.
3. To be eligible for Syllabus and Starter divisions,
competitors may not have competed at the level ofNewcomer or above for ProAm and Line, and IV or above forCouples (unless dancing with a new partner who has notcompeted).
4. For crossover between Dance Types, please see
Appendix G.
5. If a contestant wins a Showcase division where three or
more competed for Overall, they must enter their respective
Classic division at the Advanced level for Line Dance or ProAmor Division I for Couples the next Dance Season.
6. Masters, SuperStars, RisingStars, Crown and Legends
division candidates only achieve their status after they havedanced a full program at that level in a competition.
7. Professional Status Specifics:
a. If you have not taught private dance lessons during thecurrent Eligibility Period and you earn less than 50% ofyour annual income by teaching dance (less than 50%of your expenses are covered by dance), you areeligible to dance in Division III level or above inCouples or Novice level or above in Line Dance.
b. If you teach only non-partnership dance forms (LineDance, Jazz, Tap, Ballet, etc.) and:
(1) you earn more than 50% of your annual income fromteaching dance, you are eligible to enter Line Danceat the Division Advanced level, ProAm at the DivisionIntermediate level, and/or Couples at the Divison IIIlevel or above.
(2) you earn less than 50% of your annual income fromteaching dance, you are eligible to enter Line Danceat the Division Intermediate level and ProAm and/orCouples at the Division III level or above.
(3) you teach only group classes, and you earn less than50% of your annual income from teaching dance, youare eligible to enter any Dance Type at the Division IIIor Novice level or above.
c. If you teach Couples dance and:
(1) you earn more than 50% of your annual income fromteaching dance, you are eligible to enter Couples atthe Division I level or Line Dance at the Advancedlevel.
(2) you earn less than 50% of your annual income fromteaching dance, you are eligible to enter Couples atthe Division II level or above and Line Dance at theIntermediate level or above.
(3) you teach only group classes, and you earn less than50% of your annual income from teaching dance, youare eligible to enter any Dance Type at the Division IIIor Novice level or above.
d. If a contestant earns any compensation for themselvesor others by teaching dance, they may not enter the IVor Newcomer levels of dance or lower.
e. If a contestant earns any compensation for themselvesor others by teaching couples dance they may notenter ProAm as a student.
f. If a contestant regularly assists a professional danceinstructor, even if they are not compensated, may enterProAm as a student but may not enter the IV or
Newcomer level of dance or lower.
I. Division Rules: For an explanation of the
movements listed below, please see Appendix B
1. The Classic Format
a. The songs selected by each DJ or Event Director, foreach dance and division, are revealed the day of thecompetition. We request that DJ’s make every possibleeffort to play phrased music for the phrased dances(Polka, Cha Cha, NightClub, Waltz) and NightClub isrequired to be 4/4 time. Competition Music previewsare not allowed for any divisions except Syllabus A andB, IV and Newcomer. Warm-ups to music that is notused for competition are encouraged for divisions notpreviewed. The songs played for various heats of thesame dance and division in Classic Couples and ProAmmay be different, but are of approximately the sametempo. Randomly repeated songs are allowed.
b. The basic timing(s) and tempo ranges for each dance
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are listed in the Dance Categories elsewhere in theserules, or in each specific Line Dance step description.
c. Classic Movement Limitations, unless the move isspecifically called for in a Line Dance step description:
(1) Moves that include lifts (any type), throws, carries,aerials, acrobatics, drops (any type), rides, drags,slashes, pirouettes, fouettés, jetés, sitting, lying orbridging on the floor or spins with adagio are notallowed.
(2) Jumps and Jetés are not allowed except for LineDance Open Advanced, SuperStars, RisingStars,and Line Crown and Legends where they are allowedwithout rotation.
(3) Pantomiming, singing, speaking, lip-synching, oracting out themes is not allowed.
(4) Stationary balanced or counter-balanced moves thatrotate are not allowed except for Classic Masters,SuperStars, and RisingStars who may performbalanced but not counter-balanced rotation.
(5) Upright platform turns or fans on an unbent knee byone dancer or both partners are permitted only ifboth feet maintain floor contact except for ClassicMasters, SuperStars, and RisingStars who mayrotate on balance in adagio.
(6) Dance movements that rotate because of a leg kickor swing are permitted to turn only up to 360degrees.
d. Classic Couples, ProAm and ProPro:
(1) All Couples, ProAm and ProPro contestants mustenter and dance Two Step to be eligible to competeexcept: Syllabus A and B divisions, Couples IV,ProAm Newcomer, Juniors, Masters, Crown andLegends divisions.
(2) All Couples, ProAms and ProPros, except Masters,Crown and Legends contestants, must start withtheir bodies touching. Syllabus A and B Divisions,Couples IV and ProAm Newcomer divisions muststart in one of the seven (7) Closed positions: BasicClosed (Right Inside Partner), Left Inside Partner,Right Parallel, Left Parallel, Promenade, ReversePromenade or Fan.
(3) Couples, ProAm and ProPro dancers must follow the
Basic Rule which requires them to dance one full,visible basic pattern of the dance per standardphrase of music (32 counts for 4/4 time or 24 countsfor 3/4 time). For phrased dances, the two measuresof basic timing must be performed in each phrase ofmusic, but need not be back to back. The basicpattern must be performed within the character of thedance, and in a connected position.
(4) Additional Movement Limitations for Couples:.
(a) A stationary split or rotating pedestal is not
allowed except for Masters, Crown and Legends. (b) Except in Masters, Crown and Legends, dance
moves that incorporate shine are not allowedexcept for Chase, Challenge or Circles in ChaCha. When performed, shine movement can not
be used to satisfy the Basic Rule.
(c) Free spins are permitted only when they are ledfrom connection.
(5) Additional Movement Limitations for Division IVand ProAm Newcomer:
(a) Contestants must use the basic timing(s) (see
Dance Categories) throughout each dance exceptfor a foot change.
(b) Hops, leans, lunges, arabesques, penchés,piqués, attitudes, dévelopés, rond de jambes, télérondés, kneeling and leaning on the floor are notallowed.
(c) Adagio movement is not allowed except for kicks,flicks, floor sweeps, or passé when done withoutlosing the basic timing.
(6) Additional Movement Limitations for Syllabus Aand B Divisions: except for a Starter step,Contestants must use only the patterns from the
UCWDC® Syllabus for the respective divisions
without variation (found on www.UCWDC.org).
e. Classic Line Dance:
(1) The Titles, Step Descriptions (including pattern,rhythm, counts and walls), Choreographer’s Namesand Videos for the Classic Line Dances per level aswell as SuperStars, RisingStars and Crown A and Bwill each be released annually on a rotating schedule
on www.UCWDC.org three months prior to the usagedate for each dance, except for ProAm Line DanceInstructors who may choose their own dances, andStarters whose dances are chosen by the local EventDirector. For the Line Dance Change Schedule,please see Appendix C.
(2) Since Choreographers create steps to a specific song,that song will be played unless the choreographer haslisted an alternate song.
(3) Line Dancers are spaced evenly on the floor relative toeach other, facing in the direction designated by theChoreographer.
(4) Line Dance dancers must follow the Basic Rule whichrequires that:
(a) Dancers begin with a full basic which is a competerendition of the entire step description withoutvariation.
(b) The dancers begin each rendition with twomeasures of the basic (without variation from thestep description). Two measures of music is 8counts of 4/4 time music or 6 counts of 3/4 timemusic.
(c) Variations must follow the flow of the dance andare limited to two measures of music, or less, perrendition of the dance to allow for musicalinterpretation of phrase endings.
(d) Throughout the song, each variation must befollowed by two measures of basic.
(5) In an ABC dance, each section of the dance, e.g., A,B, or C, must begin with a full basic before anyvariation may be performed.
(6) Additional Movement Limitations for Line Dancers(unless the move is specifically called for by the stepdescription):
(a) In ProAm Line, the Pro must dance Vanilla only
and the Amateurs must follow the Basic Rule. (b) A relatively stationary ‘dancing introduction’ is
permitted within the radius of a single step duringthe music prior to the count-in. Contestants maymove their bodies to express the mood andcharacter of the music and dance.
(c) Use of hands, arms, facial expressions, bodystyling, and if worn, skirt work and hat work, areallowed without limit throughout the dance.
(d) Aerials, acrobatics, slashes, piqués, pirouettes,fouettés, lying on the floor and bridges are notallowed.
(e) Spins in adagio, splits and sits to recover fromsplits are not allowed except for SuperStars,RisingStars, Crown and Legends.
(7) Additional Movement limitations for Newcomerand Starter Line Dancers (unless the move isspecifically called for by the step description):
(a) Starters and Newcomers must dance only completerenditions of the entire step description without
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variation throughout the song.
(b) A relatively stationary ‘dancing introduction’ ispermitted within the radius of a single step duringthe music prior to the count-in as long as no fullturn is performed. Contestants may shift theirweight and move their bodies to express the moodand character of the music and dance.
(8) Additional Limitations for Line DanceSuperStars, RisingStars, Crown and Legends:Classic dances A and B follow the Classic Line
Dance format. including the Basic Rule.
(9) Choreography limitations: When performingChoreography, the Line Dance Classic Newcomerrules apply.
(10) Renegade limitations: When performing inRenegade, the Line Dance Showcase rules apply.
2. The Showcase Format a. Showcase divisions dance to music which is pre-
selected for each dance on a two-year, rotatingschedule. The songs, CD Titles and artist names areposted under “Music”on our web page,www.UCWDC.org, three months before they are first
used at UCWDC® competitions along with instructionson how to edit the music (if needed). This provideseach contestant the opportunity to choreograph andrehearse a routine to each piece of music.
b. The choreographic interpretation of the music is one ofthe most important factors being judged. Contestantsshould select movement that they feel best interpretsthe musical nuances, tempo, character and mood ofthe musical selection and the dance’s characterizingrhythm, motion and style.
c. Movement allowances and limitations for
Spotlights, Showcase Couples, Showcase Masters,Showcase ProAm, Showcase ProPro, and CouplesCrown and Legends Solo Medleys:
(1) A Couple may enter any dance category of theirchoice.
(2) A Couple may begin in any dance position.
(3) Aerials are not allowed except in Showcase Masters.
(4) Stationary drops performed in-place that do notrotate or otherwise move on the floor are permitted.
(5) Stationary inverted lifts, throws and drops that arenot stationary are not allowed except in ShowcaseMasters, Crown and Legends Solo Medleys.
(6) Two-beat rule (except Showcase Masters): A partnermay be lifted for up to two beats of music as long asany part of the lifted partner’s head, torso, arm or legremains at or below the waist level of the liftingpartner and the lifted partner is not inverted.
(7) There are no movement limitations in ShowcaseMasters.
d. Movement allowances and limitations for Line
Dance Showcase, SuperStars, RisingStars andCrown:
(1) A contestant may begin the dance facing anydirection of his or her choosing, and may begin thedance at any time.
(2) A contestant must dance repetitive patternsaccording to the phrasing of the music.
(3) Aerials, acrobatics, sits (except to recover from asplit), lying on the floor, and bridges are not allowedexcept in SuperStars, RisingStars, and Crown andLegends Solo Medleys.
(4) Pantomime, singing, speaking, lip-synching, andacted themes (theatrics) may be performed inShowcase Line and Solo Medleys.
(5) Splits and jumps are permitted.
3. Troupes and Teams a. Troupes or Teams may enter in separate categories
under the same Team “Name”, but may only compete
once in any single dance category at each UCWDC®
Event. Teams competing in separate categories mustdo so with different song selections and different dancematerial.
b. An individual member of any team may dance in anyTroupe or Team category under any Team Name, butmay not dance in a category more than once at thesame event.
c. All teams in the same Dance Category are entered inthe Open Age Group and compete against each other. In addition to this competition, if two or more of thoseteams are eligible for either the Junior Age Group or theDiamond Age Group, placements will be also awardedin the Age Group(s) as well.
d. Troupes and Teams Movement Limitations:
(1) When performing a Line Dance, the Line DanceShowcase rules apply.
(2) When performing a Partner Dance, the CouplesShowcase rules apply.
(3) There are no performance limitations when performinga Team Cabaret routine.
4. ShowTime: There are no performance limitations when
performing a ShowTime routine and wheel chair dancers maybe members.
J. Floor Craft:
1. For all dances, contestants should be courteous at all
times on the floor, as well as be vigilant and not interfere withother contestants.
2. For Couples, ProAm and ProPro Progressive dances,
contestants should generally move in Line-Of-Dance (LOD),counter-clockwise around the outside of the dance floor. When a dancer employs a stationary movement in aprogressive dance, once established, the stationary contestanthas the ‘right-of-way.’ If another contestant slows or stops,trailing dancers should pass on the inside (toward the center ofthe dance floor) if possible.
3. For Couples, ProAm and ProPro Spot dances, contestants
should generally remain in place. Once established on a spot,stationary dancers have the ‘right-of-way’ over any dancermoving toward their space. When spot dancers use travelingmovements they need not return to their original spot. Stationary contestants have the ‘right-of-way’ for their spotalong with reasonable space in which to perform.
4. For Line Dance categories, once the contestants evenly
space themselves on the floor relative to each other,everyone’s ‘dance space’ is revealed. When the music begins,contestants should perform so as to reasonably maintain theirrelative position on the floor, i.e., ‘Go with the flow’ of the basicdance description throughout the dance, even when performingvariations, so as not to intrude on the dance space of othercompetitors.
K. Costuming:
1. Contestants in all Divisions except Country Club
Challenge, Team Cabaret and Showtime must wear:
a. Costumes that are ‘Country Western’ and areappropriate to the dance, the arena, and the personwearing them. A visible yoke is a guide, but not aguarantee that the costume looks country.
b. Cowboy boots, except:
(1) Line Dance, Troupe and Team dancers who maywear lace-up Ropers.
(2) Syllabus A and B, Newcomer, and Couples IV
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dancers, for whom boots are required at Worlds andare encouraged, but not required, at other events.
(3) Funky and Novelty contestants who may wear low-heeled dance shoes or dance sneakers.
c. Cowboy hats for men, including Country ClubChallenge, but not Syllabus A and B, ProAm and LineDance Newcomer, Couples IV dancers, Line Funky,Novelty and Starter contestants. Starter, Syllabus Aand B, Newcomer and Division IV male dancers arerequired to wear hats at Worlds, and are encouraged,but not required, to wear hats at other events.
d. Hose (tights) and dance pants (knickers) for women, ifeither are revealed.
e. Masters are permitted tear-away skirts which, if notused in solo format, cannot remain on the floor whendiscarded.
f. One logo on a costume is allowed if it is 25 squareinches outside dimension or less and worn as a crest,i.e. that area above the left breast, on the right watchpocket, i.e., that area above the right hip, or thesleeve. Logos should be tasteful and not detract fromthe costume.
2. Contestants in Divisions IV, Newcomer, Syllabus A and
Syllabus B are not allowed to wear costumes that have anysequins, rhinestones or other sparkly embellishments ormaterials, or metallic threads woven into the costume. Thisdoes not include jewelry, hatbands or belt buckles.
3. When ProAm Syllabus A, B and Newcomer are a
separate Session, the Pros must also adhere to Newcomercostume rules, except that Pros must still wear hats andboots.
4. Country Club Challenge: No costume requirements,
except a Country look and a hat for the guys.
5. Team Cabaret and ShowTime: No costume
requirements, just clothing that fits your performance!
6. Please remember that costuming is part of your final
placement on every judge’s ballot, in every heat.
7. Props are anything that is not normally worn as clothing
and are only allowed in Team Cabaret, ShowTime and someSelf Selected music categories. These are Solo Medleys,Spotlight and Show Dances, where the props must beportable, inanimate, and set up only by the competitors. Timefor setup will be included in performance time - no extra timewill be allowed.
L. Choreography: Like music, under international law, all
original choreography is automatically copyrighted when ithas been performed and may not be copied, reproduced orimitated without permission by the owner under penalty oflaw.
M. Music:
1. Competition Music length minimums and maximums
(which may extend to the end of the phrase):
a. Couples (except Syllabus) - 2 minutes
b. Classic Masters - 1½ minutes
c. Classic Masters ShowDance - up to 2½ minutes whereat least 2 minutes must be dancing to music.
d. ProAm and ProPro except Syllabus - 1½ minutes
e. Syllabus A and B - 45 seconds
f. Line Dance except Starter - 2 minutes
g. Line Dance Starter - 45 seconds to 2 minutes
h. Line Dance ProAm - 1½ minutes
i. Line Dance Choreography except ABC - 1½ minutes
j. Line Dance Choreography ABC - 2 minutes
k. Spotlight (ProAm and ProPro) - 2½ to 4 minutes
l. Solo Medley, (Masters, SuperStars, RisingStars) - 4 to
7 minutes.
m. Crown Solo Medley - 2 ½ to 5 minutes
n. Legends Solo Medleys - 2 to 4 minutes
o. Troupes, Teams and County Club Challenge - 4 to 7minutes
p. Choreography - 2 minutes maximum except ABCdances which may extend to 2 ½ minutes.
q. ShowTime - 3 - 15 minutes
2. Showcase Music: The songs, CD Titles and artist names
are posted under “Music” on our web page, www.UCWDC.org,
three months before they are first used at UCWDC®
competitions. Showcase music lengths will be at least and asclose to 2 minutes as possible. For the Perpetual MusicChange Schedule, please see Appendix D.
3. For Event Music Selections, all Classic music must be
Country or sound Country except Line Dance which will use thesong specified on the step sheet.
4. Contestant-selected music limitations:
a. Contestant-selected music must be Country or soundCountry for all parts of their performance, except:
(1) Non-Country Choreography divisions.
(2) Team Cabaret programs which may use any type ofmusic without limits.
(3) Troupe Programs; Line Dance Crown, RisingStarsand SuperStars Solo Medleys; and SpotlightPerformances, all of which may use up to a combinedtotal of 50% non-Country music.
(4) Masters and Couples Crown Solo Medleys wheremusic used for internal requirements must be Countryor sound Country.
b. Showcase Masters self-selected music for Waltz andTwo Step must be a single song. If the song is edited, itmay not contain anything not found on the original CDand may not be longer than the original song.
c. When determining the “country-ness” of a song, it isdeemed to be Country music if it:
(1) Made it on to nationally syndicated Country musiccharts.
(2) Had air play on a recognized County Western radiostation.
(3) Was released for Country radio, TV, video, CD, orDVD.
(4) Was performed by a Country artist or band.
(5) Is indigenous to a particular contestant’s nativecountry.
d. Contestant-selected music will be audited duringcompetition for any internal requirements, must adhereto the music length minimums and maximums, andmust be submitted on a CD or USB drive.
e. Line Dance ProAm entries must be a single song of upto 1 ½ minutes in length.
f. Brief, recorded introductions and curtain calls arepermitted. Clocking begins when either theperformance or the performance-sound begins,whichever comes first. Clocking ends when either theperformance or the performance-sound ends, whichevercomes last (not including curtain calls).
g. Performance and timing documentation must beprovided to the Contest Coordinator or Timing Auditorprior to performance in the form of a chronological timeline down the center of a piece of paper with a sequencedance step outline in the left column matched with theexact music segment cuts in the right column.
h. For Worlds, the CD and the accompanyingdocumentation must be presented to the Timing Auditor48 hours in advance of performance.
i. It is the contestant’s responsibility to ensure that their
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music and choreography meet all time requirements. Failure to meet the performance time documentationand/or timing requirements may result in disqualificationas determined by a majority vote of the judging panel.
N. Graduation Criteria:
1. All dancers who graduate do so on the first day of the
next Dance Season.
2. Graduation earned at UCWDC® events
a. Graduating in one Dance Type will not cause
graduation in other Dance Types. For crossoverbetween Dance Types, please see Appendix G
b. If a competitor qualifies for an overall in a division, at aparticular skill level, they may dance one or moredances in the next higher skill level at the same event(and must dance Two Step if it is required). If thecompetitor dances overall in the next higher skill level,they have self graduated into the higher skill level andmay no longer dance in the lower skill level. Competitors may not dance at a higher skill level atWorlds.
c. Couples and ProAm:
(1) Couples and ProAm contestants must graduate to thenext higher level from the:
(a) IV or Newcomer level if they finished first placeoverall where there were three or more competitors
who danced overall at one or more UCWDC®
events during the current Eligibility Period.
(b) III or Novice level if they finished first place overallwhere there were three or more competitors who
danced overall at two or more UCWDC® eventsduring the prior two Dance Seasons.
(c) II or Intermediate level if they finished first placeoverall where there were three or more competitors
who danced overall at three or more UCWDC®
events during the prior two Dance Seasons.
(2) Ascension into the Masters and Couples Crowndivisions occurs when a partnership is formed by twopeople who have a combined lifetime total of eightfirst place overall wins in the Classic Open I and/or
Showcase Open divisions at UCWDC® events wherethere were three or more competitors who dancedoverall. At least two of their wins must have beendanced with the current partnership.
(a) For Masters, the wins must come from ClassicOpen I and Showcase Open divisions.
(b) For Crown, the wins must come from ClassicCrystal I (once the competitors turn 40), DiamondI, Silver I and Showcase Diamond divisions.
(3) When the same Couples partnership earns acombined lifetime total of eight first place overallchampionship in Classic Open I division or Showcase
Open division at UCWDC® events where there werethree or more competitors who dance overall,contestants must graduate to the appropriate Masters
division.
d. Line Dance:
(1) Line Dance contestants who finished:
(a) First place overall where there were three or morewho danced for overall.
(b) First or second place overall where there weretwenty to twenty-nine who danced for overall.
(c) First, second or third place overall where therewere thirty to thirty-nine who danced for overall.
(d) First, second, third or fourth place overall wherethere were forty to forty-nine who danced foroverall.
(e) First, second, third, fourth or fifth place overallwhere there were fifty or more who danced foroverall.
(2) Must graduate to the next higher level from:
(a) Newcomer division if they placed as above at one or
more UCWDC® events.
(b) Novice division if they placed as above at two or
more UCWDC® events.
(c) Intermediate division if they placed as above at
three or more UCWDC® events.
(3) Ascension into SuperStars, RisingStars and LineDance Crown divisions occurs when a contestant hasa combined lifetime total of four first place overall winsin Classic Advanced and Showcase divisions at
UCWDC® events where there were three or morecompetitors who danced overall. At least one winmust come from each of Classic Advanced andShowcase.
(a) For SuperStars, the wins must come from the OpenAdvanced and Showcase Open divisions.
(b) For RisingStars, the wins must come from theClassic Teen Advanced and Showcase Teendivisions. RisingStars contestants may choose atage 18 to: 1) leave RisingStars and enter ClassicOpen Advanced or 2) stay in RisingStars andascend to SuperStars during the season they turn20 years of age. Once made, that decision is final.
(c) For Crown, the wins must come from ClassicCrystal Advaced (once the competitors turn 40),Diamond Advanced, Silver Advanced, GoldAdvanced and Showcase Diamond divisions.
3. Graduation to Legends:
a. A Master, SuperStar, or Crown World Champion dancermay choose to enter Legends (self-graduate) if:
(1) They have been retired for the current EligibilityPeriod.
(2) They are 40 or over.
(3) In couples, their partner has been a UCWDC®
competitor.
b. All Legends competitors lose their previous divisionalstatus and may never return to their previous division.
4. Graduation criteria earned from a Continental
Championship will be the same as from any UCWDC® eventexcluding the World Championships.
5. Graduation earned at The World Championship of
Country Dance (Worlds):
a. Every contestant or competing couple who has won afirst place overall title at Worlds must graduate to thenext higher level of competition, except for graduationto SuperStars, RisingStars and Line Crown divisions. Uncontested World Champions who do not feelprepared to graduate may apply for dispensation to theVP of Dance Rules at [email protected]. Such
applications will be reviewed on a case by case basis.
b. Ascension to the SuperStars, RisingStars and LineCrown divisions is accomplished by winning first placeoverall awards in both the respective Classic Advancedand Showcase divisions. These wins need not beaccomplished at the same Worlds. A Worlds win ineither but not both of these divisions counts as twoEvent wins towards ascension to the relevant division.
c. SuperStars, RisingStars and Line Dance Crown divisioncandidates may combine their qualifying wins in either
Classic or Showcase at UCWDC® events with theirqualifying win at Worlds in the other style.
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d. Ascension to the Masters and Couples Crown divisionscan be accomplished by winning a first place overallaward in the respective Classic Advanced or Showcasedivision at Worlds.
e. All contestants who dance for an overall award at aWorld Championship Event graduate to the next higherdivision on a scale which depends on the total numberof contestants. They graduate if they have one Eventwin and they won:
(1) first place overall at Worlds.
(2) second place overall at Worlds where there were tento fourteen overall competitors.
(3) second or third place overall at Worlds where therewere fifteen to nineteen overall competitors.
(4) second, third or fourth place overall at Worlds wherethere were twenty to twenty-four overall competitors.
(5) second, third, fourth or fifth place overall at Worldswhere there were twenty-five or more overallcompetitors.
O. Dance Categories:
1. Couples, ProAm and ProPro Dance Categories: The
World Championship Classic and Showcase Couples, ProAmand ProPro Dance Categories are Triple Two, Polka,NightClub, Cha Cha, Waltz, Two Step, East Coast Swing,and West Coast Swing, which are to be danced in this order
at all UCWDC® events except for Masters Classic, which willdance their chosen dances in two flights in the followingorder: first slow or andante dances: Waltz, NightClub, TripleTwo, and West Coast Swing; Second fast or allegro dances:Two Step, Cha Cha, Polka, and East Coast Swing. There willbe a break between flights.
These UCWDC® contest dance categories list the minimum,maximum and preferred musical tempos in beats per minute(BPM) for Classic Couples, ProAm and ProPro, and thesebasic timings fulfil the Basic Rule for each dance. To fullydefine the dances, please refer to Appendix F (The JudgeCertification Curriculum and Standards).
Timing notations in the dance categories: Black indicatesa weight change; Grey (or Red) denotes no weight change.
To meet the Basic Rule for the ‘phrased’ dances e.g.,Waltz, Polka, Nightclub and Cha Cha, two measures ofbasic timing must be performed in each phrase of music(32 counts for 4/4 time or 24 counts for 3/4 time), but neednot be back to back.
a. Worlds Core Dances:
(1) Two Step For Syllabus, IV, New: 168-180, 174preferred. For III or Nov: 178-190, 184 preferred. ForII or Int and above: 188-200, 194 preferred. BasicTwo Step timings are 1 2 3 4 5 6 ; 1 2 3 4 5 6 7 8 ;and 1 2 3 4 5 6 7 8 (QQS S ; QQS QQS ; andQQQQS S ). Two Step is a smooth, progressivedance with weaved patterns and rhythm accents thatseparate the quicks and slows, emphasizing slows..
(2) Waltz For Syllabus, IV, New: 90-98, 94 preferred.For III or Nov: 84-92 88 preferred. For II or Int andabove: 76-88, 82. Basic Waltz timing is 1 2 3 4 5 6. Waltz is a progressive dance that uses patterns thatmove diagonally and are performed with Rise & Fallaccentuated with Swing & Sway emphasizing hover.
b. Worlds Swing Dances:
(1) East Coast Swing For Syllabus, IV, New: 124-136,130 preferred. For III or Nov and above: 130-142,136 preferred. Basic East Coast Swing timings are:1&2 3&4 5 6 and 1&2 3 4 5&6 7 8. East CoastSwing is a stationary dance that uses rotary patterns
and is performed with semi-cuban, emphasizingdownward compression.
(2) West Coast Swing 102-114, 108 BPM preferred. Basic West Coast Swing timings are 1 2 3&4 5&6 and1 2 3&4 5 6 7&8. West Coast Swing is a smooth,stationary dance with slotted patterns and rhythmaccents, emphasizing back-beat.
c. Non-Worlds Swing Dance:
(1) Pony Swing 102-116, 106 BPM preferred. BasicPony Swing timing is &1 &2 &3 &4 &5 &6 &7 &8. Pony Swing is generally stationary with revolvingpatterns performed with Lilt, emphasizing downwardaction on the numbered counts.
d. Worlds Alternate Dances:
(1) Triple Two 88-100, 94 preferred. Basic Triple Two
timings are 1 2 3&4 5&6 and 1 2 3&4 5 6 7&8. Triple
Two is a smooth, progressive dance with looped andlaced patterns performed with curved sway andshaping actions, emphasizing connected feathers.
(2) Polka For Syllabus, IV, New: 104-116, 110 preferred.For III or Nov and above, 110-124, 116 preferred.Basic Polka timing is 1&2 3&4 5&6 7&8. Polka is aprogressive dance with 2-rail (steamlined) patternsperformed with Lilt motion, emphasizing downwardaction on the numbered counts.
(3) NightClub For Syllabus, IV, New, Nov: 58-64, 62preferred. For II or Int and above: 54-58, 56 preferred.Basic Nightclub timing is 1 2&3 4&5 6&7 8& (S QQSQQS QQS QQ). Nightclub is a stationary dance withlinear and geometric patterns performed with drapingsway and counter sway, shaping actions, emphasizingdeveloped slows.
(4) Cha Cha For Syllabus, IV, New, Nov: 96-108, 102preferred. For II or Int and above: 106-118, 112preferred. Basic Cha Cha timing is 1 2 3 4&5 6 7 8&.Cha Cha is a stationary dance with intersectingpatterns performed with Cuban motion, emphasizingthe first beat of each measure.
e. Non-Worlds Alternate Dances:
(1) Shuffle (Ft. Worth Shuffle) 102-114, 108 preferred.Shuffle timings are 1 2 3, 4 & 5, 6 &; or 1 2 3, 4 & 5,6 7, 8 &). Shuffle is a progressive dance with leap-frog or pig-tail patterns, performed with Flat motionshaped in its movement. The dance accents 2 3 (six-count timing), or 2 3 and 6 7 (eight-count timing) withtwo progressive walks.
(2) Schottische 120-132, preferred. Basic Schottischetiming is 1 2 3 4[kick] 5 6 7 8[kick]. Schottische is aprogressive dance performed with plié on 2 and relevéon 4, with zigzag patterns accented with lifted kicks,scoots, hops, or brushes.
(3) Rhythm Two 148-160, 154 preferred. Basic RhythmTwo timing is 1 2 3 4 5 6[kick or touch] 7 8[kick ortouch] and 1 2 3 4[kick or touch] 5 6 7 8[kick ortouch]. Rhythm Two is a spot dance performed withsemi-cuban motion and circular patterns.
f. Solo Performances:
(1) Solo Medley for Showcase Masters and CouplesCrown: A musically-mixed, multi-dance, Showcasecategory of 4 - 7 minutes for Masters and 2 ½ to 5minutes for Crown with no BPM limitations. A medleyof dances choreographed to music of the contestant’schoice that must include a combined total of at least45 seconds each of: a swing dance and three otherWorlds dances for Masters, and a swing dance and 2other alternate dances for Crown; not to include TwoStep and Waltz for either, and which must berecognizable in pattern, rhythm, motion, and
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character. Recognizable patterns from non-
UCWDC® dances (e.g., Quickstep, Tango, Samba,Rumba, Charleston, Clogging, Hip-Hop, et cetera)may only be used as appropriate for musicalinterpretation.
(2) Solo Medley for Legends: (2-4 minutes, no BPMlimitations). A musically-mixed, multi-dance,Showcase category. A medley of danceschoreographed to music of the contestant’s choicethat must include a combined total of at least 45seconds of two Worlds dances, not to include TwoStep and Waltz, which must be recognizable inpattern, rhythm, motion, and character.
Recognizable patterns from non-UCWDC® dances(e.g., Quickstep, Tango, Samba, Rumba,Charleston, Clogging, Hip-Hop, et cetera) may onlybe used as appropriate for musical interpretation.
(3) Spotlight (2½ - 4 minutes no BPM limitations): Amusically-mixed, multi-dance category offered forProAm and ProPro: A dance or medley of danceschoreographed to music of the contestant’s choicewhich must be recognizable in pattern, rhythm,motion, and character. Recognizable patterns from
non-UCWDC® dances (e.g., Quickstep, Tango,Samba, Rumba, Charleston, Clogging, Hip-Hop, etcetera) may only be used as appropriate for musicalinterpretation.
(4) ShowDance: (2 to 2 ½ minutes, of which 2 minutesmust be dancing to music): A dance category offeredfor Classic Masters. The dance must be a single
dance, and must be one of the 8 UCWDC® dancesdefined above in Section O. The song can be onesong or a medley of songs and may not containanything not found on the original CD.
2. Line Dance Categories: The World Championship
Classic and Showcase Line Categories for Intermediate andAdvanced are Rise & Fall, Pulse, Smooth, Cuban, Funky andNovelty, which are danced chronologically in this order at all
UCWDC® events. For Newcomer and Novice, dances maynot be motion specific. If a Funky dance is offered for Openand Junior divisions, a Novelty dance will be offered for theAge divisions, except Classic Open Advanced, ShowcaseOpen, Classic Teen Advanced and Showcase Teen divisionswhich will be offered both Funky and Novelty. Line Dancecontestants may enter any of these Dance Categories offeredfor their division, except for 1) SuperStars and Line Crownwhich may enter Dance A (slow, andante), Dance B (fast,allegro) where A and B come from different motioncategories, or Solo Medley; and 2) Line Dance ProAm whichmay enter Dance 1, Dance 2, and Dance 3 (these need not be
motion specific). The BPM range for each dance categoryshall be plus or minus five (±5) BPM from the suggestedsong for each choreographed dance.
a. Rise & Fall: A dance using Rise & Fall and Swing &Sway motions. For reference: common dances thatuse these motions include Viennese Waltz, Waltz,Foxtrot and Quickstep.
b. Pulse: A dance using Pulse motion. For reference:common dances that use Pulse include Polka, EastCoast Swing, Samba, and Jive.
c. Smooth: A dance using Flat motion. For reference:common dances that use Flat motion includeNightClub, West Coast Swing, Hustle, and Tango.
d. Cuban: A dance using Cuban motion, with any breakstep occurring on the 2 or 6. For reference: commondances that use Cuban motion include Cha Cha,Mambo and Rumba.
e. Funky: A dance demonstrating footwork and bodyworkthat is consistent with Hip-Hop or Street. For reference:common dances that use Funky include Hip Hop, Poppin’, Break Dance and Crumpin’.
f. Novelty (no BPM limitations): A dance demonstratingfootwork and bodywork that is consistent withBroadway or Show Performances. For reference:common dances that are Novelty include lyrical, jazz,modern and ballet.
g. Renegade (no BPM limitations): A spontaneousunrehearsed dance using any of the dances listed aboveas appropriate to the event-selected music which iscomprised of all of the categories listed above exceptNovelty. This dance category is essentially a Showcasedance. Renegade is the only Line Dance category thatis not generally repetitious.
h. Choreography (no BPM limitations):
(1) There are five (5) competitive categories:
(a) Country Newcomer/Novice
(b) Country Intermediate/Advanced
(c) Non-Country Newcomer/Novice
(d) Non-Country Intermediate/Advanced
(e) ABC
(2) Each Choreography entry is an original danceperformed by dancers with the choreographerphysically present. Since the contestant selects themusic, it is essential that the dance’s rhythm, motionand character match that music.
(3) The dance should have some element that will make itpopular and appear to be easy to teach to socialdancers within the level in which it is entered, i.e.,Newcomer/Novice or Intermediate/Advanced. Thedance should also have some ‘appeal’ that will give itlongevity, impact or influence on the dancecommunity.
(4) The dance itself is what is judged, not theperformer(s) or their performance.
(5) With their contestant registration, Choreographers arerequired to provide a printed step description of thedance detailing the following:
(a) the basic pattern and rhythm
(b) the level of the dance
(c) the number of counts
(d) the number of walls
(e) An ABC dance entry should specify the number ofcounts per phrase (A, B, C, etc.) and the phraseorder from beginning to end.
(6) If a contestant wishes their Choreography entry to beconsidered for use as a UCWDC dance, a digitalvideo must be included with the step description.
i. Solo Medley for SuperStars, RisingStars and Line
Dance Crown: A musically-mixed, multi-dance categoryof 4 - 7 minutes for SuperStars and RisingStars and 2 ½ - 5 minutes for Crown with no BPM limitations. A medley ofdances choreographed to music of the contestant’schoice which must include a combined total of at least 45seconds each of four of the six Line Dance categories forSuperStars and RisingStars and three of the Line Dancecategories for Crown.
j. Solo Medley for Line Dance Legends: A musically-mixed, multi-dance category of 2 - 4 minutes with noBPM limitations. A medley of dances choreographed tomusic of the contestant’s choice which must include acombined total of at least 45 seconds each of two of thesix Line Dance categories.
3. Team Dance Categories. The World Championship
Teams Categories may enter and perform Line, Partner,
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Showcase and Cabaret, which are danced separately at all
UCWDC® events. Unless otherwise specified, all Teamsmust use music that is Country or sounds Country for at least50% of their performance.
a. Line (4 - 7 minutes, no BPM limitations): A dance ormedley of dances choreographed to music of thecontestant’s choice. The team must wear Countrycostumes and the program must include a majority ofLine Dance with recognizable patterns, rhythms,motions and character. Patterns from any dance formmay be used as appropriate for musical interpretation,however no couples’ lead and follow patterns may beused. Momentary touching is allowed.
b. Partner (4 - 7 minutes, no BPM limitations): A danceor medley of dances choreographed to music of thecontestant’s choice. The team must wear Countrycostumes and the program must include PartnerDance with recognizable patterns, rhythms, motionsand character. Patterns from any dance form may beused as appropriate for musical interpretation,however no Line or Solo dancing may be used.
c. Showcase (4 - 7 minutes, no BPM limitations): Adance or medley of dances choreographed to music
selected by the UCWDC® Music Committee which is
posted under “Music” on www.UCWDC.org and isavailable beginning 15 days after Worlds for the newDance Season. Musical interpretation is the mostimportant element. The team must wear Countrycostumes. This is an open category where Partner,Line, and Solo dance may be used in any combinationfor any duration of the program.
d. Cabaret (4 - 7 minutes, no BPM limitations): A danceor medley of dances choreographed to music of thecontestant’s choice. This category may use any type ofmusic, costuming, props or movement and is an opencategory where Line, Solo, and Partner dance may beused in any combination and wheel chair dancers maybe members. Setup and tear-down may be no longerthan 6 minutes combined.
e. Country Club Challenge Teams (CCC) (4 - 7minutes, no BPM limitations): A dance or medley ofdances choreographed to music of the contestant’schoice. This category, which is predominately FUN,club oriented dancing which must use country music,with country costuming (t-shirt and sneakersaccepted), and the men must wear Cowboy hats. Thisis an open category where, Line, Solo, and Partnerdance may be used in any combination, but nocostume changes are allowed.
4. Troupe Dance Categories: all Troupes must use music
that is Country or sounds Country for at least 50% of theirperformance and country costuming except when performingFunky and Novelty dances where those costume allowancesapply.
a. Small Troupe (4 - 7 minutes, no BPM limitations): Adance or medley of dances choreographed to music ofthe contestant’s choice. It is an open category whereLine, Solo, and Partner dance may be used in any
combination.
b. Large Troupe (4 - 7 minutes, no BPM limitations): Adance or medley of dances choreographed to music ofthe contestant’s choice. It is an open category whereLine, Solo, and Partner dance may be used in any
combination.
5. ShowTime (3 - 15 minutes, no BPM limitations): An
extensively conceived, thematic medley choreographed tomusic of the contestant’s choice. This category is a long
Cabaret which may use any type of music, costuming, props ormovement. It is an open category where Line, Solo, andPartner dance may be used in any combination and wheelchair dancers may be members. Setup and tear-down may beno longer than 6 minutes combined.
P. Contestant Conduct and Ethics:
1. All decisions of the contest judges, the Contest
Coordinator, and Event Director will be final. Competitors areexpected to act in a socially acceptable professional manner. Competitors are required to provide on any competitionregistration form their full name, mailing address, birth-date,
phone number (cell preferred), e-mail address and UCWDC®
Associate Membership number.
2. Any complaint or challenge to the makeup of a judging
panel must be done post-event and will go to the Judge ReviewBoard. Please see Part VII, Section C.
3. Competitors under the legal age of 18 must be
accompanied by a parent or legal guardian who has writtenparental permission to act as ‘guardian’, and who isresponsible for the minor’s safety and conduct at all times.
4. Before entering a UCWDC® Event, competitors are
required to sign an event waiver form that limits the event’sliability with regards to injury or other damage, allows datacollection and tracking, assigns the distribution rights of audioand video recordings of the attendee(s) to the event, andaddresses privacy.
5. Information provided on the competition registration form
will be used for tracking of performance results to determinedivisional graduation status, divisional age eligibility, WorldChampionship eligibility, and World Points Champions. Contestants competing in Division III or Novice divisions orabove, plus each Troupe or Team “Name”, or any otherindividual who expects to dance at Worlds, will be required to
join the UCWDC® Associate Membership Program through the
UCWDC® Business Office.
6. All attendees are business invitees and expected to act in a
friendly, cordial, respectful and professional mannerthroughout the event.
Q. Reporting and Staging Procedure:
1. For all heated divisions, contestants should report to the
Floor Coordinator one-half hour before a division’s first contestheat to check-in and preview their music or warm up, unlessthe size of the contest warrants an earlier reporting time (seeevent schedule). When reporting, each contestant will makethemselves known to the Floor Coordinator by contestantnumber, confirming that they are dressed, ready, and able toperform in the proper division. During the contest, competitorsmust remain in the staging area, except for costume changes.
2. Even though UCWDC® contests pre-post the heats of
competition for all divisions, the exact heat order is notguaranteed to any contestant. A contestant who fails to reportto the Floor Coordinator on time or fails to answer the calls ofthe Floor Coordinator for a specific heat will be scratched(disqualified) from that dance category.
R. The Judge Meeting: Contest logistics, schedules and
the Official Judge Certification Program Rules Review are
discussed at the official UCWDC® Judge Meeting held prior
to competition at every UCWDC® event.
S. The Contestant Meeting: Contest logistics and
schedules are discussed at the official UCWDC®
Competitors Meeting held prior to competition at every
UCWDC® event. UCWDC® Rules inquiries are also fielded
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at this time, where all who are interested receive answersto their questions. Everyone is welcome.
III. AWARDS & OVERALL
CHAMPIONSHIP
A. Awards: At every UCWDC® Event, at least the first
through fifth place Overall winner for every Divisionwill be announced.
B. Overall Championship:
1. An “Overall Champion” title is awarded only to the first
place overall winner in each specific division. When used in acontestant’s dance resumé, the full name of the division mustprecede that title. i.e., “John Doe is the ProAm Male ClassicSilver Novice Overall Champion.”
2. Conversely, when used, 2nd Place through 5th Place
Overall winners’ titles must be followed with the full name ofthe division. i.e., “John Doe is the 3rd Place Overall ProAmMale Classic Silver Novice” winner.
3. Titles are bestowed upon winners by the UCWDC®. Titles
which are abused by the recipient may be withdrawn.
4. Overall Eligibility:
a. Syllabus Divisions and ProAm Line Dance offer noOverall Championship.
b. Couples and ProAm Overall Championship entries,except Masters, Crown, and Legends, must competein Two Step, Waltz, one Swing dance, and twoAlternate dances.
c. Newcomer Line Dance Overall Championship entriesmust compete in all three of the offered dances. AFunky dance may be offered for Open and Juniordivisions. If so, a Novelty dance will be offered for theAge divisions.
d. Novice Line Dance Overall Championship entries mustcompete in all four of the offered dances. A Funkydance may be offered for Open and Junior divisions. If so, a Novelty dance will be offered for the Agedivisions.
e. Intermediate, Advanced and Showcase Line DanceOverall Championship entries must compete in all ofthe offered dances. These include:
(1) Rise & Fall, Pulse, Smooth, Cuban and Funky forClassic Intermediate; Classic Advanced Primary andYouth; and Showcase Primary and Youth Divisions.
(2) Rise & Fall, Pulse, Smooth, Cuban and Novelty forthe Age Divisions.
(3) Rise & Fall, Pulse, Smooth, Cuban, Funky andNovelty for Classic Open Advanced, Classic TeenAdvanced, Showcase Open and Showcase TeenDivisions.
f. Showcase Masters, Couples Crown and CouplesLegends Overall Championship entries must competein Two Step, Waltz and Solo Medley.
g. Classic Masters must compete in Two Step, Waltz,one Swing dance, two Alternate dances, and aShowDance.
h. SuperStars, RisingStars, Line Dance Crown, and LineDance Legends Overall Championship entries mustcompete in Dance A (a soft, slow dance like Waltz,Nightclub, or a slow West Coast Swing), Dance B (ahard, fast dance like East Coast, Polka, or Cha Cha)and a Solo Medley.
i. Team Overall Championship entries must compete inthree of the four offered Team Dance Categories: Line,
Partner, Showcase and Cabaret.
IV. WORLD CHAMPIONSHIP: Each year the
UCWDC® presents the Country Western Dance WorldChampionships, which offer world-class Couples, ProAm,ProPro, Line Dance, ShowTime and performing Troupe andTeam competition.
A. Eligibility:
1. Associate Membership: Each individual contestant, Troupe
and Team may not begin to accrue qualification for Worlds
until their Associate Member dues are paid.
2. To be eligible to compete at Worlds,
a. North American and European dancers, as well asTroupe and Team Names, must qualify by competing at
three (3) or more UCWDC® Events during the preceding
Dance Season, except for Syllabus B and Newcomerdancers in Europe and ProAm Line Dance entries, whoonly need to compete at one (1) event to qualify. Masters must qualify by dancing at a minimum of five(5) events (three full programs); SuperStars by dancingthree (3) full programs except in Asia where they mustdance one (1) full program.
b. Asian dancers must qualify by competing in at least one
UCWDC® Event during the preceding Dance Season.
c. Dancers from Continents other than North America,Europe and Asia may enter without pre-qualification butmust be active Associate Members with dues paidbefore dancing at Worlds.
3. Worlds qualification in one Type of competition (i.e.,
Couples; ProAm and ProPro; Line; or Troupes and Teams)does not count for qualification in any other Type ofcompetition.
4. Worlds contestants must have competed for the Overall
Championship or the single dance Championship (Troupes,Teams, Spotlight and ProAm Line Dance) at least once in thedivision in which they intend to compete, except:
a. Masters, SuperStars, Line Dance Showcase Open, LineDance Classic Open Advanced, Couples Open I, andCouples Showcase Open dancers, who must havecompeted for the Overall Championship three (3) times(in Classic or Showcase or a combination of the two)
over the course of three (3) or more UCWDC® events.
b. Country Club Challenge, ShowTime and Legendsperformers, who need not qualify.
5. For each Dance Type entered, Worlds contestants must
compete in the highest division where they danced for overallduring the preceding Dance Season.
6. In a new partnership, at least one partner must have
competed at three UCWDC® Events and the new partnershipmust have competed at least once overall in the division theyintend to compete at Worlds.
B. World Championship:
1. An “Overall Champion” title at Worlds is awarded only to
the first place overall winner in each specific division. Whenused, the year and the full name of the division must precede
that title. i.e., “John Doe is the 1988 UCWDC® ProAm Male
Classic Silver Novice World Champion.”
2. Conversely, when used in a contestant’s dance resumé, 2nd
Place through 5th Place Overall winners titles must be followedwith the full name of the division. i.e., “John Doe is the 3rd
Place ProAm Male Classic Silver Novice” winner at the WorldChampionship of Country Dance.
3. Titles are bestowed upon winners by the UCWDC®. Titles
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which are abused by the recipient may be withdrawn.
V. CONTINENTAL CHAMPIONSHIP: Each
year the UCWDC® may present the Country Western DanceEuropean Championships, which offer world-class Couples,ProAm, ProPro, Line Dance, ShowTime and performingTroupe and Team competition.
VI. SCORING For Scoring Rules, please see
Appendix E.
VII. JUDGE CERTIFICATION For Judge
Certification Information, please seeAppendix F.
VIII. JUDGING
A. Eligibility:
1. To be eligible to adjudicate at any UCWDC® Event,
including the World Championship, each judge must be a
current UCWDC® Associate Member in good standing.
B. Certification Regulations:
1. All judges for UCWDC® contests must be Certified at the
Fundamental Level or above. Each panel judging Line Dancedivisions may have three (3) judges but 5 are recommended.
2. In Europe and Canada, each panel of judges at UCWDC®
competitions must have three (3) judges but 5 arerecommended.
3. UCWDC® Event Directors must submit to the UCWDC®
VP Judge Certification a list identifying each panel of judgesper contest session, with a list of divisions judged during thatsession.
C. Judge and Competitor Review Board: The
UCWDC® Judge Certification Committee has a Board ofInquiry to respond to a written complaint regarding ajudge’s impartiality and judges’ and competitors’ conductand/or ethics. A request for review will be keptconfidential, but must contain the judge’s and/orcompetitor’s name, the complainant’s name, and thedetails. For more information, please contact VP JudgeCertification, Kathy St. Jean, at [email protected].
D. Judges’ Regulations:
1. No contestant, other than a Masters, SuperStars, Crown,
or Legends dancer, or the teaching ‘Pro’ of a Pro-Am or Pro-Pro partnership may judge the same Dance Type in whichthey are competing.
2. A judge competing in one Type of dance may Judge
another Type of dance.
3. No active competitor may judge at Worlds except ProPro
and Spotlight competitors.
4. A contestant who wishes to judge may not judge his own
level without taking four months off from competition.
5. A judge who wishes to compete may not do so without
taking four months off from judging his division or any aboveit.
6. The Am of a Pro-Am partnership is not allowed to judge
UCWDC® Couples, ProAm and ProPro competition.
7. Couples II and I contestants who are certified may judge
ProAm but not ProPro.
8. No two persons who are members of a partnership;
dancing, teaching or personal, may sit on the same UCWDC®
panel except for ProAm.
9. No persons who are members of a partnership; dancing,
teaching or personal, may judge their partner, a familymember, or their partner’s family member, except if the partneror family member is the teaching Pro of a ProAm or ProPropartnership.
10. No II Intermediate or I Advanced level contestant in any
Dance Type may receive judging wages, compensation orinducements in that Dance Type. Such contestants may not
have access to UCWDC® judges’ meetings. Offenders will losetheir current competitive status, and be suspended from further
UCWDC® competition for the current Dance Season.
11. Contestants may receive teaching wages, wages for
services, compensation for shows, and prizes as well ashaving access to an event hospitality room.
E. Judges’ Code of Ethics:
1. During their shift on a panel, each Judge must focus all of
their attention on the contestants, have a positive demeanorand facial appearance and complete their ballots only in thelast few seconds of each song.
2. When not on shift, Judges are encouraged to socialize
equitably with patrons. They may not isolate themselves in thecompany of any contestant(s) that they might judge during theevent. i.e., room with, privately converse with or publiclyfraternize with.
3. Private lessons may not be given to contestants until after
they are finished competing.
4. A judge may never coerce, intimidate, or in any way
perceivably threaten contestants into taking private lessons orcoaching from them.
5. Judges may not discuss dance information with any
contestant they are judging until after the contest session hasbeen completed.
IX. INVIGILATION: Invigilation may be used when
deemed necessary or useful. In addition to SyllabusDivisions, this may include Line Dance Vanilla and BasicRule as well as Movement Limitations
X. UCWDC® CONTEST COORDINATORResponsibilities and Requirements
A. Contest Coordinator: Every UCWDC® event must
provide for an official UCWDC® Certified - ContestCoordinator who will serve to coordinate and manage all
UCWDC® contest divisions in accordance with theUCWDC® Dance Rules, Contest Procedures and ScoringFormat as well as the UCWDC® Judge CertificationCurriculum. The Contest Coordinator while being employedby the event actually executes his or her duties on behalf of
the governing body of the UCWDC®, working not only for
the Event Director, but also for all UCWDC® contestantsand patrons, guarding the intent and integrity of these rules.
1. An event Contest Coordinator shall be fully responsible for
delivering all contest logistics as determined by the EventDirector.
2. During an event, the Contest Coordinator must be present
and accessible at all times during the competition and may notperform other duties that take him/her away from thecompetition floor, nor act as the event’s sole Scrutineer or Scoring Coordinator unless he or she has arranged that all
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Contest Coordinator duties are delegated adequately andprofessionally during his or her absence. Returning fromsuch absence, this delegated work should be fully audited.
3. The Contest Coordinator will supervise the work of any
and all floor coordinators, responsible for the taking ofattendance and staging of contestants; any and all ballotcoordinators, responsible for the collection and organizationof contest ballots for the scoring room; any and allscrutineers, responsible for interpreting and transcribingjudge’s marks into placements, and/or medals grades; andany and all scoring room personnel, responsible for heatsheet preparation and posting, ballots preparation, computerdata entry, scoring audits, reports and awards lists; plusemcees and deejays when working during a contest session.
4. The primary responsibility for judge panel selection and
event scheduling falls on the Event Director. At the EventDirector’s option, the Contest Coordinator may be consultedfor suggestions on the creation of judge panels andschedules. However, in no case may the Contest Coordinator‘overrule’ the Event Director. If the resulting contest integrityis compromised, the Contest Coordinator is required to notify
the UCWDC® Council regarding the Event Director’s decisionsduring that Event’s next Sanctioning review.
5. The Contest Coordinator, using the Event Director’s event
schedule, will determine, and direct the Scoring Coordinator,as to how heats are to be made for each contest session,including which divisions will be commingled as necessary forexpedience.
6. The Contest Coordinator shall direct the Scoring
Coordinator to ensure that all heats are randomly generated,then randomly scrambled within each heat to avoidcontestants dancing in the same order in each dance. TheContest Coordinator is then responsible for protecting thoseheats from re-arrangement to ensure fairness.
7. The Contest Coordinator will advise all judges in sessions
as to the specifics of the contest logistics and will superviseall judges as they perform their adjudication duties. He orshe will administer all contest problems as they arise insession, including any rules interpretations deemednecessary by contest discrepancies and/or ambiguities, orcurriculum positives and/or negatives that surface during thesession.
8. At no time during the event, prior to a Judge’s shift will a
Contest Coordinator influence a judge, or allow anyone elseto coach, instruct or influence any judge regarding theirsubjective opinions about a dance or division.
9. The Contest Coordinator will advise judges that penalties
are no longer applied separately on the ballot and carefullyremind them to combine their performance assessment foreach contestant entry with their consideration of any and allrules or curriculum infractions observed for that contestantbefore making their final Medal or Grade and Rank mark ontheir ballots.
10. When required, the Contest Coordinator will conference
with the judges and/or contestants during a contest session toanswer their direct questions or notify them of a rules orcurriculum interpretation or infraction deemed necessary foreducation purposes either after the heat or the contestsession as the case may be.
11. The Contest Coordinator will audit the work of any and
all scoring personnel who score any dance or division. As alast resort, upon failure of the scoring apparatus, he or shewill construct and supervise a method for determining the
contest results per the UCWDC® Scoring Format and deliverthose results is a timely manner. Therefore, the ContestCoordinator must fully and accurately comprehend and beable to personally execute and instruct in all rules of theScoring Format.
12. Before leaving the event, the Contest Coordinator will
remind each Scoring Coordinator and Event Director about thedeadlines for submitting any and all reports and files due from
the event and its Scoring Coordinator to the UCWDC®
Webmaster, UCWDC® Points Committee Chair, UCWDC® VPDance Rules & Contest Procedures and the UCWDC® VPJudge Certification.
13. The Contest Coordinator will also fill out and return any
reports and/or worksheets required of him or her by the JudgeCertification or Rules and Contest Procedures Committeesregarding judge performance and effectiveness. The reportshould note all contest issues and rules interpretations arrivedat, any conduct or procedure issues by judges, the make-up ofjudge panels, scoring and/or awards discrepancies and anyother pertinent information to the UCWDC® VP JudgeCertification, and the UCWDC® VP Dance Rules & ContestProcedures respectively.
14. The Contest Coordinator is responsible for personally
auditing the contest results, or supervising the delegation ofsuch audits, and must be prepared to adequately andprofessionally explain any scoring analysis packages that aredispensed after awards, as well as investigate and solve anyresults discrepancies.
15. The Contest Coordinator will be the invigilator (monitor
the patterns) for Syllabus A and B Divisions.
B. Contest Coordinator Certification:
1. Because a Contest Coordinator must not only know the
letter of a particular rule, but also know the intent behind thecreation of that rule, each Contest Coordinator must come
from the governing body of the UCWDC®, and must be an
active member annually directing a UCWDC® event.
2. Contest Coordinators must be members of the Rules’
Committee, where rules issues are discussed, deliberatedupon, and either discarded, tabled, or accepted. In this way,each Contest Coordinator comes to know the intent as well asthe letter of a rule, and can discuss with patrons and judgesnot only the present state of the rule, but also the historybehind its inception.
3. Contest Coordinators must attend Contest Coordinators’
Committee meetings at least once annually.
4. At any UCWDC® event, if an on-site interpretation becomes
necessary due to an inconsistency or ambiguity in these rules,a Contest Coordinator is required to notify the UCWDC® VP ofRules Contest Procedures and Scoring Format of suchspontaneous, decisive actions at his or her earliest availability. Such coordination of Contest Coordinators is required tomaintain consistency in contest administration, thus avoidingpossible contradictions in rules interpretation.
2011201120112011 UCWDC UCWDC UCWDC UCWDC® Rules Rules Rules Rules Updates and ClarificationsUpdates and ClarificationsUpdates and ClarificationsUpdates and Clarifications
Hello Dancers! We continue working on improving our sport and bringing new people into our Country Western dance family. This year we will improve communication between the judges and competitors by releasing the judges’ names with the competitors’ scores. To help explain our standards, etiquette and judging process we will have Competitors’ meetings at each event. Please help us to make this transition smooth and informative for all. Our VP of Judge Certification, Kathy St. Jean, is working hard on this process. Please take time to thank her for her hard work!
We have resolved not to change the body of these rules for Couples, ProAm and Line Dance for the next three years. We will concentrate on and continue to update the Syllabus, Appendices (Judge Certification, Glossary, etc.), Troupes and Teams, and any wording if clarifications are necessary. We are working towards having separate documents for each Dance Type (Couples, Line Dance, ProAm and Groups/Teams) as well as a formatting for the rules that is easier to read. We will continue to review our rules as well as collect your comments and suggestions for change.
Details for these rule changes and clarifications as well as the complete UCWDC® Rules, Contest
Procedures and Scoring Format are available at www.UCWDC.org. We hope you have a fabulous 2011 Dance Season. Good luck to all!
Beth Emerson, Vice President of Rules
For All Dance Types
• Current Associate Membership will be required for all competitors in UCWDC® divisions. For new dance competitors, their first Dance Season will cost just $5. Also a one-time membership will cost $4 per person (this single event membership will NOT accrue Worlds Eligibility and can never be converted into one that does, but will give you points towards Points Championships).
• Competitors who dance both Showcase Open and Classic Open divisions may combine their overalls for Worlds Eligibility -Classic may be either Intermediate or Advanced in Line Dance or II or I in Couples. That is, one event may be Classic and two Showcase or vice versa. This is a clarification, not a change. If a competitor is in Line Dance Open Intermediate (or Couples Open II) and Showcase those events may also be combined.
• Invigilation is used now for Syllabus divisions and may be used in other situations. Possibilities include Line Dance Vanilla and Basic Rule as well as Movement Limitations.
• Judges’ names will be released with competitors’ scores and the Comment Markings Appendix will be removed.
• Newcomer Costuming: The wording for Newcomer costuming has been clarified. It now reads: Contestants in Divisions Syllabus A and B, IV and ProAm Newcomer and Line Dance Newcomer are not allowed to wear costumes that have any sequins, rhinestones or other sparkly embellishments, or metallic threads woven into the costume. This does not include jewelry, hatbands, belt buckles.
• The Olympiad Appendix has been reviewed and the Olympiad solo dance short program will be 2 - 2 1/2 minutes without internal requirements
2011201120112011 UCWDC UCWDC UCWDC UCWDC® Rules Rules Rules Rules Updates and ClarificationsUpdates and ClarificationsUpdates and ClarificationsUpdates and Clarifications
For Couples, ProAm and ProPro
• Couples dancing in multiple divisions with separate partners must compete at the same skill level.
• We’ve formed a Classic Music Committee chaired by Glenn Cravalho which will publish a list of music used for Classic Couples and ProAm Divisions. The information published will be Name of song, name of artist, name of cd, tempo the song was played, phrase list (ie 4, 8, 8, 4, 8, 4 …). These songs will be reviewed and songs not appropriate for that dance will be removed. Classic music at Worlds will be chosen from this list.
• Couples, ProAm and ProPro Showcase Divisions (except Masters and Crown) will have the same rules and Acrobatics (not Aerials) will be allowed in those Showcase Divisions
• Couples, ProAm and ProPro Classic Divisions (except Masters and Crown) will have the same rules. Syllabus and Div IV and Newcomer will continue to have the same additional limitations.
• Ascension to Crown – Gold Combined includes novices, so Gold Combined winners are not eligible for Crown. The wording in the rules will specity that only Crystal I (once the competitors turn 40), Diamond I and Silver I and Advanced are ascension divisions to Crown
• Masters’ Showcase movement limitations will be removed. There will be no movement limitations in Masters’ Showcase.
For Troupes and Teams
• Team Rules are complicated! We are working on making these rules far simpler. We thank JP Oster for leading this effort. Please contact him if you have ideas in this area.
• Wheel Chair divisions – Wheel Chair competitors wish to be included with regular divisions so language has been added to clarify that they may enter ShowTime and/or Team Cabaret divisions.
For Line Dance
• Journeyman or Masters Certified Judges that are not actively competing in Line dance will be able to
Judge Line Dance at worlds.
• Line dance judges at Worlds will be given no more than two levels to judge. (Newcomer/Novice for
example). These judges will be informed in advance of Worlds and will be required to learn the
classic line dances by step sheet and video, and demonstrate the vanilla prior to judging at worlds.
• Step sheets will be provided and used during the classic line dance contests.
• RisingStars Division will continue through age 19 (RisingStars competitors must be at least 14 and
under 20) and advanced teens may make a choice the year they turn 18. They may move to Line
Dance Open Advanced or continue to dance in RisingStars until the year they turn 20. Once made
that choice is final.
• Choreography Music Length will be 1 ½ minutes except for ABC dances which will be 2 minutes.
Appendix A UCWDC Divisions Offered
Group Primary Youth Teen Juniors Any Age Open Age Crystal Diamond Silver Gold Platinum
Age <10 10-13 14-17 <18 18+ 30+ 40+ 50+ 60+ 70+
Starter A and B L L
Newcomer L, PA L, PA L, PA PL L, PA, PL L, PA L, PA, PL L, PA L, PA PA
Novice L, PA L, PA L, PA PL L, PA, PL L, PA L, PA, PL L, PA L, PA
Intermediate L, PA L, PA L, PA L, PA L, PA L, PA L, PA L, PA
Intermediate/Advanced PL PL PL
Combined (Nov, Int, Adv) PA
Advanced L, PA L, PA L, PA L, PA L, PA L, PA L, PA L, PA
Syllabus A and B PA, C PA, C
IV C C C C C C
III C C C C
II
II/I C
I C C C
Combined (III, II, I) C C C TT PAS, TT TT C PA
Showcase PA, L PA, L, C TT PA, L, C, PP, PAS, TT PA, L, C, PP, TT
Professional PP PP, PPS, R, CH PP
Ascended Level RS M, SS LCR, CCR, LG
Any Skill R <14 TT, O CH, TT, ST O, R 14+ TT O
CH = Choreography, R = Renegade PAS = ProAm Spotlight, PPS = ProPro Spotlight O = Olympic Line Dance, Couples and Group Divisions
All ProAm, ProPro, ProAm Spotlight, ProPro Spotlight, Line Dance, Line Dance ProAm, Line Crown, RisingStars and SuperStars Divisions
are further divided by gender.
C = Couples, L = Line, PA = ProAm, PP = ProPro, PL = ProAm Line TT = Troupes and Teams, ST = ShowTime,
M = Masters, SS = SuperStars, CCR = Couples Crown, LCR = Line Crown, RS = RisingStars, LG = Legends,
Appendix B: UCWDC Glossary:
I. General Definitions:
A. Movements that incorporate any of the following defined dance concepts are subject to allowances
and limitations as stipulated . Where height levels are indicated in the definition of a movement(i.e., “knee” level, “waist” level, “shoulder” level, “head” level, et cetera), those levels shall bedetermined by a contestant’s standing upright and flat-footed. Movements are considered“stationary” when they are done in place and are not rotated on an axis or transported across thedance floor.
B. The following list of definitions that are by usage specifically relevant to UCWDC competition.
1. Footwork and Turns Concepts:
a. Plié: any positioning of the feet that rotates the toes outward and lowers the body through the knees orankles.
b. Relevé: any positioning of the feet that lifts or “elevates” the body by pressing upwards on the balls of thefeet, releasing the heels, and straightening the ankles and knees.
c. Pivot Turn: any progressive turn by a contestant that rotates into open fifth or third position of the feet,and through executing the rotation across the floor maintains said foot and body position as well as thesame position of the legs throughout the turn. Turns tend to be executed “smoothly” with half rotations insuccessive counts of music
d. Chainé Turn: any progressive turn by a contestant that rotates from open third position of the feet toclosed first position and back again, rotating hips and shoulders in unison. Turns tend to be executed“rhythmically” completing one quarter of the turn when bringing the feet to closed first position, then threequarters of the turn back to open third position on successive counts of music.
e. Spiral Turn: any progressive turn by a contestant that after having prepped the turn in one direction, thenpassing the back foot forward to open fifth position, rotates the body in the opposite direction of theforward foot one full revolution to step with the other foot forward in open fifth position. Turns tend to beexecuted “rhythmically” completing the turn of one full revolution only after having taken the first stepforward with the opposite foot, both steps taken on successive counts of music.
f. Swing & Sway Turn: any progressive turn by a contestant that after having executed leg swing followed bybody swing to propel forward leading with one side of the rib cage, rotates the body as the feet collect inthe opposite direction by switching the sway action and leading with the other side of the rib cage. Turnstend to be executed “smoothly” with a full rotation in first position between successive counts of music.
g. Heel Turn: any progressive turn by a contestant that after having stepped to the side or backward, rotatesthe body opposite the direction of the stepped foot, with the free foot swinging around in a pivoting action,while turning on the heel of the stepped foot, or with the free foot closing to the stepped foot and turningon the heels of both feet, then commencing the next forward step. Turns tend to be executed “smoothly”with a weight shift to the heel, turning through the heel, and then rolling forward again through the ball ofthe foot.
h. Spin Turn: any stationary turn by a contestant that rotates forward or backward at least one full revolutionbalanced on one foot, with the other foot placed in either an un-weighted first position along side theweighted foot, or an un-weighted second position extended sideways touching the floor (called a “fan”spin). A spin turn may also include the un-weighted foot held in an “adagio” or balanced position, such asforward or back attitude, passé, or arabesque. Turns may occur in intervals of any relation relative tosuccessive counts of music.
i. Paddle Turn: any stationary turn by a contestant that rotates around one predominately weighted andcentralized foot, using the second foot to push off or paddle around the first foot, turning in the oppositedirection of the push or paddle foot. Paddle turns that rotate in quarters of a revolution around acentralized foot are also called “pony” turns, finishing with weight transferred from the push foot to thecentralized foot. Paddle turns that rotate in half of a revolution around a centralized foot are also called“chase” turns, finishing with weight transferred from the push foot to the centralized foot. Turns mayoccur in intervals of any relation to successive counts of music.
j. Twist Turn: any stationary turn by a contestant that rotates by crossing or hooking the feet in a lockedfirst or second position, and then executing the turn by rotating through the balls and/or heels of both feet,finishing with weight on either foot or equally weighted. Turns may occur in intervals of any relation tosuccessive counts of music
k. Monterey Turn: any stationary turn by a contestant that rotates backward any amount of revolution(s)balanced on one foot, with the other foot placed in first position, or locked first or second position,finishing in a pointed or equally weighted second position. Turns may occur in intervals of any relationrelative to successive counts of music.
l. Trace Turn: any stationary turn by a contestant that rotates a half turn around one weighted foot in thedirection of that foot as it commences the step forward and collects both feet with the free foot tucked intothe instep of the weighted foot. Turns may also be done backward in the direction of the foot as itcommences the step backward and collects both feet with the free foot also tucked into the instep of theweighted foot. Turns tend to be executed “rhythmically” completing one half of a turn in a “snap” fashionin basically the opposite direction of a “chase” turn.
2. Acrobatic Concepts:
a. Lift: any move where both feet of one partner are propelled vertically off the floor and weight is fullysupported by the other partner.
b. Low Lift: any move where both feet of one partner are propelled vertically off the floor and weight is fullysupported by the other partner, and some part of the body of the lifted partner (not to include hair) is at orbelow the knee level of the lifting partner (standing)
c. Upside-down Lift: any move where both feet of one partner are propelled vertically off the floor and weightis fully supported by the other partner, and the head of the lifted partner (not to include hair) goes belowthe waist of the lifted partner, and some part of the body of the lifted partner (not to include hair) is at orbelow knee level of the lifting partner (standing). An upside-down lift must be performed “in place” andneither partner is allowed to rotate on an axis or otherwise move on or across the floor while this lift isbeing performed.
d. Throw: any move where both feet of one partner are propelled at a less than vertical angle off the floorand weight is momentarily supported by the other partner, and the “thrown” contestant is transported andreleased through the air by momentum supplied through momentary “lifting” by the other partner
e. Carry: any move where at least one foot of one partner has contact with the floor and weight is fullysupported by the other partner, and the “carried” partner is rotated around an axis or transported acrossthe floor by the other partner.
f. Jump: any move where either partner more deeply compresses into the floor and uses knees and thighsto independently propel both feet off the floor and does not pass them above and across the plane ofeither his or her or his or her partner’s head, and no other contact with the floor is maintained. A jump isseen as a contestant “intentionally” becoming airborne by design.
g. Hop: any move where either partner does not compress into the floor and uses only ankles and a slightbend in the knees to independently but lightly propel both feet off the floor and does not pass them aboveand across the plane of either his or her or his or her partner’s head, and no other contact with the floor ismaintained. A hop is seen more as a natural product of body flight or movement flow where becomingslightly airborne is necessary to the dance move (e.g., “lilted” kicks in East Coast Swing).
h. Aerial: any move where a either partner independently propels both feet off the floor and passes themabove and across the vertical plane of either his or her head or his or her partner’s head, and no othercontact with the floor is maintained.
i. Acrobatic: any move where either partner independently or in partnership passes his or her foot, leg, ortorso above and across the vertical plane of either partner’s head, or passes their head through the legs ofthe standing partner, and contact with the floor is maintained.
j. Lean: any stationary move where the head or torso of a one partner is at or above the waist level of theother partner and weight is at least partially supported (“leaning-in”) or counter-balanced (“leaning-out”) bythe other partner. Low Lean: any stationary move where the head or torso of one partner is at or abovethe knee level of the other partner and weight of the “lowered” partner is at least partially supported(“dipping” into) or counter-balanced (“dipping” away) by the “standing” partner.
k. Drop: any move where the head and torso of a one partner is lowered below the knee level of the otherpartner and weight of the “lowered” partner is at least partially supported or counter-balanced by the“standing” partner. A drop may be performed stationary, i.e., in place, (described below), or it may bedone moving, i.e., rotating on an axis or transported across the floor.
l. Stationary Drop: any move where the head and torso of one partner is lowered “vertically” below the kneelevel of the other partner and weight of the “lowered” partner is at least partially supported by the“standing” partner, and the supporting partner remains “vertically” above the “lowered” partner, who is notlying on the floor. A stationary drop must be performed “in place” and neither partner is allowed to rotateon an axis, drag, scoot, or otherwise move on the floor
m. Ride (or leaning Horse & Cart): any move where the head or torso of one partner is at or above theknee level of the other partner and weight is at least partially counter-balanced (“leaning-out” or“dipping” away) by the other partner. To execute a ride, the supporting partner rotates the “riding”partner on an axis around the floor. A
n. Drag: any move where the head or torso of one partner is at or above the knee level of the other partnerand weight is at least partially supported (“leaning-in” or “dipping” into) by the other partner. To execute adrag, the supporting partner transports the “dragged” partner across the floor, maintaining contact withthe floor.
o. Slide: any move where either partner through his or her own inertia transports himself/herself across thefloor while maintaining contact with the floor.
p. Slash: any move where one partner whose momentum is supplied through the other partner is propelledor transported across the floor by the other partner, maintaining contact with the floor.
q. Split: any move where either partner independently or in partnership slides his or her foot or feet apart,with both feet maintaining contact with the floor, holding his or her legs straight, and the “splitting”partner’s body is lowered toward the floor. A fully developed split is one that lowers the torso completelyto the floor, with legs fully extended in opposite directions. A split may be performed stationary, i.e., inplace, (described below), or it may be done moving, i.e., rotating on an axis or transported across thefloor. It is also considered a moving or transported split when independently or in partnership one foot,the first foot, of the “splitting” partner moves away from the base support foot, the second foot, and oncefully extended or “split”, the initial base support foot, the second foot, now moves toward the first foot,which in turn now becomes the final base support foot.
r. Stationary Split: any move where either partner independently or in partnership slides both feet apart, withboth feet maintaining contact with the floor, holding his or her legs straight, and the “splitting” partner’sbody is lowered “vertically” toward the floor. A fully developed stationary split is one that lowers the torsoabsolutely “vertical” and completely to the floor, with legs fully extended in opposite directions. It is alsoconsidered a stationary split when independently or in partnership one foot, the first foot, of the “splitting”partner moves away from the base support foot, the second foot, and once fully extended or “split”, thefirst foot now returns back toward the initial base support foot, the second foot. A split may be performedstationary, i.e., in place, and if weight is at least partially supported by the other partner, the supportingpartner remains unmoving “in place” and/or “vertically” above the “splitting” partner
s. Lunge: any move where either partner independently or in partnership plants or stops one foot on the floorand slides his or her other foot apart with both feet maintaining contact with the floor holding the leg of the“sliding” foot straight while bending the leg of the “planted” or base support foot, and the “lunging”partner’s body is lowered toward the floor
3. Adagio Concepts:
a. Adagio: any balanced or counter-balanced move where either partner independently or in partnership hasonly one foot in contact with the floor and the second foot is elevated in an artistically appropriateposition. By definition, an adagio movement is developed or held beyond one count of music. Examplesof adagio movement are any slowly developing ballet-type or theatre arts-type movements, e.g., attitude,arabesque, développé, rond dé jambe, tele rond dé, penché, passé, pirouette, pedestal, piqué, fouetté, etcetera.
b. Allegro: any balanced or counter-balanced move where a contestant independently or in partnership hasonly one foot in contact with the floor and the second foot is elevated into an artistically acceptableposition. By definition, an allegro movement is executed on only one count of music. Examples of allegromovement are any quickly executed ballet-type or theatre arts-type movements, e.g., a kick, a flick, aquick rond dé jambe, a quick passé, a quick piqué turn, et cetera.
c. Arabesque: any move where a contestant independently or in partnership plants or stops one foot on thefloor and his or her other foot is elevated into the air straightening the leg of the “lifted” foot at themaximum height of its movement. The planted leg may be bent or straight, and in partnership, need notsupport the full weight of the contestant performing the arabesque. The arabesque may be performedwith the “lifted” leg forwards or backwards.
d. Penché: any move where a contestant executes an arabesque where the “lifted” foot of the elevated legextends higher than the head of the partner performing the penché. The “planted” leg may be bent orstraight, and in partnership, need not support the full weight of the contestant performing the penché. Thepenché may be performed with the “lifted” leg forwards or backwards.
e. Passé: any move where a contestant independently or in partnership plants or stops one foot on the floorand his or her other foot is elevated to a position alongside the knee of the supporting leg and thesupporting leg is held straight. Different images of passé may be obtained depending on whether theknee of the elevated leg is aligned parallel, perpendicular, or diagonal of the torso.
f. Piqué: any move where a contestant independently or in partnership executes a turn, rotating on an axiswhile being in a passé position. When in partnership, the “rotating” partner is balancing and turning inplace, while the contestant’s partner is either standing still, or at least not moving in the same direction orat the same pace as the “rotating” partner.
g. Attitude: any move where a contestant independently or in partnership plants or stops one foot on thefloor and his or her other foot is lifted, with the elevated leg approaching the passé position and thenextended with a bent knee either forwards or backwards. To execute an attitude, the foot of the elevatedleg is held lower than the knee of the elevated leg and held in line with the “planted” leg perpendicular tothe line of the torso
h. Pirouette (or Finger Turn): any move where a contestant independently or in partnership executes a turn,rotating on an axis while being in an “attitude” position. When in partnership, the “rotating” partner isbalancing and turning in place, while the contestant’s partner is either standing still, or at least not movingin the same direction or at the same pace as the “rotating” partner. Done in partnership where connectionis maintained, this turn is also referred to as a “finger” turn.
i. Pedestal (or standing Horse & Cart): any move where a contestant executes a passé, attitude, arabesque,or other adagio line or shape and in partnership is rotated on an axis by the contestant’s partner movingaround the contestant balancing in adagio. When in partnership, the “rotating” partner balancing in placeis actually moved or turned by the contestant’s partner at a rate equal to the contestant’s partner’s realtravel around the “rotating” partner.
j. Jeté: any move where a contestant “jumps” from one foot to the other foot, transporting his or her torsothrough the air and across the floor.
k. Grand Jeté: any move where a contestant “jumps” from one foot to the other foot, elevating his or hertorso through the air and across the floor, while performing a “split” line elevated from and parallel to thefloor.
l. Tour Jeté: any move where a contestant “jumps” from one foot to the other, transporting his or her torsothrough the air and across the floor, while performing one-half turn and upon landing, executing anarabesque or penché position.
m. Développé: any move where a contestant has one foot placed with full supporting contact to the floorand executes a passé position, and the elevated leg is extended with a bent knee forwards andupwards. To execute a développé, the foot of the elevated leg is further extended forwards andupwards until the elevated leg is straightened at the height of the movement. Also required for adéveloppé is that as the elevated leg is fully straightened, the knee of the elevated leg must not loweras the foot of the elevated leg is extended.
n. Rond de jambe: any move where a contestant rotates his or her body and upon immobilizing the torso,having placed one foot with supporting contact to the floor, sweeps the second foot around thecontestant’s body in an arc. In rond de jambe the muscles and ligaments of hips are loosened to allowthe sweeping leg to move freely in a circular motion without disturbing the immobility of the torso. However, to maneuver the momentum of the sweeping leg, the contestant may rotate the supporting footup to but no more than one-quarter turn from its original placement. To execute a rond de jambe, thesweeping foot must lead with the toe and not the heel as the leg arcs around the body. A sweep of the legwhere the foot remains in contact with the floor is called a “rond de jambe a terre”. A sweep of the legwhere the foot is elevated off the floor is called a “rond de jambe en l’air”. If the sweep of the leg bringsthe un-weighted foot in an arc from front to back of the contestant, it is called “en dehors rond de jambe”. If the sweep of the leg brings the un-weighted foot in an arc from back to front of the contestant, it iscalled “en dedans rond de jambe”.
o. Tele rond de: any move where a contestant independently or in partnership executes a rond de jambemovement that rotates the body or torso one-half turn from its original position.
p. Fouetté: is any move where a contestant executes a rond dé in conjunction with using the momentum ofthe movement to turn in a passé position. Consecutive fouetté movements may be performed by goingfrom the turning passé position, then executing another rond dé, turning in passé, executing another ronddé, turning in passé, et cetera.
4. Floor Concepts:
a. Kneel: any move where a contestant contacts the floor with one or both knees.
b. Sit: any move where a contestant contacts the floor with one or both buttocks.
c. Lie: any move where a contestant contacts the floor with any part of his or her pelvic, hip, or buttockregion of the body and also contacts the floor with any part of his or her upper body (hands, arms, ribcage, shoulders, or head).
d. Floor Lean: any move where a contestant contacts the floor with any part of his or her feet or knees andbraces his or her weight off the floor by contacting the hand or hands, or elbow or elbows, and with nopart of his or her pelvis, hip, or buttock region contacting the floor, keeps his or her torso lower than thelevel of his or her head.
e. Bridge: any move where a contestant contacts the floor with his or her feet or knees, and braces his or herweight off the floor by contacting the hands, arms, shoulders, or head, and with no part of his or herpelvic, hip, or buttock region contacting the floor, raises his or her torso higher than or level with his or herhead.
5. Partnership Concepts:
a. Shine: any move where a contestant in pairs performance is not bodily connected to his or her partner,and the move is deemed non-leadable. One partner holding or leading by an article of clothing worn bythe other partner, but not physically touching the other partner’s body is not considered bodily“connected”, therefore such movements will be deemed “shine”. “Shine” does not include moves thatconclude without connected lead & follow, but finish based on the pattern structure of the dance, e.g., an“anchor” after a free spin that occurs without connection to conclude a West Coast Swing pattern.
Appendix C
Classic Line Dance Change Schedule
Each Year
Dance Dance Release Date Usage Date
Category Motion for ( + or - 15 days at each Event Director's Option)Int/Adv Usually in Usually inDivisions
A Rise & Fall November FebruaryB Lilt December MarchC Smooth February AprilD Cuban March JuneE Funky April JulyF Novelty April July
Note: Newcomer divisions will include dances A,B and C. These dances may not be motion specif
Note: Novice divisions will include dances A,B,C and D. These dances may not be motion specific
One of the Newcomer or Novice Dances may be Funky. If so, it will be offered for the Open and Junior Divisions, and a Novelty Dance will be offered for the Age Divisions.
Couples, ProAm and ProPro Music Each Even Numbered Year
Usage Date
Release Date( + or - 15 days at each
Event Director's Option )
Dance Category 2nd Wednesday of 2nd Saturday of
Waltz November (of odd year) February
Cha Cha January April
East Coast Swing March June
Triple Two May August
Each Odd Numbered Year
Usage Date
Release Date( + or - 15 days at each
Event Director's Option )
Dance Category 2nd Wednesday of 2nd Saturday of
Two Step November (of even year) February
West Coast Swing January April
Nightclub March June
Polka May August
Line Dance MusicEach Even Numbered Year
Usage Date
Release Date(+ or - 15 days at each
Event Director's Option)
Dance Category 2nd Wednesday of 2nd Saturday of
Rise & Fall November (of odd year) February
Lilt February May
Smooth June September
Each Odd Numbered Year
Usage Date
Release Date(+ or - 15 days at each
Event Director's Option)
Dance Category 2nd Wednesday of 2nd Saturday of
Cuban November (of even year) February
Funky February May
Novelty June September
SuperStars and Line Crown Dance A and B
Usage Date
Annual Release Date(+ or - 15 days at each
Event Director's Option)
Dance Category 2nd Wednesday of 2nd Saturday of
Dance A December March
Dance B March June
Appendix D: Perpetual Showcase Change Schedule
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APPENDIX E: UCWDC SCORING FORMAT
For all UCWDC divisions, the Majority Rules Scoring Format is used. Rules #1 through #8 determine the placements for each single-dance category. Rules #9 through #11 use these single-dance placements and individual judges’ marks to determine the Overall Championship placements. The event’s Scrutineer/Scoring Coordinator will calculate the placement for each dance and the divisional Overall placements using the following scoring rules:
A. Rule #1 – Preliminary Rounds 1, 2, etc., to determine Semi-Finalists:
1. A Preliminary Round will graduate contestants to the Semi-Final Round rather than eliminate them. All remaining contestants are then eligible to dance one or more additional Preliminary Rounds to try and make the Semi-Finals.
2. If a Preliminary Round is called for, on the ballot each judge will circle a Medal: GG, H, G, S, B, or M; or a Grade: AA, A, B, C, D, or F for each contestant. It is not necessary to Rank the Medals or Grades. Ties are acceptable.
3. Rules #3 through #8 are used to determine each contestant’s placement in the category for this round of competition. The top ten contestants (plus ties, if any) are immediately placed in the Semi-Finals. Each category in which a contestant dances at least one Preliminary Round counts toward his or her Overall Championship eligibility.
4. If more than ten contestants are graduated to the Semi-Finals from a Preliminary Round because of a tie in Rule #8, the number of contestants graduated in the next Preliminary Round should be reduced by the same number as the previous round was increased as a result of the tie. After all Preliminary Rounds, the total number of Semi-Finalists will be a factor of ten (10, 20, 30, etc.) unless there was a tie in Rule #8 in the final Preliminary Round.
B. Rule #2 – Semi-Final Rounds to determine Finalists:
1. Semi-Final Round(s) will eliminate contestants rather than graduate them to the Finals.
2. In a Semi-Final Round on the ballot each judge must circle a Medal: GG, H, G, S, B, or M; or a Grade: AA, A, B, C, D, or F for each contestant. It is not necessary to Rank these Medals or Grades. Ties are acceptable.
3. Rules #3 through #8 are used to determine each contestant’s placement in the category for this round of competition. The bottom ten contestants (plus ties, if any) are eliminated. Each round of Semi-Finals will eliminate contestants from the bottom of the placement rankings.
4. If more than ten contestants are eliminated from a Semi-Final Round because of a tie in Rule #8, the number of contestants eliminated in the next Semi-Final Round should be reduced by the same number as the previous round was increased as a result of the tie. Thus, after the Semi-Final Round(s) the total number of Finalists will be ten (10), unless there was a tie at Rule #8 in the final Semi-Final Round.
C. Rule #3 – Final Round, to determine majority mark:
1. In the Finals for a non-ProAm/ProPro category and ProAm Starter, on the ballot each judge will circle a Grade: AA, A, B, C, D, or F for each contestant. Each circled Grade must then be ranked, with the lowest number being the higher rank. For Pro-Am/Pro-Pro categories except Starter, each judge will circle a Medal: GG, H, G, S, B, or M for each contestant. It is not necessary to rank Medals as ties are acceptable in ProAm and ProPro.
2. For non-ProAm/ProPro and ProAm Starter contests, the Grades and their ranks are converted to placements. A higher Grade always defeats a lower Grade, e.g., C always defeats D. If the same Grade is used more than once on a ballot, the Grades must be ranked by the judge from first to last. A Grade with a lower number always defeats the same Grade with a higher number, e.g., D3 defeats D4. When Grades and their ranks are examined together A29 defeats B1.
3. The majority mark of the judges is the first determination of the results. Each contestant’s marks are re-ordered by sorting them in ascending order; e.g., [3,1,2,4,5] is re-ordered in ascending order to [1,2,3,4,5]. Likewise, the Medals for Pro-Am/Pro-Pro [S,B,GG,G,H] (where GG = 1, H = 2, G =3, S = 4, B = 5, and M = 6) are re-ordered in ascending order to [GG,H,G,S,B]. The majority mark is always the middle mark. In the examples above that had 5 judges, the majority mark is 3 or G, respectively. In the case of 7 judges the 4
th mark is the majority mark, and for 9
judges the 5th is the middle mark, et cetera.
4. The middle marks that determine the majority for all contestants are sorted in ascending order, from the smallest number to the largest. The smallest number or highest Medal (smallest numerical value) is the best majority mark and receives 1
st place. The next larger number or lower Medal will be awarded 2
nd place, et cetera, until all
contestants in a dance are assigned a unique placement. If a tie persists after Rule #3, proceed to Rule #4.
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D. Rule #4 – 1st Tiebreaker, to determine the majority size:
1. In case of a tie at Rule #3, the size of the majority for each contestant is determined by counting the number of marks at the majority mark or better, e.g. [1,2,3,4,5] or [GG,H,G,S,B] has 3 marks that are equal to the majority mark or better. [2,2,3,3,4] or [H,H,G,G,S] has 4 marks that are majority mark or better, and [3,3,3,3,3] or [G,G,G,G,G] has five marks at the majority mark or better. All three groups have the same majority mark of 3.
2. The size of the majority for all contestants is sorted in descending order, from the largest number to the smallest. The larger number represents a greater majority size, i.e., more marks at the majority mark or better, so that contestant is awarded the higher placement. The contestant with the next smaller number will be awarded the next higher placement, et cetera, until all tied contestants are assigned a unique placement. If a tie persists after Rule #4, proceed to Rule #5.
E. Rule #5 – 2nd Tiebreaker, to determine majority sum:
1. In case of a tie at Rule #4 each contestant’s marks that comprise the majority size will be totaled, e.g., [1,2,3,4,5] or [GG,H,G,S,B] (where GG = 1, H = 2, G =3, S = 4, B = 5, and M = 6) has an aggregate value of 6. [2,2,3,4,5] or [H,H,G,S,B] has an aggregate value of 7. [2,3,3,4,5] or [H,G,G,S,B] has an aggregate value of 8. [3,3,3,4,5] or [G,G,G,S,B] has an aggregate value of 9. All four example groups have the same majority mark of 3 or G, respectively, and the same majority size of 3.
2. The sum of the majority for all the tied contestants is sorted in ascending order, from the smallest number to the largest. The smallest number represents the best majority sum. The contestant with the smaller majority sum number is awarded the higher placement. The contestant with the next larger number will be awarded the next higher placement, et cetera, until all tied contestants are assigned a unique placement. If a tie persists after Rule #5, proceed to Rule #6.
F. Rule #6 – 3rd Tiebreaker, to determine look-ahead groups:
1. In case of a tie at Rule #5, each contestant’s re-ordered marks that are to the right of the exact middle, majority mark, create a look-ahead number group to be compared, e.g., [1,2,3,4,4] or [GG,H,G,S,S] has a look-ahead group of [4,4] or [S,S]. [1,2,3,4,5] or [GG,H,G,S,B] has a look-ahead group of [4,5] or [S,B]. [1,2,3,5,5] or [GG,H,G,B,B] has a look-ahead group of [5,5] or [B,B]. All three groups have the same majority mark of 3 or G, respectively; the same majority size, 3; and the same majority sum, 6.
2. When looking at each look-ahead group (with each successive mark separated by a comma) from left to right, the first mark of each tied contestant creates a column of values to compare. The next mark creates a second column, and the next (if there is one) a third, et cetera, until all marks to the right of the majority mark for all tied contestants are each placed in a column of values. Each column is considered one at a time from left to right and sorted in ascending order from the smallest number to the largest. When the first column is compared, if the tied contestants have the same mark, the next column is then compared. If the marks are still the same, the next column (if there is one) is compared, until each column of values to the right of the majority mark has been compared after finding the previous column’s marks to be the same. When looking at any single column of values and comparing marks, the contestant with the smaller number, i.e., the best look-ahead value, is awarded the higher placement. The contestant with the next larger number is awarded the next higher placement, et cetera, until all tied contestants are assigned a unique placement. If a tie persists after Rule #6, proceed to Rule #7.
G. Rule #7 – 4th Tiebreaker, to determine look-back groups:
1. In case of a tie at Rule #6, each contestant’s re-ordered marks that are to the left of the exact middle, majority mark, create a look-back number group to be compared, e.g., [1,3,3,4,5] or [GG,G,G,S,B] has a look-back group of [1,3] or [GG,G]. [2,2,3,4,5] or [H,H,G,S,B] has a look-back group of [2,2] or [H,H]. Both groups have the same majority mark of 3 or G, respectively; the same majority size, 3; the same majority sum, 4; and the same look-ahead of [4,5] .
2. When looking at each look-back group (with each successive mark separated by a comma) from left to right, the first mark of each tied contestant creates a column of values to compare. The next mark creates a second column, and the next (if there is one) creates a third, et cetera, until all marks to the left of the majority mark for all tied contestants are each placed in a column of values. Each column is considered one at a time left to right and sorted in ascending order from the smallest number to the largest. When the first column is compared, if the tied contestants have the same mark, the next column is then compared. If the marks are still the same, the next column (if there is one) is compared, until each column of values to the left of the majority mark has been compared after finding the previous column’s marks to be the same. When looking at any single column of values and comparing marks, the contestant with the smaller number, i.e. the best look-back value, is awarded the higher placement. The contestant with the next larger number is awarded the next higher placement, et cetera, until all tied contestants are assigned a unique placement. If a tie persists after Rule #7, proceed to Rule #8.
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H. Rule #8 – When there is a final tie, averaging shared placements to determine a carry-forward value:
1. The final proof of a tie at Rule #7 is that the re-ordered groups initially determined in Rule #3 for the tied contestants will have identical marks. If this is not true, a scoring error has occurred, and the previous rules must be re-calculated. If the marks are identical, the tie is final.
2. The contestants with a final tie share the tied placements. They are however announced as being awarded the higher placement only, with the other shared placements not announced or awarded, e.g., if 2 contestants are tied for a final 3
rd and 4
th, they are both announced and awarded 3
rd, with the 4
th not announced or awarded. The next
placement announced and awarded is 5th.
3. All single dance placements that apply to a division’s Overall Championship award carry-forward to Rule #9. If there is a final tie, calculate the carry-forward value for the tied contestants as follows. Total all of their shared placements and divide the sum by the number of tied contestants, e.g., if 2 contestants are tied for 3
rd and 4
th, the placements
add up to 7. Divide this by 2 to get a value of 3.5 to carry-forward as each of their placements for that dance in the division’s Overall Championship. If 3 contestants are tied for 3
rd, 4
th, and 5
th, the sum of the placements is 12,
divided by 3, which equals a carry-forward value of 4 for each tied contestant. If 4 contestants are tied for 3rd
, 4th,
5th, and 6
th, the sum of the placements is 18, divided by 4, which equals a carry-forward value of 4.5 for each tied
contestant.
I. Rule #9 – Overall Championship formulas, determining the aggregate value for Overall results:
1. To determine the Overall Championship division winners, each contestant receives a ‘final’ carry-forward value from each dance determined by Rules #1 through #8, e.g., a 1
st place award receives a value of 1, a 2
nd place a value of
2, a 3rd
place a value of 3, et cetera, until all placements are assigned a value. These values now remain unaltered, with each dance carrying the same weight as another dance in the Overall Championship format, except for the “ascension” divisions, i.e., Showcase Masters, SuperStars, RisingStars, and Crown, where the value from each dance is multiplied by the weighted formula according to the division’s Overall criteria. The carry-forward value for contestants who are tied in a dance is the average of their mutually held, shared placements as calculated in Rule #8. To determine each contestant’s Rule #9 aggregate value, total the carry-forward values for all of their Overall Championship qualifying dances, e.g., placements of 1, 2, 3, 4, and 5 have an aggregate value of 15.
2. Sort the aggregate values from qualifying dances for all contestants in ascending order, from the smallest number to the largest. The smaller number represents the best aggregate value (therefore the better average placement) for the dances included in the Overall and is awarded the higher placement. The next larger number is awarded the next higher placement, et cetera, until all contestants in a division are assigned a unique Overall placement. If a tie persists after Rule #9, proceed to Rule #10.
J. Rule #10 – Tiebreaker for Overall Championship, using “p.u.r.” for mutually competed-in dances:
1. In case of a tie at Rule #9, only the tied contestants’ Rule #9 dances may be considered in Rule #10.
2. a. For the tied contestants, where there is not a “choice” between a contestant’s tied carry-forward values to be used in Rule #10, only mutually competed-in dances will now be used.
b. For a tied contestant that has the same Rule #9 carry-forward values for two or more dances, and a choice is required between these dances where some dances were mutually competed-in and others were not, then the first consideration is that the mutually competed-in dance or dances must be used.
c. For a tied contestant that has the same Rule #9 carry-forward values for two or more dances, and a choice is required between dances that were all mutually-competed in, then the second consideration is that the dance(s) that give the contestant that earned those equal carry-forward values the best advantage must be used in Rule #10.
3. Using the dances selected above, a ‘new’ Rule #10 aggregate value is determined by totaling the carry-forward values from only these mutually competed-in dances. After sorting the Rule #10 aggregate values in ascending order from the smallest to the largest, the tied contestant that has the smaller number (therefore the better average placement) is awarded the higher Overall placement.
4. If the tied contestants have the same Rule #10 aggregate value, the size (total number) of dance placements that are equal to or better than the tied overall placement under review is determined for each tied contestant. The contestant that has the greater size, i.e., the greater number of dances equal to or better than the placement under review, is awarded the higher Overall placement.
5. If the tied contestants have the same size of dance placements, then the sum of only these dances will have their placements added together. The contestant that has the smaller sum, i.e., better set of placements, is awarded the higher Overall placement.
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6. If the tie was between only two contestants, then the second contestant will be awarded the next lower Overall placement. When a tie exists for more than two contestants for the same Overall placement and the tie for the higher placement is broken at Rule #10, the remaining contestants will now be tied for what is now a lower placement. Rule #10 must now be re-visited, or re-applied, from the beginning, with the re-visitation calculated with a new placement under review. If a tie persists after Rule #10 (re-visitation or not), proceed to Rule #11.
J. Rule #11 – Tiebreaker for Overall Championship, using individual judges marks in a single-dance format:
1. In case of a tie at Rule #10, only the tied contestants’ Rule #10 dances may be considered in Rule #11.
2. a. For the tied contestants, where there is not a “choice” between tied dances to be used in Rule #11, the individual judges’ marks given in these dances will now be used.
b. For the tied contestants that have the same Rule #9 carry-forward values for two or more dances, and a choice seems required, but the “sets” of dances considered give neither contestant any advantage because they are equally tied in each “set”, then the individual judges’ marks from all of these dances without prejudice for or against any contestant must be used, so that one contestant is not arbitrarily favored by a choice between equal carry-forward values.
3. Once the individual judges’ marks have been selected for the appropriate dances, the method for executing Rule #11 is the same as used for a single-dance category, where the selected dances now become “one” dance using all the judges’ marks. Taking all the individual judges’ marks across the selected dances, single-dance Rules #3 through #8 are executed to calculate and compare for each tied contestant in sequential order: the majority mark, the majority size, the majority sum, the look-ahead, and the look-back, to determine the first contestant to show an advantage and thus be awarded the higher Overall placement.
4. If the tie was between only two contestants, then the second contestant will be awarded the next lower Overall placement. However, when a tie exists for more than two contestants, and the tie for the higher placement is broken awarding the “best” contestant the top tied Overall placement at Rule #11, leaving the remaining contestants still tied for what is now a lower placement, then Rule #10 must now be re-visited from the beginning, with the re-visitation calculated with a new placement under review. This “circular” re-visitation procedure continues until all of the tied contestants have been assigned a unique Overall placement.
5. If after Rule #11, the contestants remain tied, and a unique Overall placement cannot be determined, then the tie will be deemed final for the Overall Championship placements in question.
6. Contestants with a final tie share the tied Overall placement. They are announced as being awarded the higher Overall placement only, with the other shared placements not announced or awarded, e.g., if 2 contestants are tied for a final 3
rd and 4
th, they are both announced and awarded 3
rd, with the 4
th not announced or awarded. The next
Overall placement announced and awarded is 5th.
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Appendix F: UCWDC® Judge Certification
10-Point DANCE “FUNdamentals” Curriculum
Section 1: FUNdamentals: The Dances
I. Basic Pattern A. Concepts & Definitions 1. Timing (Marked by Strike) 2. Rhythm (Accent & Chant)
3. Motion (Body Action across Steps) 4. Pattern Structure
5. Spatial Structure 6. Character a. ‘Primary’ Core Concepts (3) b. ‘Projected’ Feeling of Dance c. ‘Visual’ Signatures B. Partner Dances 1. Lower-Core Dances (Smooth) a. Waltz b. Nightclub c. Triple Two 2. Center-Core Dances (Still) a. West Coast Swing b. Two Step 3. Upper-Core Dances (Rhythm) a. Cha Cha b. Polka c. East Coast Swing 4. Dance Fixes & Updates C. Line Dances 1. Rise and Fall a. Waltz 2. Lilt a. Polka b. Jive c. East Coast Swing
3. Smooth (Still) a. West Coast Swing b. Nightclub
4. Cuban a. Cha Cha 5. Funky a. Street b. Hip Hop 6. Novelty a. Broadway b. Jazz / Modern / Lyrical
Section 2: FUNdamentals: ‘A’
II. Footwork & Movement
A. Parts of the Feet (14) B. Positions of the Feet (5) C. Concepts & Definitions
1. Perfect Balance vs. Poise 2. Centers (Low, Middle, High)
3. Point of Strike / Degree of Weight Change
4. Drive / Extend (Reach) & Draw 5. Body Flight
6. Tempo Changes in Movement a. “Slow” to “Quick” (Pitch) b. “Quick” to “Slow” (Sway) c. “Hold” or “Hesitation” (Collection vs. Opposition)
III. Turning Technique A. Concepts & Definitions 1. Line (Progressive, vs. Stationary) 2. Prep a. Foot Prep (Third, Fifth)
b. Body Prep (CBM & OBM, vs. CBMP & OBMP)
3. Torque 4. Spot (Hard / Soft) 5. Rotation (On “Point” / Fulcrum) 6. Frame (Form / Centrifugal Force) B. Progressive Types of Turns 1. Pivot Turn 2. Chainé Turn 3. Spiral Turn 4. Hover “Swing-&-Sway” Turn 5. Backing Turns a. Ball Pivot, vs. Heel Pivot b. Heel Turn c. Slip Pivot
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C. Stationary Types of Turns 1. Spin Turn (Forward & Backward) a. Platform b. Fan c. en l’air 2. Paddle Turn a. Push (Pony) Turn b. Chase Turn c. Paddle Spin 3. Point-to-Point (Monterey) Turn 4. Twist (Cross / Hook) Turn 5. Trace Turn (Forward & Backward) D. Directional Concepts for Solo
Turns in Paired Movements 1. Facing Same / Turning Same (Example: Tandems) 2. Facing Same / Turning Opposite (Example: Barrel Rolls) 3. Facing Opposite / Turning Same (Example: Patti Cakes)
4. Facing Opposite / Turning Opposite (Example: Turnstiles, Eggbeaters)
IV. Posture & Frame A. Concepts & Definitions
1. Skeletal Structure 2. Types of Posture a. Lifted (Lower center) b. Relaxed (Middle center) c. Leaned (Upper center)
3. Carriage 4. Common Center in ‘Paired’ Frame a. Closed position b. Two-Hand Open c. Single-Hand Open d. Shine B. Paired Positions 1. Closed (7) a. Right Outside Partner b. Right Inside Partner c. Left Inside Partner d. Left Outside Partner e. Promenade (Formal, vs. Conversational) f. Counter Promenade (Formal, vs. Conversational) g. Fan 2. Open (10) a. Open Facing b. Open Following (Shadow) c. Open Parallel (Sweetheart) d. Open Counter Parallel
(Counter Sweetheart) e. Open Promenade
f. Open Promenade (Facing) g. Open Counter Promenade h. Open Counter Promenade
(Facing) i. Open Fan j. Open Counter Fan 3. Shine (7) a. Facing Mirror (Circles) b. Facing Tandem (Contra Circles) c. Following (Chase) d. Separating, & Rejoining
(Contra Chase) e. Standing Challenge f. Side-by-Side Mirror g. Side-by-Side Tandem
V. Lead & Follow A. Connection & Communication –
Dialogue of Touch & Tone 1. Connecting 2. Prepping 3. Leading 4. Following 5. Repeating 6. Finishing B. Smooth vs. Rhythm Leads (Leading by ‘invitation’ vs. ‘demand’) 1. Leading Closed Frame 2. Leading Open Frame 3. Leading Turns 4. Leading ‘Speed’ 5. Leading ‘Shine’ C. Critical Connection Vectors (Changing direction of momentum) 1. Linear / Lateral Movements (Extension vs. Compression) 2. Rotational Movements (Expansion vs. Contraction) 3. Vertical Movements (Explosion vs. Implosion) D. Alternative Lead Points 1. Linear / Lateral Movements 2. Rotational Movements
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Section 3: FUNdamentals: ‘B’
VI. Styling Technique A. Concepts & Definitions 1. The Stage a. Types of Theatre (Theatre-in-the-Round, vs. Proscenium Theatre) b. Parts of the Stage c. Stage Directions
(Blocking, vs. Scripting) 2. Alignments
(to Audience / to Partner / to Team) 3. Movement / Travel Dynamics a. Pacing (Faster ‘looking’) b. Pausing (Slower ‘looking’) c. Posing (Adagio / Theatre Arts) d. Rotating (in paired formation) e. Turning (as individuals) B. Body Lines and Shaping 1. Lines of Harmony, vs. Discord 2. ‘Rippling’ from Center Outward C. Positions of the Arm (6) 1. 1st (6 o’clock position) 2. 2nd (3 or 9 o’clock position) 3. 3rd (center of the clock) 4. 4th (1:30 or 10:30 position) 5. 5th (12 o’clock position) 6. 6th (4:30 or 7:30 position) D. Adagio / Acrobatics / Theatre Arts 1. Balanced 2. Counter-Balanced 3. Carried / Lifted 4. Leaped E. Animation 1. Facial, Hand, and Body Language 2. ‘Historical’ References a. Origin of the Dance b. Unique-ness of the Dance 3. Storyline of each Dance
a. Donna Bonham’s “Lifeline” b. Man-Woman “Relationships”
VII. Floor-craft A. Without regard to others on the
floor 1. Flow of Dance (-) 2. Floor Usage (+)
B. With regard to others on the floor 1. Floor Etiquette (-) 2. Movement Management (+)
C. Before and after the play of music (Entrances and Exits)
VIII. Choreography A. Appropriateness (Movements &
Positions that express the dance) (-) B. Continuity (Flow & Development) C. Variety (Contrast & Texture) D. Difficulty (Risk & Reward) E. Before and after the play of music
(Entrances and Exits) IX. Musical Interpretation A. History of Music B. Structure of Music C. Classic Concepts (Bass cleft)
1. Bass-Line Rhythm of the Dance; Use of Rhythmic Chant
2. Matching Mood & Energy to Music; Crescendo and Decrescendo
3. “Hitting the Breaks” (Soft vs. Hard Instrumental Breaks; Vocal Breaks)
4. Pattern Adjustments to Phrase D. Showcase Concepts (Treble cleft)
1. Interpreting the Vocal Line (Primary)
2. Interpreting the Melody Line (Secondary)
3. Interpreting the Rhythm Line (Tertiary)
4. Interpreting the Lyrical Line (Cautionary)
Section 4: FUNdamentals: Credentials
X. Credentials – Dance Types
A. Line B. Pro-Am C. Couples D. Teams E. I. D. S. F.
These charts are designed to help current UCWDC Competitors figure out at what level
they should begin when starting a new Dance Type.
Appendix G: 2011 Division Chart and Crossover Rules
Divisions
FROM TO TO CouplesCouples ProAm Line Masters
Masters ProPro Adv Crown
I/Crown* Adv Int or above I
II Int or above Int or above II
III Nov or above Nov or above III
IV New or above New or above IV
Syllabus BSyllabus A or
above
Syllabus A or
aboveSyllabus B
Syllabus AStarter A or
above
Starter A or
aboveSyllabus A
LineFROM TO TO SuperStars
Line ProAm Couples RisingStars
SuperStars Int or above II Crown
Adv/Crown/RisingStars Nov or above III or above Adv
Intermediate Nov or above III or above Int
Novice New or above IV or above Nov
NewcomerStarter A or
aboveVI or above New
Starter BStarter A or
above
Syllabus B or
aboveStarter B
Starter AStarter A or
above
Syllabus A or
aboveStarter A
ProAmFROM TO TO ProAm
ProAm Line Couples* Pro-Pro
Adv** *** Int II or above Pro-Pro
Intermediate Int III or above Adv
Novice Nov IV or above Int
NewcomerStarter A or
aboveIV or above Nov
Syllabus BStarter A or
aboveSyllabus B New
Syllabus AStarter A or
aboveSyllabus A Syllabus B
Syllabus A
* If a Couple moves to I/Crown, both dancers must move to ProAm Adv or Line Int or above.
* Use the male partner's ProAm status if he has one. If he does not, use the female partner's ProAm
status. If neither has a ProAm status, use the male's lifetime experience on the dance floor as a guide for
entering the correct division.** If either PA is Adv, they must enter Couples III or above.
*** If both Ams are Adv, they must enter Couples II or above.
Crossovers
Crossover
Crossover