Another very important distinction between ice dance and other categories of skating is the use of music during the performance. The dancers must always skate to music that has a definite beat or rhythm. Singles and pair skaters more often move to the melody and phrasing of their music, rather than to its beat something which is severely penalized in ice dance. At the moment ice dancing is the only form of figure skating to allow vocal music in official competitions.
Competitions have three parts:- a compulsory dance, an original dance, and a free skate. The compulsories have fixed patterns and steps and have the strongest link to ballroom tradition. All compulsories are performed to standard music that is played to a strict tempo. Each couple performs exacltly the same routine. The emphasis is on the couple showing "togetherness" and technical ability.
The dancers perform using standard dance holds. In the Kilian position partners skate side by side. In the waltz position skaters perform facing each other. In the foxtrot position skaters dance side by side inclining slightly towards each other with their upper bodies. Compulsories include the Rhumba, Polka and Waltz.
The original dance is somewhat different. The International Skating Union decides on a a rhythm or set of rhythms each year which all competitors must perform to. However, unlike the compulsories the competitors choose their own music (from within the specified range and choreography). The choreography must avoid steps that cross the middle of the rink. Certain exceptions to this rule exist that take account of required step sequences such as the diagonal footwork sequence. Closed partnering positions and close contact are also important for the original dance. A requirement is that one skate must be on the ice at all times.
Competitors in the free dance can choose their own rhythms, programme themes and music. Emphasis is on creativity. Since 1998 competitors have had to include certain elements in their free dances. These include step sequences, lifts, dance spins and multi-rotation turns. At senior level dances last four minutes (plus or minus ten seconds). Usually there is a slower section which allows a change of mood and introduces variety. Hand holds and positions are more open and free than in the compsulsory and original. There is skating in different and unusual positions to increase the level of difficulty. There are also more lifts than in the other categories. In the free dance both performers must keep their skates on the ice at all times except during lifts.
Ice dance is characterized by a number of restrictions. Singles elements such as jumps and intricate spins, or such pair moves as overhead lifts and throw jumps are not allowed because these moves are highly athletic and detract from the dance element. In the free dance lifts are legal, but moves that take the woman over the man's shoulder are forbidden. Dancers perform moves low to the ice such as the man pulling the woman between his legs or laying the woman over the man's knee with one skate on the ice. Another common lift is where the man uses his hands to lift his partner.
Many of the compulsory dances which are still performed today were developed by British dancers in the 1930's. Twelve of the first sixteen World Championships in ice dance were won by British couples.
I don't intend to mention all the top exponents of this form.That will be the subject of another web page. However, there are certain skaters that I must mention. The englishman John Curry took ice dance to new heights and in new directions after his Olympic triumph in Innsbruck in 1976. He wanted to establish ice skating as dance but without sacrificing the athletic, sporting aspect. He choreographed pieces for himself but such luminaries as Sir Kenneth MacMillan, Zubovitch and Twlya Tharp also created dances for him. His choice of music included such composers as Albinov, Saint-Saens, Debussy and Philip Glass. John Curry was known as the "Nureyev of the Ice."
Other great representatives of ice dance are Jane Torvill and Christopher Dean also from Great Britain. They incorporated balletic themes into their routines. Their 1984 free dance at the Sarajevo Olympics danced to Ravel's Bolero has become a classic. They won the Gold Medal and gained 9 perfect scores for presentation - a feat which is yet to be equalled. Some in the ice dance community thought that Torvill and Deans's dramatic choreography strayed too far from traditional dance.
In the 1970's the Soviet Union and Russia started to dominate the field. Their style emphasized speed and power over precision. By the 1990's the International Skating Union felt it was time to curb the extreme theatricality that was taking over. Attempts were made to return ice dance to its' ballroom roots by adding more restrictions on choice of music and dance holds. This led to complaints that performances had become boring. As a result restrictions were lifted but replaced with requirements that specified technical elements be included. Also judging was to be on the basis of athleticism and less on theatrical tours de force.
Ice dancing competitions have been controversial because judging is often more subjective than in pairs or singles. The vote swapping at the 2002 Olympics figure skating voting led to the judging system being overhauled. The old six point system has been replaced by one in which a performance is awarded points for a technical score as well as five other elements:- skating skills, transitions, performance/execution, choreography and interpretation. Voting is now annonymous.
The evolution of this form continues and it is interesting to wonder what the future will bring.
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