Juvenile Singles, Pairs And Dance Manual British Columbia Yukon Section January 2014 Juvenile Judge Manual
Table of Contents Overview of Judge Duties/Responsibilities 3. Pre Juvenile and Juvenile Singles program jump requirements 4. Determining the GOE ‐ Singles 5. Jumps and Spins ‐Singles 6. Step Sequences ‐ Singles 7 Program Components – Singles 7‐8. Program Component Marking Chart 9. Juvenile Pairs overview and lift elements 10‐11. Lifts, Throws, Spins and Death Sprials ‐ Pairs 11. Spiral Figures, GOE’s and Program Components – Pairs 12‐13. Well Balanced Program – Pairs 14. Juvenile Dance overview, Pattern Dances, GOE’s 15. Program Components – Pattern Dance 16. Juvenile Free Dance – Well Balanced Program, elements 17. Program Components – Free Dance 18‐19. ELEMENT CODES AND ABBREVIATIONS 20‐21. SKATE CANADA JUDGES CPC WORKSHEETS (check the Skating in BC website www.skatinginbc.com for updated forms) 22‐23. 2
Juvenile Judge Manual
THE JUVENILE JUDGE Duties of a Juvenile Judge As you progress as a judge, the responsibilities and requirements of your position increase. Stay current with the rules: It is your responsibility to ensure that you are knowledgeable and understand all the current technical information to the juvenile level for each discipline you judge. Information is constantly changing and it is important to keep on top of all of these changes. Ensure that you regularly visit the Skate Canada website (www.skatecanada.ca) and the BC Section Website technical page (www.skatinginbc.com) and read any technical updates that are emailed to you. If you do not understand a change or requirement, please ask! Communicate Effectively: Information regarding judging assignments and other skating events is almost exclusively disseminated via email or posted on‐line now. If you are not in the habit of regularly checking email or websites, please get in the practice of doing so. Reply promptly when requested for information. The section judges and evaluators committee and regional training representatives periodically survey judges to determine what their goals are in terms of advancement and education. Many opportunities are granted based on this information so not responding can limit potential opportunities. Be Organized. Organization takes many forms. It is important that you ensure that you are prepared for competitions. Make sure that you have copies of the competition and judges schedule and that you are aware off all the technical requirements of the events you will be judging. While some circumstances are unavoidable, be sure to arrive at competitions early enough to prepare your paperwork and not stress the chief referee who may be wondering if you are going to be late. Dress appropriately. You are an official of Skate Canada and should look and behave in professional manner. While regional competitions do not require one to be dressed for the office, clean, neat and tidy appearance is important. Be sure to ask event referees in advance if you would like a report on your judging, or trial judging, and hand them your paperwork in a timely manner. Don’t forget to make copies of all your JPRs and results sheets to keep in case the originals get lost. Specific duties of judges are also listed in the Skate Canada Rulebook. 3
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Pre Juvenile/Juvenile Singles Juvenile Singles is the first level of skating in the competitive stream where skaters compete at a Sectional Championship. To compete at the juvenile level, a skater must pass the Junior Bronze Free Skate Test and meet the appropriate age requirements. Juvenile Singles judges can judge up to and including STAR 5, Senior Bronze, Pre Juvenile and Juvenile events at competitions. In the CPC system, the judge awards a Grade of Execution (GOE) for each element based on how well the element was performed and a score between 0 and 10 for program components (Skating Skills, Transitions, Performance/ Execution, Choreography and Interpretation). All grades of execution are based on a standard. Program components are on an absolute scale. A technical panel comprised of a technical specialist, an assistant technical specialist and a technical controller identify what elements each skater performs and the level of difficulty of spin and step/spiral sequence elements. A data input operator enters the elements and level of difficulty into the computer system which in turn displays those elements so that each judge may enter a GOE score. When computer terminals are not available for judges to use, the system may operate with headsets and paper. STAR 5 Jump Element Requirements Maximum of 6 jump elements: a) Maximum of 2 double jumps. Double jumps cannot be included in combinations and cannot be repeated. b) Must include 1 Axel‐type jump (Waltz or single Axel) c) Maximum 2 jump combinations. Jump combinations may not include more than 2 jumps. d) Jump sequences are not permitted. e) No jump may be included more than twice and if a jump is repeated, it must be in combination Pre‐Juvenile and Juvenile jump element requirements can be found in the Pre‐Event Technical Package on the Technical Page of the Skating in BC website (www.skatinginbc.com). This package is updated by Skate Canada on a yearly basis. It is important to be clear on the definitions of jump elements. A jump element is defined as an individual jump, a jump combination or a jump sequence. Individual Jump: An individual jump is just that ‐ a solo jump. Jump Combination: In a jump combination the landing foot of the first jump is the take off foot of the second. Jump Sequence: A jump sequence may consist of any number of jumps of any number of revolutions that may be linked by non‐listed jumps and/or hops immediately following each other while maintaining the jump rhythm (knee); there can be no turns/steps*, crossovers or stroking during the sequence. * Turns: three turns, twizzles, brackets, loops, counters, rockers. * Steps: running steps, toe steps, chasses, mohawks, choctaws, curves with change of edge, cross‐rolls. In the CPC system, each jump element has a specific value based on its level of difficulty. As a CPC judge, it is not your job to determine how difficult the element was, but to indicate how well the element was done. 4
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This is accomplished by giving a GOE. Depending on how well or how poorly the element was done, a judge will give either a 0 (base value) to indicate that the element was executed with no errors, a ‐1, ‐2, or ‐3 depending on the severity of errors, or a +1, +2, or +3 if the element is executed in a superior manner. There are specific guidelines regarding how much to reduce a GOE by or increase it. (see GOE reduction sheets). Determining the GOE for an Element To determine the GOE for an element, the judge should follow the following methodology: 1. Watch the element and assess each phase of the element. 2. Evaluate the quality of the element compared to the criteria for Base Value. 3. Identify any positive features that would increase the base value of the element. 4. Apply reductions for specific errors to arrive at the final GOE. When evaluating jumps, it is important to consider all phases of the jump in determining your GOE. Observe: - the preparation - the take‐off - the flight (or rotation) - the landing Determine in your mind if this jump was just done (no significant errors = 0), had a specific GOE error (= minus) or was well done (= plus). On the CPC system, the technical panel will identify the intended jump and revise the call in the review process if the jump is lacking rotation of more than ¼ revolutions. The judges will be informed if a change has been made to the call for a jump – either verbally on headset, or by seeing the element change on the computer screen. The judge has the option to change the GOE based on the revised call. Assigning of GOE for each element Each year the ISU issues a communication regarding GOEs and it is mandatory that each judge know the required reductions for an incomplete or failed element. Similarly, a communication is distributed showing how positive or + GOEs would be attained. The current sheets are included in the appendix. In CPC, if a skater cheats a jump by more than 1/4 rotation but less than ½ rotation, the technical panel will call it as an under‐rotated jump (symbol <) and the judge will apply a reduction of ‐1 to ‐2. In CPC, if a skater cheats a jump by 1/2 rotation or more, the technical panel will downgrade the value of the jump (symbol<<). For example, a downgraded double toe loop is given the same base value of a single toe loop (0.4). The jump must also receive a GOE reduction of ‐2 to ‐3 for being downgraded. If there are any other errors with the jump (such as a step‐out on the landing) the GOE can be reduced to a maximum of 0.3 points (‐3). So, a significantly under‐rotated jump has very little value in the CPC system. Notating jumps in the CPC system. Each jump in the CPC system has a specific code which every judge should become familiar with. It is helpful to use these codes for your shorthand. See the last 2 pages of this document for codes for Singles, Pairs and Dance. 5
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Spin requirements for STAR 5 a) One sit or camel spin. Flying entry optional. No change of foot. b) One combination spin. No flying entry, change of foot optional. All 3 basic positions must be attempted. If all 3 positions are not attempted or attained, this will be reflected in the judges’ GOE. Pre‐Juvenile and Juvenile Spin Element Requirements ‐ please see the current year’s Technical Package for details concerning elements and GOE’s. (www.skatinginbc.com) To meet well balanced requirements, each spin must be of a different character (ie, the CPC abbreviation must be different). This will be discussed more when we talk about notation. In order for a position to be established, a skater must be in a position for at least two rotations and it must meet the criteria of a defined spin position. Positions: There are 3 basic positions: - camel (free leg backwards with the knee higher than the hip level) - sit (the upper part of the skating leg is at least parallel to the ice) - upright (any position with extended skating leg which is not a camel position) Non‐basic positions (all positions that according to the above definitions are not camel, sit or upright). A combination spin with a change of foot and position is more difficult to execute than a basic spin in one position. Other factors that make spins more difficult are: change of spinning edge, difficult entry (flying entry) and performing a more difficult position or a variation of position. While it isn’t important to get into the fine technical details here, suffice to say that if a position is challenging to execute while maintaining balance and centering and/or speed of the spin, it should increase the difficulty of the spin. There is a tendency among many skaters to try and execute spins that are quite difficult and are rated at a higher level. However, it is important to assess whether the quality of the spin has been compromised. Do they maintain a strong position? Is speed sacrificed? If there are a number of problems with the spin, regardless of how difficult it is, the judge must reflect this when assigning the GOE. Always keep in mind that your job as a judge is to assign a GOE reflecting how well all phases of a spin are executed and let the Technical Panel determine the level of difficulty. How Spins are Notated in CPC Please refer to the short hand abbreviation chart. Notice that with combination spins it does not describe all the positions that are contained in the spin, it simply indicates that a combination spin has occurred. Work on developing shorthand to indicate the different positions/change of foot/ number of revs in the position etc. For example, the number of revolutions on each foot should be fairly balanced in number and the spin should not slow down significantly as the number of revolutions increase. Again, as with jumps, it is advisable to indicate with your shorthand positive and negative features of each spin. 6
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Step Sequence/Spiral Sequence Requirements STAR 5: Forward Spiral Sequence in STAR 5 is defined as a sequence of two forward spirals with no more than 4 steps in between; one spiral on each foot, unassisted position; on either inside or outside edge. Each spiral should be held for a minimum of 3 seconds. The judge assesses the quality of position, edge, and control and how long each spiral is held. Get in the habit of counting one thousand one, one thousand two, one thousand three, because a spiral held for three seconds can increase the GOE. Pre‐Juvenile/Juvenile The Pre‐Juvenile and Juvenile Free Skate program must include one step sequence or one spiral sequence but no more. A second sequence is considered a transition. A step sequence can be any shape using the full ice surface ‐ jumps are permitted in the step sequence. Pay attention to all the features that contribute to a good step sequence. Remember, you are assessing quality/edges/ice coverage and whether it corresponds to the music ‐ not difficulty. Position of the free leg in a spiral sequence must be higher than the hip. A spiral sequence in Pre‐Juvenile and Juvenile consists of 2 spirals with no more than 4 steps between them. The spirals must be performed on different feet. Spirals may be assisted or unassisted. Judges assess the quality of position, edge, and control and how long each spiral is held. As with STAR 5, get in the habit of counting one thousand one, one thousand two, one thousand three, because a spiral held for three seconds can increase the GOE. Program Components Program Components are probably the most challenging marks to determine. It is important to remember that Pre Juvenile/Juvenile Skaters are evaluated on the same scale as Senior and World competitors. Program components range from 0.25‐10 in 0.25 increments. 1. Skating Skills - Edge control - Flow over the ice - Quality of basic skating edges, turns, steps etc. - Clarity of technique - Use of effortless power to accelerate and vary speed 2. Transitions The varied or intricate footwork, positions, movements and holds that link all elements. The criteria are: - Variety - Difficulty - Intricacy - Quality This also includes the entrances and exits of technical elements. 7
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3. Performance/Execution Performance - Involvement of the skater or pair physically, emotionally and intellectually as they translate the intent of the music and choreography (do they connect with each other and the audience?) - Carriage, line and form Execution - Quality of movement and precision of delivery - In Pairs Unison ‐ harmony of movement between the skaters 4. Choreography The arrangement of movement within the program. A well‐choreographed program will be constructed in a harmonious fashion – it will be seen as a single unit rather than the sum of distinct sections. The criteria are: - Purpose - Proportion - Unity - Utilization of personal and public space - Pattern and ice coverage - Phasing and form - Originality of purpose, movement and design 5. Interpretation The personal and creative translation of music to movement on ice. - Expression of the music’s style, character and rhythm - Staying in character of music throughout performance, not just introduction - Effortless movement in time with the music A simple summary of the program components: Skating Skills: How the skater covers the ice – key word is ‘Balance’ Transitions: What the skater does before, after, and between elements – key word is ‘Connection’ Performance / Execution: How the skater does each movement and the program today – key word is ‘Delivery’ Choreography: How the movements are arranged with the music – key word is ‘Design’ Interpretation: What the skater is doing with the music – key word is ‘Feeling’ It is important for judges to become familiar with the criteria of each component and assign marks based on the individual criteria. As you are watching the skaters’ performance, you will likely have an idea of the strongest and weakest component and it is sometimes helpful to assign those PCs first and then decide your marks for the other criteria. Another way that is often taught in seminars is to follow this order: transitions, choreography, interpretation, performance/execution. skating skills. This is something that is individual to each judge and you will soon discover what suits you and fine tune your assessment of PCs as you develop as a judge. Note that in STAR 5 there are only 4 components –The Choreography Component is not included. 8
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At the Juvenile level, the program components do not have equal weighting. The following factors are applied to each component score at this level: Skating Skills 1.00 Transitions 0.75 Performance/Execution 1.00 Choreography 0.50 Interpretation 0.75 This weighting gives us a good idea as to priorities when we assess skaters. First and foremost should be “Can they skate”? Pay attention to edges and flow over the ice, clarity of technique, multi‐directional skating and above all, balance over the blade. Does the skater gain power and speed effortlessly or does it seem like hard work? The importance of good quality basic skills is paramount. The other important component mark is Performance/Execution. “Do they have good personality and energy out there and do they have a pleasing line and good form?” Many errors in a program can adversely affect the performance mark. Transitions are weighted slightly less. Most skaters at this level are still learning to develop confidence and consistency with double jumps in particular, so it is unlikely that they will be able to incorporate many transitions in and out of their elements without sacrificing the quality of the element. Most transitions at this level will be head and arms as well as some footwork transitions between elements, Receiving equal weighting with transitions is interpretation. “Does the skater understand the music?” Reward skaters that begin to show an understanding of the rhythm they are skating to and who are able to translate it in their expression and movements. If you have the sense that they are skating ‘because of the music’ and not ‘in spite of it’ then the skate is showing some understanding of interpretation The least weighted component is choreography. At this level there is not enough time in a 2.5 minute program to really explore and translate a musical theme into integrated movements. Further, skaters at this level do not generally have the skill set to carry intricate choreography. Choreography has also been referred to as the “component that you can buy” so it makes sense that it is not weighted so strongly at the Juvenile level. Do pay attention to how the program is laid out on the ice and the placement of elements to correspond with the phrasing of the music. Given that juvenile skaters are assessed on the same scale as senior competitors, what does a 3.0 in skating skills translate to? What is a 5.0 in choreography? There are criteria which will guide you in determining program components. It is important to remember that a particular level, such as juvenile, is not restricted to a particular range on the components scale. If an aspect of a performance is particularly good or very weak, the program component mark should reflect that. That said, most Juvenile skaters, tend to score within a similar range on the scale. That is because most at this level are in a fairly definable range in terms of ability and maturity (two age categories – U14 and U11). The following chart will give some guidelines to follow when assessing juvenile skaters. Program components can also be determined by a percentage of time allocation. Please see the attached diagram and characteristics of each component. 9
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CRITERIA 1 – Very Poor 10% SKATING SKILLS Toe pushing Laboured Rough Flat Shallow Noisy Wobbles Unsure Lunges CRITERIA 1 – Very Poor 10% 2 – Poor 20% 3 – Weak 30% 4 – Fair 40% 5 – Average 50% 6 – Above Average 7 – Good 60% 70% 8 – Very Good 9 – Superior 80% 90% Some Toe Pushing Some Lunging Turns 1 direction Loses flow Rough Turns equally well F/B Simple turns Maintains some flow Average edges/curves Very easy acceleration Very good technique glide/flow 3 – Weak 30% Consistent speed/flow Turns in all directions with ease Easy one foot skating on moderate edges/curves 5 – Average 50% Proper edges technique in all directions Good variety turns/edges Sustains flow and glide Uses lean 2 – Poor 20% Fair turns/edges equal in direction Reasonable flow/glide Quiet and balanced OK flow 4 – Fair 40% Simple Linking 40% Crosscuts into difficult elements Mostly basic in/out Some nice larger trans. 4 – Fair 40% Decent linking 50% Crosscuts only into most diff elements Some creativity Basic in/out 50% 5 – Average 50% 1 & 2 foot linking 60% minimal crosscuts several large trans
more creative in/out Erect Carriage and occasional arms, head show style 40% var speed and clarity of movement Genuine commitment 40% 4 – Fair 40% Pleasing carriage, line, extension, arm positions and style Var speed 50% of time as required Clarity of movement 50% Consistently erect, decent extension, positions, style Var speed 60% of time as dictated by music Mostly clear movement and good commitment
Fairly well related to music. Music becomes background for diff elements which are in first ½ Decent patterns, layout Uses levels 4 – Fair 40% Uses musical highlights from beginning to end. Skater may miss phase change on diff elements decent use of levels and choreography to create interest 5 – Average 50% Program corresponds well with music. Difficult changes of pattern/direction. Interesting, shows athleticism. Good distribution of elements in program an on ice More genuine expression. Skater may stop expression to focus on more difficult elements Skater generally relates to music 50% expression lost only on prep for a few elements Can use nuances and stay on time and in phase with music Decent expression and timing 60% matches movements and performance with music fairly well. Appropriate emotional connection to music TRANSITIONS, LINKING FOOTWORK AND MOVEMENT Crosscuts Some simple Simple Links for 1‐2 basic field linking moves part of program moves Crosscuts into Crosscuts into basic in/out elements difficult Telegraphing 1‐2 basic field elements moves Basic in/out basic in/out Short prep into Telegraphing elements CRITERIA 1 – Very Poor 10% 2 – Poor 20% PERFORMANCE AND EXECUTION ‐weak form Minimal little attention attention to to body line form all focus on Focus on elements elements no var speed Rehearsed, no clarity of lacks clarity movement Var speed Little reflection of commitment energy Some commitment CRITERIA 1 – Very Poor 10% 2 – Poor 20% CHOREOGRAPHY/COMPOSITION Weak design, Music used pattern and mostly as distribution background Music With odd irrelevant highlight. All elements at Designed to boards and maximize set difficult ones up for done early. elements No levels Few levels Weak distribution CRITERIA 1 – Very Poor 10% INTERPRETATION Poor timing Music irrelevant No recognition of phrasing 2 – Poor 20% Weak attempt to stay on time No expression or feel for nuances of music Responds only to instruction 3 – Weak 30% Basic form and erect carriage Some extension 1 part of program var speed 30% clarity Forced commitment 3 – Weak 30% Some use of music, catches big highlights, Choreography may be compromised for diff element setup. Some use of levels 3 – Weak 30% Expression a bit mechanical Music becomes irrelevant when preparing for elements May miss phrasing on subtle changes 5 – Average 50% Easy acceleration Good technique & Variety of turns/edges Quiet Good lean 6 – Above Average 7 – Good 60% 70% 1 & 2 foot interesting links 70% that add to presentation ‐good in/out and variety ‐all well skated/executed Good style and attention to detail Good var speed 70% of time and commitment Style adds to presentation of program and Choreography 6 – Above Average 7 – Good 60% 70% Moves to music with ease and flow. Skater can play with music to creative mood. Solid expression 70% 10 – Outstanding >95% Original and Elements high risk links woven that add to together, pres 80% of original, time exceptionally Difficult and well done, short creative and entry/exits complex 80% of time 8 – Very Good 9 – Superior 80% 90% Strong and pleasing carriage, line, style. Movements are clear and committed and add to presentation of program 10 – Outstanding >95% Superior movements are always fluid, defined and add to chorography, pace of program. 8 – Very Good 9 – Superior 80% 90% Unity of skater/music and movement. Clear theme, creative movement and distribution of elements 7 – Good 70% Superior ability Effortless speed, Even balanced, risky turns done very well 8 – Very Good 9 – Superior 80% 90% 6 – Above Average 7 – Good 60% 70% 6 – Above Average 60% 10 – Outstanding >95% Creative program builds on unity of skater/music leaving no dull moments.. difficult changes add interest to a clear theme or concept 8 – Very Good 80% Maximum use of choreographic elements to weave theme throughout. 9 – Superior 90% Moves with grace and easy flow, adapts pace to music. Very good expression consistent throughout. 10 – Outstanding >95% 10 – Outstanding >95% Exudes confidence and superior mature expression to portray theme or story. 10
Juvenile Judge Manual
Juvenile Pairs Pair skating is the skating of two persons in unison who perform their movements in such harmony with each other as to give the impression of two skating as one. Both partners need not always perform the same movements; they may separate from time to time, but they must give an impression of unison and harmony of composition, of program and of execution of skating. Pair skating, like singles skating, includes several different types of technical elements whose quality must be considered in the judging process. The elements are of two main types: side‐by‐side elements and pair elements. For the side‐by‐side elements the quality can be determined using the same criteria as for singles. The major additional consideration is the consideration of unison and closeness of the two skaters in the execution of the element. The pair elements are the main highlights in a pair program – they are what make this discipline unique. It is important to reward teams who exhibit quality in these elements. This is especially the case at the development Juvenile level. At these levels, many skaters are new to pairs skating – and often programs rely on the demonstration of quality side‐by‐side elements, and less on the quality in the pair elements. The pair elements include: (1) lifts (including twists), (2) throws, (3) pair spins and (4) death spirals. The following is a preliminary list of considerations when assessing the quality of pair elements. As with singles, you must remember to assess all phases of the elements when determining the quality – and with pairs, be sure to consider the execution of both skaters before making a final assessment. Pair Lifts The following key features can identify a quality lift: Overhead Lift - The entry to the lift has speed, flow and good form - The lifting action is produced with ease – the timing of the man and lady coordinates to allow for effortless rise of the lady - The rotation of the lift will begin before the lady reaches the apex of the lift - Flow will be carried through the lift with ease and the turns of the man will be executed cleanly and smoothly - The man’s arms will be fully extended throughout the lift, and the lady will have exceptional form in each position in the air - If the lift changes positions, the transitions will be executed with ease and confidence - The “dismount” of the lift will flow, with the lady being placed softly on the ice Armpit Lift - Same as the criteria for an overhead lift except that the man supports the lady under the armpit Twist Lift - The first part of the lift is an assent and rotation as in an ordinary lift - The second part, added at the top of the lift, consists of a twist turn by the lady as she rotates freely in the air around her vertical axis 11
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The lady is caught at the waist by the man prior to landing (the lady must not collapse on her partner’s chest) and assisted to a smooth landing on the ice on a backward edge on one foot The man also exits on one foot immediately after placing the lady on the ice The lady may also demonstrate a split position prior to rotating Any lift that causes you, the judge, to be “afraid” is not a quality lift – regardless of the level of difficulty! Throw Jumps The throw jumps are named after the basic solo jump (ie. Salchow, Toe Loop, Loop, Flip, Lutz and Axel). Much of the assessment of the quality of a throw jump is the same as the criteria used in assessing jumps in general. The main additional criteria to be considered are: - The form of the man as he throws the lady into the air - The form of the lady in the air - The one‐foot landing of the lady on the ice. Throw jumps are difficult since the lady lands from a very high height without any support by her partner. Pair Spins In addition to the criteria used in assessing quality of all spins, the assessment of pair spins must include consideration of: - The closeness of the skaters when in the spin - The ease with which the skaters coordinate their movements and changes of positions - The continuous nature of the rotation throughout the spin (much more difficult to achieve in pairs than in a solo spin). Death Spirals and Spiral Figures Death Spirals The quality of a death spiral can be assessed almost entirely on its form. It is important to remember that as with other elements, you must consider all phases of this element. There is a tendency to consider the quality of a death spiral starting only at the pivot of the man. If this were the case, you would actually be missing the majority of the death spiral. In fact, the entry of a death spiral comprises the majority of this element, and the quality of the entire element is almost always a result of this phase. Factors to consider in a quality death spiral are: - Strong form on the entry - Arms of both skaters should be fully extended, allowing maximum force to be produced. - The lady should achieve the full position while in the entry phase and the man should be able to control a continuous spiraling edge from the entry into the pivot position. (Death spirals in which the arc of the edge changes when the man begins his pivot, or in which the man must bend his arm to pull the lady towards him are of lower quality.) 12
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Lady should be on her blade the entire time (rather than riding on the side of her boot) Both skaters should exit the death spiral on one foot Spiral Figures The lady is in a spiral position (any direction, any edge) with the man in a pivot position. The same criteria as the death spiral should be used to assess quality in a spiral figure. Grades of Execution for the Free Skate Program (GOEs) As with singles skating, each element in the pairs Free Program is awarded a GOE from +3 to ‐3 depending on the quality of the execution. The GOE sheet in the Pairs Appendix provides a breakdown of the different errors which could occur and the reductions that should be taken. Please note that a “0” means the element executed was at a base level of execution. If the skaters execute solo jumps of unequal rotation, the technical panel will identify the jump with the lowest value. For example, the man executes a double flip and the lady a single flip…the jump will be identified as 1F. In this case there is a specific GOE reduction of ‐2 for unequal revolutions by partners. Program Components for the Free Skate Program (PCs) The Program Components for Pair Skating are the same as Singles with the addition of UNISON (see pages 7‐
10) At the Juvenile level in Pairs, you will likely see skaters attempting very basic pair moves and slightly more difficult side‐by‐side elements. Pair elements will likely contain armpit lifts, simple throw jumps and basic pair spins. Often, the unsuccessful elements are the side‐by‐side elements. Pairs may attempt jumps where one skater may not yet have mastered that skill. It is important that above all, you reward teams who possess superior pair qualities and skills, who truly skate as a pair, versus teams that are in essence two singles skaters with strong individual elements. Strong unison and quality pair elements should be rewarded over difficult side‐by‐side jumps and spins. One of the main challenges to judging Pairs is that you must concentrate on two skaters rather than one. One of the easiest ways to do this is to focus your eyes “between” the two skaters during the side‐by‐side elements. This way you are able to see both skaters at once, and you can assess unison, whether or not positions are matched as well as any individual errors they might have. Well‐Balanced Free Program Elements Pre‐Juvenile 1 free program, 2:30 minutes (+/‐ 10 seconds)  Maximum of 2 different lifts, each lift must be from group 1. Lifts must not include a change of position  Maximum of 1 throw jump  Maximum of 1 solo jump  Maximum of 1 solo jump combination or sequence 13
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Maximum of 1 pair spin (may be in combination) minimum 3 revs Maximum of 1 solo spin (may be in combination) minimum 3 revs Maximum of 1 spiral figure or death spiral Maximum of 1 step sequence any pattern fully utilizing the ice surface . Juvenile 1 free program, 2:30 minutes (+ or – 10 seconds)  Maximum of 2 different lifts, at least one of which must be from group 1. Lifts must not include a change of position  Maximum of 1 twist lift  Maximum of 1 throw jump  Maximum of 1 solo jump  Maximum of 1 solo jump combination (no more than 2 jumps) or sequence  Maximum of 1 pair spin (may be in combination) minimum 3 revs  Maximum of 1 solo spin (may be in combination) minimum 3 revs  Maximum of 1 spiral figure or death spiral  Maximum of 1 step sequence any pattern fully utilizing the ice surface
At an Interclub competition, you may be asked to judge Introductory or Open Pairs events. Typically, these events will be a Free Skate program comprised of two ladies skating together with one or both skaters assuming the man’s role at any given time. These will also be judged in the CPC system. 14
Juvenile Judge Manual
Juvenile Dance The Juvenile Dance event consists of two parts, pattern dances (2) and a free dance. For the pattern dances, the group of dances to be skated at qualifying competitions (Sectionals, Qualifying and Junior Nationals) is determined each year. Each competition announces the group to be skated in the competition announcement. The Juvenile Free Dance has specific requirements to meet the well‐balanced program. The qualifications to compete in Sectional Juvenile Dance events are that the couple must have passed the complete Junior Bronze Dance test. Pattern Dances How do you judge pattern dances? What are dance judges looking for? These are a couple of questions that are frequently asked. In the absence of elements such as jumps and spins and the fact that each couple does the same dance, it may seem difficult to see differences between the couples, other than in extremely obvious cases. In the CPC system, Grades of Execution (GOEs) and Program Components (PCs) are assigned to each dance couple based on their performance, similar to the method of judging single or pair skating. You are not comparing couples, rather assessing how well they perform each section of the pattern dance. In pattern dance, each section of each dance has a base value indicated in the Scale of Value (SOV) chart. Each judge assigns a GOE to each section, based on his or her perception of the performance of that section. There are 7 possible GOES that range from ‐3 to +3. Grades of Execution (GOEs) Each pattern dance is broken down into segments for judging. Before proceeding to the panel, it is your responsibility to know the segments by step numbers. You may obtain this information from the Skate Canada or Skating in BC website or the panel referee might tell you in a pre‐event meeting. It is best to be prepared and have the segments marked on a dance pattern. For example, the Ten Fox has one full sequence as a segment. Couples perform 4 sequences so there are 4 GOEs given. The Willow Waltz has the sequence divided into 2 segments. Segment one is steps 1‐11; segment 2 is steps 12‐22. For this dance three sequences are skated so there are a total of 6 GOEs given. Note that if you are judging any of these dances in a STARSkate category, the number of sequences to be skated may be reduced ‐ the Referee will be able to tell you how many sequences are being skated, You will be marking each segment of the pattern dance with a GOE. Please note that in a “0”, or acceptable GOE, there may be 1 minor error in accuracy and the pattern is “generally” correct and shallow. In competitions where the computer screens are used, it is a personal decision as to whether to enter the GOE immediately after the segment is skated or to record your GOE on your judging sheet and then enter it after the dance is completed. Making simple notations for each segment on your judging sheet as the dance is performed will assist in the assigning of the final GOE. Some criteria that might be useful are: accuracy of steps (flats, changes of edges etc should be noted, pattern size and shape and if the restart is correct, quality of the turns and if there is a unison break on the turn etc. Errors and positives in the dances should be noted on your sheet and GOEs assigned accordingly. 15
Juvenile Judge Manual
There are also other “adjustments” in GOEs. These deal primarily with stumbles, loss of balance and falls. Specific instances are noted on the GOE Marking Guide when the GOE must be a minus value. Program Components for Pattern Dance The marking guide for Pattern Dance Program Components is on pages 3 and 4 of the Dance Appendix. The Program Components for Pattern Dance are: 1. Skating Skills - Edge control and flow over the ice surface - The clarity of technique; basic skating edges, turns, steps should be correct and precise - Effortless power to accelerate and vary speed; achieve and maintain speed without sacricficing form - Knee action should be demonstrated 2. Performance - Carriage, line and form - Style ‐ sophisticated, elegant - Clarity of movement demonstrated - Projection – do they connect with each other, with the audience? - Unison – both dancers move as one, matching free legs, knee action, body line and carriage between partners 3. Interpretation - Expression of the music’s style, character and rhythm - Staying in character of music throughout performance, not just introduction 4. Timing - Footwork in time with the music and on correct beat - Body rotation, knee action coordinated with music rhythm - Lobe changes and lean changes matching nuances of music - Any additional body movements integrated into pattern dances (such as arms) should move with the underlying rhythm of the music Juvenile dancers are usually at a developmental level in skill and ability, so it is often difficult to see accomplishment in all of these areas. However, by applying the criteria in each of the PCs, you will be able to evaluate each couple and reward the dancers who are strong in any or all aspects. It is often easier to assign PCs by assigning the highest or lowest PC first and that will sometimes help establish your range. This is an absolute scale, so you are not limited to any specific range of marks for the Juvenile level. This is very important to remember as a judge is able to reward dancers according to what the judge feels was appropriate to the dance skated. Some judges develop a system and use acronyms for each of the PCs. This is an individual decision and as you gain experience in CPC judging, you will find a way that works best for you. For example, within the Performance/Execution component, a judge may always assign a letter grade for carriage, line and form at the top left of the space for notes. Unison breaks may be noted by ticks, either small or large according to degree 16
Juvenile Judge Manual
at the top right of the space. This helps establish consistency for assigning this particular Program Component. As you gain experience, you will develop a system which allows for consistent evaluation using the same criteria. It may help you to ask more experienced judges if they have any suggestions to share with you. 2. Free Dance The Juvenile Free Dance is 2.0 minutes (+ or – 10 seconds) in length. The marking guide for GOE for required elements in the Free Dance can be found in the Dance Appendix. Page 1 of the dance appendix has the CPC abbreviations in case the competition is using manual CPC, not computers. A well‐balanced Juvenile free dance must meet the following requirements:  Maximum of 1 dance lift, either stationary, curve or straight line (maximum 6 seconds)  Maximum of 1 dance spin (simple type, not combination). Spins will be called up to Level 2.  Maximum of 1 series of synchronized twizzles  Maximum of 1 footwork sequence in hold. Any shape, no required holds, may NOT be midline or circular non‐touching. Dance Lift: At the Juvenile level, you should see some stability in the position and while there may be some shakiness on the entry or exit, generally this is performed with some confidence. At this level, dancers cannot perform a rotational lift, so the lifts tend to be basic and short in length. The lift may not be longer than 6 seconds in length. It is the responsibility of the Referee to time the lifts and make appropriate deductions. Dance Spin: At the Juvenile level, the requirement is a basic spin, not a combination. (In Dance, a combination spin is one in which there is a change of foot). The dance hold is important as is the entry and exit. Spins that are centered with speed maintained and a pleasing position should be rewarded. Synchronized Twizzles: The requirement of synchronized twizzles is unique to Ice Dance. The most important consideration in the quality of a twizzle is that both skaters actually execute a twizzle!! Double threes or a traveling spin do not meet this requirement. If skaters are hitting distinct edges through the turning action, they are likely executing double threes. Unison and good flow in and out of the twizzles should be rewarded. Step Sequence: The quality of dance step sequences can be assessed using criteria previously discussed – in particular, the quality of turns, edges, flow as well as unison and holds. As with all other elements in a free dance, strong carriage and form throughout the step sequence is also an indication of higher quality. Get in the habit of noting whether the step sequence is skated to the rhythm pattern of the music and whether it reflects the character of the chosen dance. Specific “adjustments” for each aspect are listed on the bottom of the GOE sheets. These primarily deal with losses of balance, stumbles and falls and give specific GOE reductions that must be taken. It also stipulates when the GOE must be a minus value and when the GOE should be raised in each of the required criteria. 17
Juvenile Judge Manual
There are also specific criteria and illegal moves in Ice Dance and you should be aware of them. For example, Ladies must wear a skirt and their costume must not give the effect of excssive nudity – in other words, the majority of the upper body must be covered. Men must wear full‐length trousers – no tights are allowed and the man’s costume must not be sleeveless. Some illegal moves are lying or kneeling, performing splits on the ice and executing jumps of more than ½ rotation. Most of the other illegal movements are not applicable to Juvenile Dance (such as acrobatic lifts or holding the lifted partner in an upside‐down pose) due to the lack of skill development at this level but they definitely do apply. It is the responsibility of the Technical Panel to identify illegal elements and take the appropriate deductions. Program Components for Free Dance The program components for free dance are slightly different than for compulsory dance, reflecting its creative nature. In the Free Dance the Timing PC is incorporated into Interpretation. There is also the additional PC for Choreography. The criteria in these two components is outlined below: 
Choreography The arrangement of movement within the dance. A well‐choreographed program will be constructed in a harmonious fashion – it will be seen as a single unit, rather than the sum of distinct sections. The criteria are: - Purpose - Proportion - Unity - Utilization of personal and public space - Pattern and ice coverage - Phrasing and form - Originality of purpose, movement and design  Interpretation/Timing The personal and creative translation of music to movement on the ice. - Expression of the music’s style, character and rhythm - Staying in character of music throughout performance, not just introduction - Effortless movement in time with the music (timing) Refer to the information given on pages 7 and 8 regarding assigning your Program Component marks. At an Interclub competition, you may be asked to judge solo dance pattern dance events. These will also be judged in CPC using the same criteria as couples pattern dances without the criteria for unison. These events are only pattern dance and the dancers usually perform the number of sequences for tests only, but may do the required number for competition. The referee on the panel will let you know how many sequences will be skated. Your notation system should chart the dance and note highlights or errors. 18
Juvenile Judge Manual
ELEMENT ABBREVIATIONS JUMPS Waltz (STARSkate) Toe loop Salchow Loop Flip Lutz Axel DoubleToeLoop Double Salchow Double Loop Double Flip Double Lutz Double Axel Triple Toe Loop Triple Salchow Triple Loop Triple Flip Triple Lutz Triple Axel Quad Toe Loop Quad Salchow Quad Loop Quad Flip Quad Lutz Quad Axel SINGLES 1W 1T 1S 1Lo 1F 1Lz 1A 2T 2S 2Lo 2F 2Lz 2A 3T 3S 3Lo 3F 3Lz 3A 4T 4S 4Lo 4F 4Lz 4A STEPS & SPIRALS Step Sequence Spiral Sequence Choreographic Sequence SPINS Upright Spin
Layback Spin
Camel Spin
Sit Spin
Flying Upright Spin
Flying Layback Spin
Flying Camel Spin
Flying Sit Spin
Change Upright Spin
Change Layback Spin
Change Camel Spin
Change Sit Spin
Combination Spin
(change of position; no change of foot) Change Combination Spin (change of position & change of foot)
Flying Combination Spin (change
of position; no change of foot)
Flying Change Combination Spin (change of position & change of foot) USp
LSp
CSp
SSp
FUSp
FLSp
FCSp
FSSp
CUSp
CLSp
CCSp
CSSp
CoSp CCoSp FCoSp FCCoSp StSq SpSq ChSq (Senior Free Programs) 19
Juvenile Judge Manual
PAIRS ELEMENTS *Jumps, Solo Spins, Step & Spiral Sequences are the same abbreviations as in Singles TWIST LIFTS LIFTS Group 1 Group 2 Group 3 Group 4 Group 5, Toe Lasso Group 5, Step In Lasso Group 5, Reverse Lasso Group 5, Axel Lasso THROWS Toe Loop 1TTh Salchow 1STh Loop 1LoTh Flip/Lutz 1FTh Axel 1ATh Double Toe Loop 2TTh Double Salchow 2STh Double Loop 2LoTh Double Flip/Lutz 2FTh Double Axel 2ATh Triple Toe Loop 3TTh Triple Salchow 3STh Triple Loop 3LoTh Triple Flip/Lutz 3FTh Triple Axel 3ATh Quad Toe Loop 4TTh Quad Salchow 4STh Quad Loop 4LoTh Quad Flip/Lutz 4FTh Stationary Straight Line Curved Rotational Serpentine 1Li 2Li 3Li 4Li 5TLi 5Sli 5RLi 5ALi
Toe Loop
Double Toe Loop Triple Toe Loop Quad Toe Loop Lutz/Flip
Double Lutz/Flip Triple Lutz/Flip Quad Lutz/Flip Axel
Double Axel
Triple Axel
Quad Axel
1TTw 2TTw 2TTw 4TTw 1LzTw 2LzTw 3LzTw 4LzTw 1ATw 2ATw 3ATw 4ATw DEATH SPIRALS Forward Inside FiDs Forward Outside FoDs Backward Inside BiDs Backward Outside BoDs PAIR SPINS Pair Spin
PSp Pair Combination Spin PCoSp DANCE ELEMENTS LIFTS StaLi SlLi CuLi RoLi SeLi STEP SEQUENCES CURVED
Circular
Serpentine
Not Touching Circular
Steps
STRAIGHT LINE
Midline in Hold
CiSt
SeSt
NtCiSt
Reverse Rotational RRoLi Combination Both types MiSt
of lift are called i.e. CuLi+RoLi Choreographic ChLi Diagonal in Hold
DiSt
Not Touching Midline NtMiSt
Steps
Not touching Midline NtMiTw
Sequential Twizzles
SPINS Synchronized Twizzles STw Spin Sp Combination Spin CoSp 20
SKATE CANADA
JUDGES WORKSHEET (SINGLES / PAIRS)
Start #
Transitions
Skater/ Team Name
Element
Comments /
Transitions
Jdg#
Judge Name
SKATING SKILLS
GOE
1.
2.
Balance / Flow / Sureness / Speed / Direction
TRANSITIONS / LINKING FOOTWORK & MOVEMENT
3.
4.
5.
Variety / Difficulty / Quality / Intricacy
Footwork
/ Skating Movements / Body movement / Non-Listed Elements
PERFORMANCE / EXECUTION
6.
7.
8.
Physical, Emotional, Intellectual Involvement / Carriage / Style /
Clarity of Movement / Variety&Contrast of Movement / Projection / Unison
CHOREOGRAPHY/ COMPOSITION
9.
10.
11.
Purpose / Structure & Pattern / Body Design & Dimension /
Music & Movement Phrasing
INTERPRETATION
12.
13.
14.
General Comments:
Musical Movement / Expressive & Nuance Movement /
Effortless Movement
SKATE CANADA
JUDGES WORKSHEET (PATTERN DANCE)
Start #
Skate/Team Name
Section/Sequence
Comments
Jdg#
GOE
Judge Name
PATTERN DANCE
SKATING SKILLS
Skating Quality / Flow / Speed / Balance of Technique in Partners /
Ice Coverage
PERFORMANCE / EXECUTION
Unison / Distance Between Partners / Carriage / Style / Balance in
Performance Between Partners
INTERPRETATION
Expression of the Character of the Rhythm / Partner Relationship
TIMING
Timing / Skating on Strong Beat / Skating Prescribed Beat Values / Intro
Steps
Costume/Prop violation
General Comments:
SKATE CANADA
JUDGES WORKSHEET (SHORT DANCE / FREE DANCE)
Start #
Skater/ Team Name
Jdg#
Music*:
Transitions
Judge Name
*SD - the rhythms of the music FD: the title of the program
Element
Comments /
Transitions
SKATING SKILLS
GOE
1.
2.
Balance / Flow / Cleanness & Sureness / Ease of Acceleration /
Direction / One Foot Skating / Equality of Technique between partners
TRANSITIONS / LINKING FOOTWORK & MOVEMENT
3.
4.
5.
Variety (Holds, Footwork , Body Movements) / Difficulty / Intricacy /
Quality
PERFORMANCE / EXECUTION
6.
7.
8.
Involvement / Carriage / Style / Projection / Clarity of Movement / Unison /
Balance in Performance
COMPOSITION / CHOREOGRAPHY
9.
10.
11.
Purpose / Structure & Pattern / Proportion / Unity
Music & Movement Phrasing / Originality / Shared responsibility /Conformity
to pattern, separation & stop requirements (SD)
INTERPRETATION / TIMING
12.
13.
14.
General Comments:
Timing & Musical Movement / Expression & Nuance /
Partner Relationship Reflecting Music / Correct rhythm & range of tempo
(SD) / Appropriate music / Skating to Rhythmic beat
Costume/Prop violation
Music restriction violation (FD)