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NDA COMPETITION RULE BOOKFOR ALL-STAR TEAMS

NDA ALL-STARNATIONAL CHAMPIONSHIP

February 28 - March 1, 2015Dallas, Texas

NDA USES USASF DANCEWORLDS SCORE SHEETS

For Pom, Hip Hopand Jazz Categories

Code of Conduct

Eligibility Policy

All-Star Dance Divisions

Combining and Splitting

Age Divisions

Crossovers

Division Categories

Individual and Small Group Categories

Dance General Rules

Choreography and Costuming

Categories

2014 - 2015 Score Sheet Samples and Explanations

NDA Scoring Process

Performance Area

Legality Verification

Inappropriate Choreography / Music / Costuming

Interruption of Performance

Music Information

Judging Panels

How to Qualify: NDA All-Star National Championship

USASF Athlete ID

NDA Glossary of Terms

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2014 - 2015 USASF DANCE SAFETY RULESFor the most up-to-date USASF Safety Rules for the 2014 - 2015 championship season, please visit http://usasf.net.

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

and Choreography and Costuming.

TABLE OF CONTENTSNDA RESERVES THE RIGHT TO BE THE ARBITRATOR AND INTERPRETER OF ALL RULES COVERED IN THIS DOCUMENT.

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

• Any questions or concerns that affect a team’s performance or experience must be communicated by the coach to the NDA Information Table. The appropriate NDA Official will then be called to discuss the situation with the coach.

• Participants, coaches and spectators are prohibited from making contact with the judges during the competition.• Judges’ rulings are final related to deductions, final team placements and legalities.• Any unruly, aggressive or belligerent behavior by participants, coaches or spectators toward any other attendee or NDA

Event Staff will result in potential team disqualification, removal from the event and/or barred participation from future NDA Events and possible disqualification or suspension of team in following years.

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

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

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

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

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

ALL-STAR DANCE RULE BOOK • 2

ALL-STAR DANCE DIVISIONSDIVISIONS AGE / PARTICIPANT #’s CATEGORIES MINIMUM MAXIMUM TIME LIMIT TIME LIMITTiny 6 Years & Younger Jazz, Pom, Hip Hop 1 min, 45 sec 2 min, 30 sec min. of 4 members Variety

Mini Prep† 9 Years & Younger Jazz, Pom, Hip Hop 1 min, 45 sec 2 min, 30 sec min. of 4 members Variety

Mini 9 Years & Younger Jazz, Pom, Hip Hop 1 min, 45 sec 2 min, 30 sec min. of 4 members Variety

Youth Prep† 12 Years & Younger Jazz, Pom, Hip Hop 1 min, 45 sec 2 min, 30 sec min. of 4 members Variety

Small Youth 12 Years & Younger Jazz, Pom, Hip Hop 1 min, 45 sec 2 min, 30 sec 4 - 14 members Variety

Large Youth 12 Years & Younger Jazz, Pom, Hip Hop 1 min, 45 sec 2 min, 30 sec 15 or more members Variety

Junior Prep† 15 Years & Younger Jazz, Pom, Hip Hop 1 min, 45 sec 2 min, 30 sec min. of 4 members Variety

Small Junior 15 Years & Younger Jazz, Pom, Hip Hop 1 min, 45 sec 2 min, 30 sec 4 - 14 members Variety

Large Junior 15 Years & Younger Jazz, Pom, Hip Hop 1 min, 45 sec 2 min, 30 sec 15 or more members Variety

Senior Prep† 18 Years & Younger Jazz, Pom, Hip Hop 1 min, 45 sec 2 min, 30 sec min. of 4 members Variety

Small Senior 18 Years & Younger Jazz, Pom, Hip Hop 1 min, 45 sec 2 min, 30 sec 4 - 14 members Variety

Large Senior 18 Years & Younger Jazz, Pom, Hip Hop 1 min, 45 sec 2 min, 30 sec 15 or more members Variety

Small Senior Coed** 18 Years & Younger Jazz, Pom, Hip Hop 1 min, 45 sec 2 min, 30 sec 4 - 14 members Variety

Large Senior Coed** 18 Years & Younger Jazz, Pom, Hip Hop 1 min, 45 sec 2 min, 30 sec 15 or more members Variety

Small Open 14 Years & Older Jazz, Pom, Hip Hop 1 min, 45 sec 2 min, 30 sec 4 - 14 members Variety

Large Open 14 Years & Older Jazz, Pom, Hip Hop 1 min, 45 sec 2 min, 30 sec 15 or more members Variety

Small Open Coed** 14 Years & Older Jazz, Pom, Hip Hop 1 min, 45 sec 2 min, 30 sec 4 - 14 members Variety

Large Open Coed** 14 Years & Older Jazz, Pom, Hip Hop 1 min, 45 sec 2 min, 30 sec 15 or more members Variety

Open Male*** 14 Years & Older Hip Hop 1 min, 45 sec 2 min, 30 sec min. of 4 members

*Any style or combination of styles **Coed is defined as 1 or more males ***Male is defined as 0 females†NDA may only split the Prep Category by style if there are at least three (3) teams in each category/division.



Teams performing with less than four may be considered “exhibition” and will not qualify for awards but will receive written feedback from judges.

COMBINING AND SPLITTINGDivisions will be combined first by size when applicable then by gender.• Divisions will not be combined if a program is registered in the same category. Example: Small Jazz and Large Jazz

teams from the same program will not compete against each other. Choosing to register two Small Jazz teams from the same program will require said teams to compete against each other.

• Small and Large: If there are less than 3 teams in Mini, Youth, Junior, Senior or Open Divisions within the same Category, NDA will combine Small and Large within the Age Division only. Example: If there are 2 teams in Small Senior Pom and 5 teams in Large Senior Pom, NDA will combine into Senior Pom; NDA will not combine these if it means that a program will compete against itself.

• Senior Coed: If there is only one team entered in any Senior division, NDA will combine Senior and Senior Coed.• Junior Coed: If there is only one team entered in any Junior division, NDA will combine Junior and Junior Coed.• Open Coed: If there is only one team entered in any Open Division within the same category,

NDA will combine (in this order):• Open Coed with Open Male• Open with Open Coed• Open with Open Male

• Prep: NDA will split the Prep Category into Jazz, Pom or Hip Hop if there are at least 3 teams in one Category Division and at least 2 teams in the remaining Open category. In the Prep Category, a program cannot compete against itself. In this instance, a mandatory split would occur; however, programs that choose to register 2 teams in the same division category will result in said teams competing against each other.

• Tiny Division and Optional Categories: NDA will split Tiny divisions within the same category and the Optional Categories into Small and Large if there are 10 or more teams in the division before the split occurs. There must be at least 3 teams in each division once the split occurs.

AGE DIVISIONS• The Division (age) of a team is determined by the age of the oldest competitor.• The age of the competitor as of August 31st, 2014, will be the age used for competition purposes throughout the

2014 - 2015 season for all divisions.• Any team from any country may enter any USASF division as long as they abide by the age restrictions of that division.

CROSSOVERS• Dancer(s) may compete in more than one division and/or category as long as they abide by the age restrictions in all

divisions in which they compete.• A dancer may not compete in a non-prep category and a Prep Category within the same style.

DIVISION CATEGORIES• NDA may offer the Open Style Category (any style) instead of separate categories, i.e. Jazz, Pom, Hip Hop, at any age

division. Example: an event producer may offer Tiny Open Style instead of Tiny Jazz, Tiny Pom and Tiny Hip Hop.• NDA will only divide by categories listed and may not further split or add categoriesand/or divisions by style, level, skill,

age or ability unless, prior written approval is received from the USASF.



INDIVIDUAL AND SMALL GROUP CATEGORIESDIVISIONS AGE / PARTICIPANT #’s CATEGORIES MINIMUM MAXIMUM TIME LIMIT TIME LIMITYouth Best Dancer 12 Years & Younger Any no minimum 1 min, 30 sec 1 member, male or female

Junior Best Dancer 13 - 14 Years Any no minimum 1 min, 30 sec 1 member, male or female

Senior Best Dancer 15 - 18 Years Any no minimum 1 min, 30 sec 1 member, male or female

Youth Duet 12 Years & Younger Any no minimum 2 minutes 2 members, male and/or female

Junior Duet 13 - 14 Years Any no minimum 2 minutes 2 members, male and/or female

Senior Duet 15 - 18 Years Any no minimum 2 minutes 2 members, male and/or female

Youth Small Ensemble 12 Years & Younger Any no minimum 2 minutes 3 - 5 members, male and/or female

Junior Small Ensemble 13 - 14 Years Any no minimum 2 minutes 3 - 5 members, male and/or female

Senior Small Ensemble 15 - 18 Years Any no minimum 2 minutes 3 - 5 members, male and/or femaleNote: All above Individual and Small Group Categories offered at select Championships.

DANCE GENERAL RULES1. All teams must be supervised during all official functions by a qualified coach/teacher.2. Coaches/teacher must require proficiency before skill progression. Coaches must consider the dancer and team skill level with regard to proper performance placement.3. All participants agree to conduct themselves in a manner displaying good sportsmanship throughout the event. The coach of each team is responsible for seeing that team members, coaches, parents and any other person affiliated with the team conduct themselves accordingly.4. All programs should have and review an emergency action plan in the event of an injury.5. Each team will have a minimum of 1 minute and 45 seconds (1:45) to a maximum of 2 minutes and 30 seconds (2:30) to demonstrate their style and expertise. Timing will begin with the first choreographed movement or note of the music. Timing will end with the last choreographed movement or note of the music, whichever happens last.6. Substitutions may be made in the event of any injury or other serious circumstance. Substitutes must also abide by the age and gender restrictions in all divisions in which they compete.7. Footwear is recommended but not required. Wearing socks and/or footed tights only is prohibited. Exception: socks are allowed on a carpeted performance surface.8. Jewelry as a part of a costume is allowed.9. Teams must have at least four (4) members. There is no maximum limit.



CHOREOGRAPHY AND COSTUMING1. Suggestive, offensive or vulgar choreography, costuming and/or music are inappropriate for family audiences and therefore lack audience appeal.2. Routine choreography should be appropriate and entertaining for all audience members. Vulgar or suggestive material is defined as any movement or choreography implying something improper or indecent, appearing offensive or sexual in content, and/or relaying lewd or profane gestures or implications. Inappropriate choreography, costuming and/or music may affect the judges’ overall impression and/or score of the routine.3. All choreography should be age appropriate.4. All costuming and makeup should be age appropriate and acceptable for family viewing.

PROPS1. Wearable and handheld items are allowed in all categories and can be removed and discarded from the body.2. Any item that does bear the weight of the participant is considered a standing prop. Standing props are only allowed in the prop and production category. Examples: chairs, stools, benches, ladders, boxes, stairs, etc.

CATEGORIESJAZZ*A jazz routine incorporates stylized dance movements and combinations, formation changes, group work, leaps and turns. Emphasis is placed on proper technical execution, extension, control, body placement and team uniformity.

POM*Poms must be used 80% of the routine. Important characteristics of a pom routine include strong pom technique: clean/precise and sharp motions, synchronization and visual effect and may incorporate tricks (i.e. leaps/turns, pom passes, jump sequences, kick lines etc). Visual effect includes level changes, group work, formation changes, the use of different color poms, etc.

HIP HOP*Routines can incorporate street style movements with an emphasis on execution, style, creativity, body isolations and control, rhythm, uniformity and musical interpretation.

OPEN STYLE*A routine in this category may incorporate any one style or combination of styles outlined in the USASF category listings.All styles will be judged against each other in this category.

VARIETY (ALSO KNOWN AS TEAM PERFORMANCE)*Routines must incorporate jazz, pom and hip hop styles. Emphasis should be placed on overall creativity and flow of routine and successful technical execution of the dance styles performed. The USASF Dance General, Hip Hop, Pom and Jazz Rules, all three category sets, are to be followed within the proper section of the routine and proper age division.

PREP*The Prep Category is offered for emerging teams and dancers to prepare them for category specific rules. Unless a split is available, the Prep Category will be parallel to the Open Category. All styles will be judged against each other in this category, unless the Prep splitting rule applies. A dancer may not compete in a non-prep category and a Prep Category within the same style. The USASF Dance Prep Rules must be followed in this Category.

*See sample score sheets and score sheet explanations on the following pages for more information; USASF Dance Safety Rules must be followed.



SAM

PLE

ALL-STAR JAZZ CATEGORY

MAXIMUMVALUE

TEAMSCORE

nda.varsity.com

OFFICIAL JUDGE

TOTAL SCORE 100

MAXIMUMVALUE

TEAMSCORE

TECHNIQUE 40

Strength, Ease, Alignment, Extension (20 pts.)

Execution of Technical Skills (20 pts.)

COMMENTS

GROUP EXECUTION 20

Interpretation, Synchronization (10 pts.)

Spacing (10 pts.)

COMMENTS

CHOREOGRAPHY 30

Composition of routine (15 pts.)

Routine Staging, Visual Effects (10 pts.)

Degree of Difficulty (5 pts.)

COMMENTS

PERFORMANCE IMPRESSION 10

Communication (5 pts.)

Overall Impression: Appeal and Appropriateness (5 pts.)

COMMENTS

JAZZ SCORE SHEET EXPLANATIONA Jazz routine incorporates stylized dance movements and combinations, formation changes, group work, leaps and turns. Emphasis is placed on proper technical execution, extension, control, body placement and team uniformity. The following represents a detailed explanation of each caption on the score sheet.

CHOREOGRAPHY• Composition of routine (15 pts.)

The judges will credit here: how well the movement complements the music along with the artistic/creative concept/effect. Skill incorporation that supports the flow of the routine, as well as individual or small group work that enhances the routine dynamic. The presentation of new and unique ideas through style technique and staging design. Appropriate utilization of the team’s ability level.

• Routine Staging, Visual Effects (10 pts.) The judges will credit here: how the dancers are staged on the floor. The seamless incorporation of unique and challenging formations and transitions and their placement on the stage. Visual effects that are developed through use of creative floor work, group/partner work, level changes, opposition, etc.

• Degree of Difficulty (5 pts.) The judges will credit here: the difficulty of the routine (does not reflect execution). Effective incorporation of challenging elements. Overall level, pace, and intricacy of movement such as motions, footwork, direction changes, technical skills.

GROUP EXECUTION• Interpretation, Synchronization (10 pts.)

The judges will credit here: how well the team dances together as a group, rather than the execution of technique. The ability of the team to maintain accuracy, clarity and control along with commitment to the style/interpretation as a group.

• Spacing (10 pts.) The judges will credit here: the ability of the performers to gauge and position themselves correct distances between each other in and throughout all formations.

TECHNIQUE• Strength, Ease of Movement, Alignment, Extension (20 pts.)

The judges will credit here: the performers posturing, control, body placement. The dancers ability to exhibit the presented style effectively and continually throughout the routine.

• Execution of Technical Skills (20 pts.) The judges will credit here: the demonstration of proper execution of skills including, but not limited to, leaps, turns, lifts, etc.

PERFORMANCE IMPRESSION• Communication (5 pts.)

The judges will credit here: the genuine use of projection, confidence, expression and emotion to convey and maintain mood and emotion of intended style/story/concept.

• Overall Impression: Audience Appeal, Appropriateness (5 pts.) The judges will credit here: appropriateness of the music, costume and choreography. Did the performance leave a memorable and lasting impression?



SAM

PLE

ALL-STAR POM CATEGORY

MAXIMUMVALUE

TEAMSCORE

nda.varsity.com

OFFICIAL JUDGE

TOTAL SCORE 100

MAXIMUMVALUE

TEAMSCORE

GROUP EXECUTION 30

Uniformity, Synchronization (20 pts.)

Spacing (10 pts.)

COMMENTS

CHOREOGRAPHY 30




COMMENTS




COMMENTS

TECHNIQUE 30

Motion Placement, Alignment (10 pts.)

Motion Strength, Sharpness (10 pts.)

COMMENTS

Execution of Pom Skills (10 pts.)

POM SCORE SHEET EXPLANATIONA Pom routine contains important characteristics such as strong pom technique (clean, precise and sharp motions), synchronization, visual effects and may incorporate Pom Skills (i.e. pom passes, jump sequences, leaps/turns, kick lines, etc). Poms must be used 80% of the routine. The following represents a detailed explanation of each caption on the score sheet.


The judges will credit here: how well the movement complements the music. The presentation of new and unique “pictures” created through a variety of pom motions, staging and transitions. Appropriate utilization of the team’s ability level.

• Routine Staging, Visual Effects (10 pts.) The judges will credit here: how the dancers are staged on the floor. The variety of seamless formation changes, their placement on the stage and how these formations create visual “pictures”. Visual effects that are created through a variety of pom motions, level changes, group/ground work, formation changes, etc.

• Degree of Difficulty (5 pts.) The judges will credit here: the difficulty of the routine (does not reflect execution). Overall level and intricacy of Pom Motions and Movement, noting the variety of movement and utilizing intricate pom motions, footwork, skills, transitions and formations.

GROUP EXECUTION• Uniformity, Synchronization (20 pts.)

The judges will credit here: how well the team dances together as a group, rather than the execution of technique. The ability of the team to maintain accuracy, clarity and control.

• Spacing (10 pts.) The judges will credit here: the ability of the dancers to gauge and position themselves with correct distances between each other in and throughout all formations and transitions.

TECHNIQUE• Motion Placement, Alignment (10 pts.)

The judges will credit here: accuracy of pom/body work. The dancers superior motion control and precision.

• Motion Strength, Sharpness (10 pts.) The judges will credit here: overall strength of motions.

• Execution of Pom Skills (10 pts.) The judges will credit here: incorporation/execution of style specific skills such as, but not limited to: Pom Passes, Jump Sequences, Leaps/Turns, Kick Lines, etc. executed with strong technique.


The judges will credit here: the genuine use of projection, energy and intensity.




SAM

PLE

ALL-STAR POM CATEGORY

MAXIMUMVALUE

TEAMSCORE

nda.varsity.com

OFFICIAL JUDGE

TOTAL SCORE 100

MAXIMUMVALUE

TEAMSCORE

GROUP EXECUTION 30


Spacing (10 pts.)

COMMENTS

CHOREOGRAPHY 30




COMMENTS




COMMENTS

TECHNIQUE 30



COMMENTS


SAM

PLE

ALL-STAR HIP HOP CATEGORY

MAXIMUMVALUE

TEAMSCORE

nda.varsity.com

OFFICIAL JUDGE

TOTAL SCORE 100

MAXIMUMVALUE

TEAMSCORE

GROUP EXECUTION 20


Spacing (10 pts.)

COMMENTS

CHOREOGRAPHY 30




COMMENTS




COMMENTS

TECHNIQUE 40

Technique of selected Hip Hop Style(s) (20 pts.)

Quality of Movement: Intensity, Strength (10 pts.)

COMMENTS

Execution of Skills (10 pts.)

HIP HOP SCORE SHEET EXPLANATIONA Hip Hop routine can incorporate any street style movement with an emphasis on execution, style, creativity, body isolations and control, rhythm, uniformity and musical interpretation. The following represents a detailed explanation of each caption on the score sheet.


The judges will credit here: how well the movement complements the music (such as sound effects, rhythms, lyrics, etc) as well as creative concepts. Skill incorporation that supports the flow of the routine as well as individual or small group work that enhances the routine dynamic. Appropriate utilization of the team’s ability level.

• Routine Staging, Visual Effects (10 pts.) The judges will credit here: how the dancers are staged on the floor. The seamless incorporation of unique and challenging formations and transitions. Visual effects that are created with interactive movements and incorporation of creative and unpredictable visuals, group builds, illusions, patterns, levels and/or opposition.

• Degree of Difficulty (5 pts.) The judges will credit here: the difficulty of the routine (does not reflect execution). Effective incorporation of challenging elements. Overall level, pace and intricacy of hip hop movements such as footwork, direction changes and technical elements.

GROUP EXECUTION• Uniformity, Sychronization (10 pts.)

The judges will credit here: How well the team dances together as a group, rather than the execution of technique. Consistent unison, timing/rhythm by the group as a whole. Uniformity of team movement within both choreography and skills.

• Spacing (10 pts.) The judges will credit here: the ability of dancers to gauge and position themselves correct distances between each other in and throughout all formations and transitions.

TECHNIQUE• Technique of selected Hip Hop Style(s) (20 pts.)

The judges will credit here: the dancer’s demonstration of correct technique within any hip hop/street dance style such as, but not limited to, the following: Popping, Locking, Gliding, Animation, Rocking, Freezes, Stalls, Waaking, Voguing, Punking, Krumping, Crunking, Stepping, Dance Hall, Housing, Dubstepping, Clubbing, Tutting, Threading and/or Breaking.

• Quality of Movement: Intensity, Strength* (10 pts.) The judges will credit here: the overall execution, stabilization, control and momentum of the dancers. Method with which the dancers attack or approach the movement. Consistency and quality of movement by the group as a whole (*does not have to mean “speed” for the dancers to intensely execute the movement).

• Execution of Skills (10 pts.) The judges will credit here: demonstration of correct approach, execution and release of skill(s) by an individual dancer/group. Body awareness and control of the dancer’s strength, balance and form while completing selected skill(s).


The judges will credit here: genuine projection, energy and intensity. Did the team project a confident presence clearly conveying their particular message and/or style(s)? Did the team find and communicate their groove?

• Overall Impression: Appeal, Appropriateness (5 pts.) The judges will credit here: appropriateness of music, costume and choreography. Did the performance leave a memorable and lasting impression?



SAM

PLE

ALL-STAR OPEN CATEGORY

MAXIMUMVALUE

TEAMSCORE

nda.varsity.com

OFFICIAL JUDGE

TOTAL SCORE 100

MAXIMUMVALUE

TEAMSCORE

GROUP EXECUTION 20


Spacing (10 pts.)

COMMENTS

CHOREOGRAPHY 30




COMMENTS




COMMENTS

TECHNIQUE 30

Placement, Alignment (10 pts.)

Strength, Ease of Movement (10 pts.)

COMMENTS

Style Specific Skills (10 pts.)

OPEN SCORE SHEET EXPLANATIONA routine in this category may incorporate any one style or combination of styles outlined in the USASF category listings. All styles will be judged against each other in this category. The following represents a detailed explanation of each caption on the score sheet.


The judges will credit here: how well the movement complements the music. The presentation of new and unique ideas created through movement, staging and transitions. Appropriate utilization of the team’s ability level.

• Routine Staging, Visual Effects (10 pts.) The judges will credit here: how the dancers are staged on the floor. The variety of seamless formation changes, their placement on the stage, and how these formations create visual pictures. Visual effects are created through a variety of movement, level changes, group/ground work, formation changes, etc.

• Degree of Difficulty (5 pts.) The judges will credit here: the difficulty of the routine (does not reflect execution). Overall level and intricacy of movement, noting the variety of movement and utilizing intricate footwork, skills, transitions and formations.

GROUP EXECUTION• Uniformity, Synchronization (10 pts.)


• Spacing (10 pts.) The judges will credit here: the ability of dancers to gauge and position themselves with correct distances between each other in and throughout all formations and transitions.

TECHNIQUE• Placement, Alignment (10 pts.)

The judges will credit here: accuracy of body work. The dancers superior control and precision.

• Strength, Ease of Movement (10 pts.) The judges will credit here: overall strength or fluidity of movement.

• Style Specific Skills (10 pts.) The judges will credit here: incorporation/execution of style specific skills. Demonstrating proper technique including extension, approach, accuracy, exit, etc.


The judges will credit here: the genuine use of projection, expression and emotion.

• Overall Impression: Appeal and Appropriateness (10 pts.) The judges will credit here: appropriateness of the music, costume and choreography. Did the performance leave a memorable and lasting impression?



SAM

PLE

ALL-STAR VARIETY CATEGORY

MAXIMUMVALUE

TEAMSCORE

nda.varsity.com

OFFICIAL JUDGE

TOTAL SCORE 100

MAXIMUMVALUE

TEAMSCORE

CHOREOGRAPHY 25




COMMENTS




COMMENTS

10Strength, Ease, Alignment, ExtensionJAZZ TECHNIQUECOMMENTS

10Motion Placement, Alignment, Motion Strength, SharpnessPOM TECHNIQUECOMMENTS

10Technique of selected Hip Hop Style(s), Quality of Movement

HIP HOP TECHNIQUECOMMENTS

25Interpretation, Synchronization, SpacingGROUP EXECUTIONCOMMENTS

10Execution, Incorporation of Style Specific SkillsTECHNICAL SKILLSCOMMENTS

VARIETY SCORE SHEET EXPLANATIONThe following represents a detailed explanation of each caption on the score sheet.

JAZZ TECHNIQUE (10 pts.)• Strength, Ease of Movement, Alignment, Extension

The judges will credit here: the performers posturing, control, body placement. The dancers ability to exhibit the presented style effectively and continually throughout the routine.

POM TECHNIQUE (10 pts.)• Motion Placement, Alignment

The judges will credit here: accuracy of pom/body work. The dancers superior motion control and precision.• Motion Strength, Sharpness

Overall strength of motions.

HIP HOP TECHNIQUE (10 pts.)• Technique of selected Hip Hop Style(s)

The judges will credit here: the dancer’s demonstration of correct technique within any hip hop/street dance style such as, but not limited to, the following: Popping, Locking, Gliding, Animation, Rocking, Freezes, Stalls, Waaking, Voguing, Punking, Krumping, Crunking, Stepping, Dance Hall, Housing, Dubstepping, Clubbing, Tutting, Threading and/or Breaking.

• Quality of Movement The overall execution, stabilization, control and momentum of the dancers.

GROUP EXECUTION (25 pts.)• Interpretation, Synchronization


• Spacing The ability of the performers to gauge and position themselves correct distances between each other in and throughout all formations.

TECHNICAL SKILLS (10 pts.)• Execution, Incorporation of Style Specific Skills

The judges will credit here: incorporation/execution of style specific skills. Demonstrating proper technique including extension, approach, accuracy, exit, etc.


The judges will credit here: how well the movement complements the music along with the artistic/creative concept/effect. The presentation of new and unique ideas through style technique and staging design.

• Routine Staging, Visual Effects (10 pts.) The judges will credit here: how the dancers are staged on the floor. Visual effects that are developed through use of creative floor work, group/partner work, level changes, opposition, etc.

• Degree of Difficulty (5 pts.) The judges will credit here: the difficulty of the routine (does not reflect execution). Effective incorporation of challenging elements. Overall level, pace, and intricacy of movement such as motions, footwork, direction changes, technical skills.


The judges will credit here: the genuine use of projection, confidence, expression, energy and intensity. Did the team project a confident presence clearly conveying their particular message and/or style(s)? Did the team find and communicate their groove?




SAM

PLE

ALL-STAR SAFETY / GENERAL DEDUCTIONS

nda.varsity.com

OFFICIAL JUDGE

VARIETY DIVISIONTime Limit 2:30

OPEN DIVISIONTime Limit 2:30

HIP HOP DIVISIONTime Limit 2:30

JAZZ DIVISIONTime Limit 2:30

POM DIVISIONTime Limit 2:30

PREP DIVISIONSTime Limit 2:30

BEST DANCERTime Limit 1:30

BEST DUET & ENSEMBLE & OFFICER GROUPTime Limit 2:00

LEGEND

TIME OF MAJOR FALL DESCRIPTION

TOTAL x 0.5 =

NUMBER OF PARTICIPANTS

OVER TIME

q

TIME OF ROUTINE 3 - 5 SECONDS (1) =

6 - 10 SECONDS (3) =

11+ SECONDS (5) =

TOTAL RULE INFRACTION DEDUCTION(S)

TOTAL OVER TIME DEDUCTION

TOTAL MAJOR FALL DEDUCTION(S)

TOTAL DEDUCTION

RULE INFRACTION WARNING

q

q

q

q

PAGE # # OF DEDUCTIONS

x 5 =

x 5 =

x 5 =

x 5 =

SAM

PLE

ALL-STAR JAZZ PREP CATEGORY

MAXIMUMVALUE

TEAMSCORE

nda.varsity.com

OFFICIAL JUDGE

TOTAL SCORE 100

MAXIMUMVALUE

TEAMSCORE

TECHNIQUE 40

Strength, Ease, Alignment, Extension (20 pts.)

Execution of Technical Skills (20 pts.)

COMMENTS

GROUP EXECUTION 20

Interpretation, Synchronization (10 pts.)

Spacing (10 pts.)

COMMENTS

CHOREOGRAPHY 30




COMMENTS




COMMENTS

SAM

PLE

ALL-STAR POM PREP CATEGORY

MAXIMUMVALUE

TEAMSCORE

nda.varsity.com

OFFICIAL JUDGE

TOTAL SCORE 100

MAXIMUMVALUE

TEAMSCORE

GROUP EXECUTION 30


Spacing (10 pts.)

COMMENTS

CHOREOGRAPHY 30




COMMENTS




COMMENTS

TECHNIQUE 30



COMMENTS


SAM

PLE

ALL-STAR HIP HOP PREP CATEGORY

MAXIMUMVALUE

TEAMSCORE

nda.varsity.com

OFFICIAL JUDGE

TOTAL SCORE 100

MAXIMUMVALUE

TEAMSCORE

GROUP EXECUTION 20


Spacing (10 pts.)

COMMENTS

CHOREOGRAPHY 30




COMMENTS




COMMENTS

TECHNIQUE 40

Technique of selected Hip Hop Style(s) (20 pts.)

Quality of Movement: Intensity, Strength (10 pts.)

COMMENTS

Execution of Skills (10 pts.)

SAM

PLE

ALL-STAR PREP OPEN CATEGORY

MAXIMUMVALUE

TEAMSCORE

nda.varsity.com

OFFICIAL JUDGE

TOTAL SCORE 100

MAXIMUMVALUE

TEAMSCORE

GROUP EXECUTION 20


Spacing (10 pts.)

COMMENTS

CHOREOGRAPHY 30




COMMENTS




COMMENTS

TECHNIQUE 30

Placement, Alignment (10 pts.)

Strength, Ease of Movement (10 pts.)

COMMENTS

Style Specific Skills (10 pts.)

SAM

PLE

BEST DANCER

COMMENTS

EXECUTIONStyle, Control, Strength, Extension, Musicality 10

TECHNICAL SKILLSIncorporation/Execution of style specific skills 10

DEGREE OF DIFFICULTYLevel/Pace of performance, Intricacy 10

CHOREOGRAPHYCreativity, Variety, Originality, Musical Interpretation 10

PERFORMANCE IMPRESSIONProjection, Expression, Audience Appeal 10

TOTAL

MAXIMUMVALUE

TEAMSCORE

nda.varsity.com

OFFICIAL JUDGE

SAM

PLE

BEST DUET / ENSEMBLE / OFFICER GROUP

COMMENTS

EXECUTIONStyle, Control, Extension, Musicality, Uniformity 10

STAGINGSpacing, Formations, Transitions 10

DEGREE OF DIFFICULTYLevel/Pace of performance, Intricacy 10

CHOREOGRAPHYCreativity, Variety, Originality 10

PERFORMANCE IMPRESSIONProjection, Expression, Audience Appeal 10

TOTAL

MAXIMUMVALUE

TEAMSCORE

nda.varsity.com

OFFICIAL JUDGE

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

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

TIME LIMIT VIOLATIONS (ROUTINE TIME LIMIT = 2 MINUTES, 30 SECONDS)Judges will time each routine with a stop watch or similar device. Their time will be considered the official time of the routine. Due to speed variations on different sound systems, the judges will not give a deduction until their clock shows three seconds over the time limit.

Time limit violations (for both the music portion and/or total routine time) are as follows:• 3 - 5 seconds over time will result in a 1 point deduction• 6 - 10 seconds over time will result in a 3 point deduction• 11 or more seconds over time will result in a 5 point deduction

SAFETY VIOLATIONS/GENERAL COMPETITION RULESA 5 point deduction will be given for EACH safety/general competition rule violation (e.g. a 5 point penalty will be assessed for non-costume jewelry). Safety Violations are in effect until the team leaves the performance floor. Please read and study the appropriate USASF Safety Rules section to ensure your team does not have any safety violations.Please visit USASF.net for the most up-to-date USASF Dance Rules. NDA reserves the right to make decisions on any violations not covered in this book and interpretation of rules covered.

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

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

Generally, at Spirit/Regional Championships, teams will perform on a standard gym floor. Please refer to the specific championship for which you are attending and make note of the Performance Area information, or call 877.NDA.2WIN(877.632.2946) for more information.



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

• All questions must be in written form. • Due to differences in interpretation and terminology, no phone calls will be accepted.• Do not rely on prior rulings from NDA Championships.• A separate video must be submitted for each competition to ensure legality.• Costume approval must be submitted in photograph format with at least one (1) athlete wearing the costume in

question. Front and back views of costume must be shown. Official approval cannot be given to sketches or drawings.• For all Legality questions, you must send a video that contains the skill in question (each skill in question should be sent

as a separate video clip). • Video must include the following:

1. Front, side and back view of skill. 2. Name of the Championship where you will be performing skill and the Division you will be performing in. 3. Include your name, team name, email and phone number with your video. 4. Do not send the entire Routine, only the skill(s) in question. Your video will be kept on file at NDA.

VIDEOS THAT ARE NOT IN THE ABOVE FORMAT WILL NOT BE VIEWED.FOR ANY LEGALITIES DIRECTLY APPROVED BY USASF, PLEASE BRING

ALL SUPPORTING DOCUMENTS TO ANY NDA EVENT YOUR TEAM ATTENDS.

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

You may mail your videos to: NDA Legality Verfication 2010 Merritt Drive Garland, TX 75041

Or you may email your videos to: [email protected] Note: Emailed videos may not exceed 10MB and should be in either Windows Media Player or Quicktime formats.

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

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



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

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

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

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

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

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

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



REGIONAL, CLASSIC AND NATIONAL CHAMPIONSHIPMUSIC INFORMATIONNDA requires that you have (2) forms of music available, one on CD and one on a MP3 player (e.g. iPod). Jump/flash drives will not be acceptable as forms of music. If you have questions concerning music playback, contact NDA. Coaches are strongly advised to create routines (mix music) that finish a few seconds under the time limit to ensure that the team does not go over time. Judges’ decisions on timing of total routine and music portion of routines are final.

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

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

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

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

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

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



JUDGING PANELSHEAD JUDGE The Head Judge is responsible for overseeing Panel Judges. Each Head Judge fills out his/her own score sheet for each performance. Head Judge’s scores carry the same weight as a Panel Judge. Decisions made by Head Judges are final.

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

SAFETY JUDGEThe Safety Judge is responsible for administering all safety/general competition rule violations. Decisions made by the Safety Judge are final.

HOW TO QUALIFY FOR THE2015 NDA ALL-STAR NATIONAL CHAMPIONSHIPTeams competing in the All-Star divisions do not need to qualify to be eligible to compete at the 2015 NDA All-Star National Championship. U.S. Championships, Classics and Spirit Championships are also open to all teams, no qualification required.

USASF ATHLETE IDIn lieu of the Team Eligibility Roster that was previously required by NCA & NDA, all cheer and dance participants must now be registered in the USASF Athlete ID program. Registration is required prior to your first competition of the 2014 - 2015 championship season. If you haven’t already registered, please see the process below.

ATHLETE ID PROCESSStep 1• Prior to attending your first event in the 2014 - 2015 season, register all cheer and dance

athletes by entering information in member profiles at USASF.net. • Athlete birth certificates will be uploaded to USASF secure servers for birthdate

verification by USASF staff. Once birthdates are verified, birth certificate files are digitally destroyed and not stored on any server.

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



POSITIONS OF THE FEET• First: Turned out, with heels touching and toes facing outward (can be executed parallel).• Second: Turned out, heels face each other shoulder width apart and toes face outward (can be executed parallel).• Semi-Third: One foot parallel, other foot turns out so that heel is in instep of parallel foot.• Fourth: From fifth position feet opened front/back shoulder width apart, weight is even between feet (can be executed

parallel).• Fifth: Turn out, heel of front foot in front of toe of back foot, legs look crossed.

NDA GLOSSARY OF TERMS• Aerial Cartwheel: An airborne tumbling skill which emulates a cartwheel executed without placing hands on the

ground.• Airborne (executed by individual): A state in which the dancer is free of contact from a person and/or the

performing surface.• Airborne Hip Over Head Rotation (executed by individual): An action where hips rotate over the head in a

tumbling skill and there is no contact with the performance surface (i.e. Round off or a Back handsping).• Airborne Skill (executed by individual): A skill in which the dancer is free of contact with the performance surface

(i.e. Tour Jeté or Butterfly).• Arabesque (a-ra-BESK): A position in which the working leg is extended behind while balancing on the supporting

leg; can be executed as a turn.• Attitude (a-tee-tewd): A position in which the working leg is lifted front, side, or behind with the knee bent at an

angle of 90°; can be executed as a turn.• Axle (AK-sel): A turn in which the working leg rond de jambes to passé as the supporting leg pushes off the ground

and tucks under the body-after rotation in air, land on original supporting leg.• Back Bend: A face-up body position where the hands and feet are in contact with the surface and the hips are pushed

upwards into an arch position.• Back Walkover: A non-airborne tumbling skill where the dancer reaches backward with an arched torso through

an inverted position, hands make contact with the ground, then the hips rotate over the head and the torso hollows bringing the dancer to an upright position, landing one foot/leg at a time.

• Ball Change: The shifting of weight from the ball of one foot to the flat of the other; can be executed from side to side and front to back.

• Battement (bat-mahn): A kick; the working leg is brushed/raised from the hip, with a straight knee, into the air and brought down again.

• Breaking: A style of hip hop dance that incorporates martial arts, acrobatic oriented tricks and dance. The term for a person who executes this style of dance is known as a BBoy (breaking boy) or BGirl (breaking girl).

• C - Jump: A jump in which the dancer creates an arch in the back allowing the knees to bend and the feet reach behind the body.



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

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

• Category: Denoting the style of a performance piece/competition routine (i.e. Jazz, Pom or Hip Hop).• Châiné (sheh-NAY): A series of rapid turns executed in one line of direction.• Chassé (sha-SAY): A step in which one foot “chases” the other and assumes its original position.• Consecutive Skills: An action in which the dancer connects skills immediately, without step, pause or break in

between (i.e. Double Pirouette or Double Toe Touch).• Costume Jewelry: Jewelry that enhances the costume and is worn by ALL members of the team.• Coupé (koo-PAY): Meaning to cut or cutting; when one foot quickly takes the place of the other.• Dance Crew: A style of dance, typically seen in the hip hop category, involving a body or group of dancers who work at

a common style of dance.• Dance Lift (executed as partners or in a group): A skill in which a dancer(s) is elevated from the performance

surface by one or more dancers and set down. A Dance Lift is comprised of “Lifting” dancer(s) and “Elevated” dancer(s). • Demi Plié: Half bend of the knees, heels remain on floor.• Développé (dayv-law-PAY): Meaning to develop; drawing the working leg up the supporting leg to passé, then

extending the working leg to an open position.• Dig: Ball of one foot is next to instep of other foot.• Dive Roll: An airborne tumbling skill in which the dancer does a forward roll where the hands and feet are off of the

performing surface simultaneously. This skill is allowed only if the dancer is in a pike position.• Division: Denoting the composition of a competing group of dancers (i.e. Senior Coed, Varsity, Junior and Youth).• Downrock: An element of breakdance that includes all footwork performed on the floor.• Drops: Dropping to the knee, thigh, seat, front, back, or split position onto the performing surface from a jump, stand or

inverted position without first bearing most of the weight on the hands/feet which breaks the impact of the drop.• Elevated Dancer: A dancer who is lifted from the performance surface as a part of a Dance Lift. • Elevated: An action in which a dancer is moved to a higher position or place from a lower one.• Elevé: Dancer rises up from flat feet to balance on one or both feet on at least demi-pointe (balls of the feet), or all the

way up to full-pointe.• Executing Dancer: A dancer who performs a skill as a part of a Dance Trick or uses support from another dancer or

dancers when Partnering. • Extension: The entire body of the top person is extended in an upright position over the base(s) who maintain fully

extended arms.• Flare: A Power Move where the dancer uses momentum to swing the legs in a continuous circular pattern underneath

the body while balancing on alternating hands.• Flying Squirrel: A jump executed with forward momentum with the dancers arms extended in front, legs behind,

creating an “x” position in the air.• Fouetté (foo-eh-TAY): A turning step, usually done in a series, in which the working leg makes a circle in the air and

then into passé as the dancer turns bending (plié) and rising (relevé) at each revolution; meaning to whip. Fouetté turns can also be done to the side or in second position (Fouetté à la Seconde).

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



• Freeze: A move that involves halting all body motion. Also known as a stall.• Front Walkover: A non-airborne tumbling skill where the dancer rotates forward with a hollow torso through an

inverted position and arches up bringing the legs and hips over the head to a non-inverted position legs landing one foot/leg at a time.

• Grand Jeté (grahnd zhuh-TAY): A leap from one foot to the other; working leg stays straight as it brushes forward as supporting leg pushes off to assume a split position in the air.

• Grand Jeté à la Seconde: A grand jeté executed to the side so that a second position split is assumed in the air.• Grand Jeté en Tournant (ahn toor-NAHN): A grand jeté turning where the supporting leg changes places with

working leg as hips flip, the original working leg takes the landing and is now the supporting leg. • Grand Plié: Full bend of the knees, heels come off the floor in all positions except second.• Hand-held Props: Items that are used by performing team as an extension of the arm/hand, that are easily carried by

one person. Hand held props include, but are not limited to, boas, scarves, top hats, derby hats, or canes. Chairs and stools are prohibited.

• Handstand: A non-airborne, non-rotating, tumbling skill where the dancer supports his/herself vertically on his/her hands in an inverted position and the arms are extended straight by the head and ears.

• Head Spin: A Power Move, typically performed in hip hop, in which the dancer spins on his/her head and uses his/her hands to aid in speed. The legs can be held in a variety of positions.

• Head Spring (front/back): An airborne tumbling skill, typically performed in hip hop, in which the dancer approaches the head spring much like a hand spring, and can be executed either to the front or to the back. Beginning in a standing or squatting position, the hands are placed on the floor with the head between the hands, and the legs come over/whip through the body similar to a kip up and the dancer lands on two feet.

• Headstand: A non-airborne, non-rotating, tumbling skill where the dancer supports his/herself vertically on his/her head in an inverted position and the hands are on the floor supporting the body.

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

• Hip Over Head Rotation (executed by individuals): An action where a dancers hips rotate over the head in a tumbling skill (i.e. Back Walkover or Cartwheel).

• Hip Over Head Rotation (executed in groups or pairs): An action where the Executing Dancers’ hips rotate over the head in a lift or partnering skill.

• Hollow Back: A Freeze similar to a planche where the dancer balances on the hands and ‘hollows’ out the back. (If balancing on the head it is known as a “Head Hollow”).

• Inversion: A position in which the dancer’s waist/hips/feet are higher than his/her head and shoulders.• Invert: A Freeze utilizing strength, flexibility and balance where the dancer’s weight is placed on both hands with head

facing knees and legs parallel to the floor.• Jeté (juh-TAY): A skill in which the dancer takes off from one foot by brushing the feet into the ground and swiftly

‘whipping’ them into the position and then landing on one foot. A jeté can be executed in various directions, sizes and positions.

• Jump: Movement taking off and landing on same foot or both feet.• Kip Up: An airborne, non-rotating, tumbling skill, typically performed in hip hop, where the dancer brings the body to

a non-inverted (upright) position by bending the knees, thrusting the legs into the chest rolling back slightly onto the shoulders, and then kicks up. The force of the kick causes the dancer to lift and land with both feet planted on the floor.

• Krumping: A style of dance, hip hop category, ‘street’ dance characterized by free, expressive, exaggerated, and highly energetic moves involving the arms, head, legs, chest, and feet.



• Lay-out: Cambré back while extending the working leg forward.• Leap: A skill in which the dancer pushes off the ground, from a plié (bend), off of one leg becoming airborne and landing

on the opposite leg (also known as grand jeté).• Leg Extension: Term used to describe the ability of a dancer to raise and hold the extended leg in the air.• Lifting Dancer: A dancer(s), who is part of a dance lift and lifts an Elevated Dancer as a part of a Dance Lift. The

supporting dancer may also be considered a Lifting Dancer. • Lifts: An action in which the partner is elevated to any height and set down. Refer to the rules for Dance Lifts and

Partnering for a full definition.• Parallel: A position in which the thighs, knees and toes of both legs are facing straight ahead.• Partnering (executed in pairs): A skill in which two dancers use support from one another. Partnering can involve

both “Supporting” and “Executing” skills. • Pas de Bourrée (pah duh boo-RAY): Three steps executed in relevé, relevé, plié; can be executed as a turn as in

ballet, working foot steps behind supporting leg, supporting foot opens stepping to side, then working foot steps in front of original supporting leg; as in jazz-working foot steps behind supporting leg, supporting foot opens stepping to side, then working foot opens out, lunging to opposite side of supporting leg with each step that is taken.

• Pas de chat: “Cat’s Step” the step owes its name to the likeness of the movement to a cat’s leap.• Passé (pa-SAY): A position or movement in which the working leg bends connecting the pointed foot to or near the

knee of the supporting leg; meaning to pass. Passé can be executed with the hips parallel or turned out.• Pencil Turn: A turn executed with the working leg held straight and next to the supporting leg.• Penché (pahn-SHAY): Leaning, inclining. As, for example, in arabesque penché.• Pike: A one-handed Freeze with the legs held in a pike position. • Piqué (pee-KAY): Stepping directly onto a straight leg in relevé; can be performed while turning and in various

positions (arabesque, attitude, etc.)• Pirouette (peer-o-WET): A skill in which the dancer bends (plié) with one foot in front of the other (fourth position)

and rises (relevé) to one leg making a complete rotation of the body; meaning to whirl. A pirouette can be executed in a variety of positions.

• Pirouette en Dedans (ahn duh-DAHN): Turning inward, towards supporting leg.• Pirouette en Dehors (ahn duh-AWR): Turning outward, towards working leg.• Pivot: Movement step used to change direction; working leg steps forward assuming weight of body, body changes

direction, support leg reassumes weight of body; can be executed front to back, side to side.• Plié (plee-AY): A preparatory and landing skill in which the dancer bends, softens his/her knees; meaning to bend.• Power Move: Loosely defined as relying on speed, momentum, and acrobatic elements for performance.• Prone: A position in which the front of the dancers’ body is facing the ground, and the back of the dancers body is

facing up.• Prop: An object that can be manipulated. A glove is a part of the uniform.• Release Move (executed in groups or pairs): An action in which the Executing Dancer becomes free of contact

from Supporting Dancer(s) and are unassisted to the performance surface. Dancer(s) and are unassisted to the performance surface.

• Relevé (rell-eh-VAY): Dancer rises from a plié to balance on one or both feet on at least demi-pointe (balls of the feet), or possibly full pointe

• Rond de jambe (rawn duh zhahnb): Meaning circular, round movement of the leg; executed on the ground or in the air, it refers to the motion of leg brushing front, opening to side, continuing to the back and vice versa.

• Saut de chat (soh duh shah): Executed similarly to grand jeté except instead of brushing a straight working leg, it is developed from a bent to straight leg as supporting leg is pushing off; can also be executed a la seconde.

• Sauté (soh-TAY): Jumping and landing on the same foot, toes should be pointed in the air.



• Shoulder Level: A designated height; the height of a standing dancers’ shoulders while standing upright with straight legs (clarification: this is an approximate height to measure space, and is not changed by bending, inverting, etc.).

• Shoulder Roll (forward/back): A non-airborne tumbling skill where the dancer rolls with the back of the shoulder and maintains contact with the floor and the head is tilted to the side to avoid contact with the floor.

• Shushunova (Shush-A-nova): A jump variation in which the dancer lifts extended legs to a toe touch or pike position and then circles them behind the body dropping the chest and landing in a prone support (push up position).

• Sickling: This term is used for a fault in which the dancer turns his or her foot in from the ankle, thereby breaking the straight line of the leg.

• Six-Step: A form of Downrock that utilizes a footwork sequence, thereby enabling the dancer to gain momentum or prepare for another move.

• Sous-sus (soo-SYEW): In tight fifth position relevé.• Soutenu turn (soot-NEW): From sous-sus, turning towards back leg one revolution, the other foot ending in front.• Split Drop: Dropping to the performing surface from a jump, stand or inverted position, landing with legs extended at

right angles to the trunk in a split position. Illegal unless feet/hands bear most of the weight and break the impact of the drop.

• Spotting: While turning; keeping the eyes focused on one spot as long as possible, then snapping head around to the same spot; helps to maintain sense of direction, balance, momentum.

• Stag: A position, typically performed in a leap or jump, in which the dancer bends the front leg.• Stall: A non-airborne, non rotating, tumbling skill typically performed in hip hop where the dancer halts/stops body mid

motion; often in an interesting, inverted or balance-intensive position on one or both hands for support. Also known as a freeze.

• Stepping/Step Dancing: A style of dance, typically hip hop category, which is a form of percussive dance in which the participant’s entire body is used as an instrument to produce complex rhythms and sounds through a mixture of footsteps, spoken word, and hand claps.

• Supine: A position in which the back of the dancers’ body is facing the ground, and the front of the dancers body is facing up.

• Supporting Dancer: A supporting dancer(s), who part of a dance trick and bears the primary weight of a lifted dancer. A supporting dancer(s) holds or tosses and/or maintains contact with an Executing dancer as a part of a Dance Trick or Partnering skill. The supporting dancer may also be considered a Lifting Dancer.

• Supporting Leg: The leg of a dancer that supports the weight of the body, during a skill.• Swipe: A Power Move, often started from a crab position, where the dancer uses momentum to twist hands to one

side of the body, placing them on the floor, and allowing the legs to follow and returning to the original position.• Switch Leap: A jump popping straight up in the air, not traveling forward; working leg stays straight and lifts front,

support leg pliés, working leg swings back while support leg lifts to assume a split position in the air.• Temps de fleche (tahn duh flesh): Hitch kick; battement one leg, switch it with other leg in the air, can be executed to

the front, side or back.• Tendu (tawn DEW): To stretch, pushing the foot away from the supporting leg while keeping the toe on the floor.• Threading: A form of Downrock where the dancer weaves their limbs through each other as if ‘threading a needle’.• Three Step Turn: A turn executed with three steps; step to side still facing front, step other foot across body to second

position and face back, open first foot to second position to face front again.• Tilt: A skill, typically performed in a leap or jump, in which the working leg sweeps up into the air and the supporting

leg points toward the ground.



• Toe Pitch (executed by groups or pairs): A toss in which the Executing Dancer(s) foot is in the hands of the Supporting Dancer(s) and she/he is propelled upward.

• Toe Touch: A jump in which the dancer lifts the legs through a straddle rotating the hips so that the legs are rotating up toward the (upright) chest.

• Toe Roll: Executed on relevé and hinged; body arches back arms in high V head released, body contracts to floor; toes remain in contact the entire movement, hands catch body weight.

• Tombé (tawn-BAY): Meaning to fall, step down.• Toss: A release move where Supporting Dancer(s) execute a throwing motion to increase the height of the executing

dancer. The Executing Dancer is free from the performance surface when toss is initiated.• Tour Jeté: A skill in which the dancer takes off from one leg, executes a half turn and lands on the other leg.• Tumbling: A collection of skills that emphasize acrobatic or gymnastic ability, are executed by an individual dancer

without contact, assistance or support of another dancer(s) and begin and end on the performance surface (clarification: tumbling skills do not have to include hip over head rotation).

• Turn: See Pirouette.• Turn out: A position in which the legs are rotated outward from the hip joints so that the thighs, knees, and toes face

away from the center of the body.• Vertical Inversion (executed in groups or pairs): A position in which the Executing Dancer is inverted and bears

direct weight on the Supporting Dancer by a stop, stall or change in momentum.• Weight Bearing: A skill in which the dancer’s weight is supported by one body part without any other body part on the

ground.• Windmill: A Power Move, non-airborne, non-rotating, tumbling skill in which a dancer begins on the back, spins from

his/her upper back to the chest while twirling his/her legs around his/her body in a V-shape. The leg motion gives the majority of the power, allowing the body to “flip” from a position on the back to a position with the chest to the ground.

• Working Leg: The leg that moves, stretches, and/or extends; the leg that is responsible for momentum and/or position.



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