The USAIGC & IAIGC Rhythmic Gymnastics Code of Points and Program Guidelines Main Office. Rhythmic Gymnastics Committee

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2 The USAIGC & IAIGC Rhythmic Gymnastics Code of Points and Program Guidelines Main Office Paul Spadaro, New York City~ USAIGC President Mary Bakke-Spadaro, New York City~ USAIGC Technical Director Phone: (212) Fax: (212) Rhythmic Gymnastics Committee Adrienne Coleman, Rhythmic Illusions, NJ~ Rhythmic Director Billy Bailey, Orion Rhythmics, WV~ Program Committee Kathy Bailey, Orion Rhythmics, WV~Program Committee 2

3 WELCOME TO THE NEW USAIGC WE INVITE GYMNASTIC CLUB OWNERS to JOIN THE USAIGC and IAIGC! We are the National and International Gymnastic Club Owners Association of Independent Gymnastic Clubs providing Professional Club Owners with strong business and educational programs and an intelligent optional-only competitive program. The USAIGC began in the early in 1970's. In August 2001, a new administration took over the USAIGC and began a total reorganization starting with a different competitive program with our membership. We created our own USAIGC Optional Only Competitive Program and our own Code of Points that follows our Association's goals and objectives of intentionally slowing down the gymnast s learning curve and providing a sound, safe and positive (fun) competitive gymnastics program. We are a competitive program that tackles the critical issues pertaining to competitive gymnastics: unnecessary over-training, the increased demands of school, the gymnast s inability to have an outside life with friends and family and early gymnast burnout. Our competitive program fits perfectly in this quickly changing competitive landscape. Rhythmic Gymnastics was added into the USAIGC/IAIGC organization several years ago and has been a part of the National Championships (and now, the Worlds) ever since. The USAIGC/IAIGC now has member clubs across six different countries and is working on expanding to other parts of the globe. 3

4 The guide below is to be used for level placement for coaches. Please note that the Elite Level draws their skills from the Premier Level skills section of the Code of Points. Please refer to the actual Code of Points to select your skills. Copper (entry level) Must contain only basic skills and choreography. Allowed to have four body skills from the COP or, if not from the COP, of a similar difficulty level. Please keep skills level-appropriate. Bronze (secondary level) Builds upon the basic skills learned in Copper but with a lightly higher level of execution and difficulty. Allowed to have five body skills from the COP one from each category (acro, balances, flexibilities, leaps/jumps, and pivots). If a gymnast wishes to use a non-cop skill, it must be of a similar difficulty level. Please keep skills level-appropriate. Silver (the third level) Gymnasts should be showing higher levels of flexibility, amplitude, and creative choreography. Allowed to have six skills from the COP. Five of those skills must represent the five body skill categories (acro, balances, jumps/leaps, pivots, and flexibilities) plus one skill of choice. If a gymnast wishes to use a non-cop skill, it must be of a similar difficulty level. Please keep skills level-appropriate. Gold (midway level) Routines should have a variety of unusual apparatus handling, choreography and difficulty. Allowed to have seven skills from the COP. Five of those skills must represent the five body skill categories (acro, balances, jumps/leaps, pivots, and flexibilities) plus two skills of choice. If a gymnast wishes to use a non-cop skill, it must be of a similar difficulty. Please keep skills level-appropriate. Platinum (intermediate advanced level) The appropriate level skills for Platinum reflect higher levels of flexibility and difficulty. Allowed to have eight skills from the COP. Five of those skills must represent the five body skill categories (acro, balances, jumps/leaps, pivots, and flexibilities) plus three skills of choice. Two of those skills should be performed in combination. If a gymnast wishes to use a non-cop skill, it must be of a similar difficulty level. Please keep skills level-appropriate. Premier (Advanced level) Allowed to have nine skills from the COP. Five of those skills must represent the five body skill categories (acro, balances, jumps/leaps, pivots, and flexibilities) plus four skills of choice. Two of those skills should be performed in combination. If a gymnast wishes to use a non-cop skill, it must be of a similar difficulty level. Please keep skills level-appropriate. Elite (highest level) Only attainable by judges invitation after performance evaluation after Worlds. Coaches are not allowed to advance their own gymnasts into this level. Allowed to have nine skills from the COP. Five of those skills must represent the five body skill categories (acro, balances, jumps/leaps, pivots, and flexibilities) plus four skills of choice. Two of those skills should be performed in combination. Please keep skills level-appropriate. 4

5 Elite Level USAIGC/IAIGC Code of Points, as those skills are the highest ones in the FIG s Code currently. The scoring system for Elite is exactly the same as Premier, although they will have their own skill sheets. The primary purpose of the Elite Level is to draw the highest-performing athletes from the Premier Level and create a league of their own. These Elite Level-athletes will truly be the highest level rhythmic gymnasts of the USAIGC/IAIGC organization. The Elite Level is by invitation only from the judges after a World Championships. The gymnast is then promoted to the Elite Level for that approaching season. The main criteria for moving up to Elite is to consistently (two straight competitions) score within the top five points of a perfect score as a Premier gymnast. International Team A gymnast of any level can qualify for the Rhythmic USAIGC/IAIGC International Team by competing in a World/National Championships and placing in the top 5 for all three All-Around routines for their level. The gymnast must compete in the All-Around with three individual routines. Duets, groups, or trios can gain a place on the International Team by scoring a gold medal at a World Championships with one routine or at least one gold medal out of two routines. Age and Levels USAIGC and IAIGC Gymnastics focuses on the skill level that the gymnast is capable of performing and not on the gymnast s number age. If there are a large number of athletes in a particular level, age divisions may be utilized as per the meet director s discretion. However, for the Copper Level, the Rhythmic Program is following the guidelines of the USAIGC Artistic Program in differentiating among the youngest Copper athletes and those with more experience or age behind them. Copper Level 1 is a division for rhythmic gymnasts who are 1) in their first year of Copper Level, and/or 2) who are seven years old and younger, and/or 3) are not being ranked amongst athletes in their division. The meet director may decide to avoid scoring them in the traditional sense and can give them participation awards if deemed necessary by their skill level. The ranking for this division is entirely up to the meet director. Copper Level 2 is the more experienced division where the rhythmic athlete is 1) eight years of age and older, and/or 2) is in their second or more year of competing, and/or 3) wants a more competitive experience. This will help create a fair experience for our youngest athletes, some of whom may be as young as pre-school age, and the older, more experienced Copper athletes who wish for a more competitive experience as they prepare for the Bronze Level. 5

6 Routine Deductions or Penalties Having to run or lunge to grab apparatus that is descending incorrectly before it hits the floor Undergarments fully showing from under leotard Inappropriate leotards (see page 9) Sloppy appearance (messy hair, bangs hanging in eyes) or large jewelry Forgetting to salute/present/acknowledge the judges before and after routine Small drop: apparatus lands close to the gymnast; very quick retrieval Mild fumble or tangle that is quickly fixed Apparatus is static and unmoving Routine starts or ends with apparatus not touching gymnast s body The gymnast leaves the apparatus tangled (rope or ribbon) for the remainder of the routine without fixing it Point Deduction 1 point 2 points Large drop: the apparatus is several feet away from the gymnast with several steps or a run needed for retrieval Apparatus becomes tangled or knotted to the point where it takes an extra few seconds to untangle it 3 points Major drop: apparatus ends up across the entirety of the floor exercise mat away from the gymnast Apparatus becomes tangled enough to disrupt the routine for several seconds Routine finishes with apparatus not within the gymnast s possession (rolled off the carpet, etc.) Out of bounds: the apparatus rolls off the floor or lands outside the carpet 4 points 5 points Apparatus Malfunction A gymnast is always allowed to keep a spare apparatus on the side of the carpet in case an apparatus malfunctions, is irretrievable, or breaks during the routine. The deduction is 6 points. 6 points The gymnast cannot, however, continue a routine with broken equipment if the apparatus breaks or malfunctions (dislocation of ribbon from stick, snapped hoop or club, equipment stuck in ceiling, etc.) A spare must be utilized, or if there was no spare placed by the carpet, then the gymnast must discontinue the routine. The meet director in charge of that event will determine whether the athlete can give the routine a second attempt later in the rotation or session. If so, the skill sheet that was already being used for judging that routine will simply be continued from the point where the judge left off. Skills that were already evaluated from the earlier discontinued routine will not be re-judged, even though the routine is starting again from the beginning. 6

7 Sportsmanship at Events Gymnasts must display a sense of professionalism and poise throughout an event. Any displays of poor sportsmanship, profane speech, inappropriate comments about the judges or the event, making a scene in front of others or in front of the audience, lack of respect for judges, coaches, other gymnasts or officials, or general bad behavior will not be tolerated. One warning will be given, and if the behavior does not improve, the individual will be asked to leave with no refund or re-entry. Gymnasts must remember that even if a competition doesn t go as they wished, there is always another chance to perform better next time. An athlete who can accept a bad day gracefully will be remembered as a good example, whereas bad sportsmanship is a very difficult reputation to erase from the minds of other coaches and teams. Music Keeping in line with the FIG s new rules pertaining to lyrics in the music selections, the USAIGC Rhythmic program will allow lyrics to occur within the gymnast s musical selections as long as the following rules are followed: 1) The lyrics within the music is clean (contains no profanities, obscenities, suggestive subject matter, or derogatory slurs). 2) Can fit within the required time frame. 3) The music is not overtly controversial and does not delve into religious, political, or social issues pertaining to the media or current world events. 4) The gymnast is in Gold Level or higher and only one routine out of the allotted three contains lyrics. Group gymnasts may have lyrics in one of their group routines if they are also in Gold Level or higher. If a gymnast performs with music that does not fit into the above criteria, she will be disqualified. No refunds permitted. Individual Routines and Music Guidelines: Copper Level: routines should not exceed one minute. Bronze-Elite Level: routines should last between 1 minute 15 seconds --1 minute 30 seconds. Group Routines and Music Guidelines: Small Groups (5-7 gymnasts) and Large Groups (8+ gymnasts) should have routines lasting between 2 minutes (minimum) to 2 minutes 30 seconds (maximum) regardless of Level. Duets, Trios, and Quartets in the Copper Level should not exceed 1 minute 30 seconds. Duets, Trios, and Quartets in the Bronze Level and higher should not exceed two minutes. Individual and Group Competition Information: Individual athletes may compete in up to three routines of their choice. If they are aiming to receive an All-Around (AA) award, then they must compete in all three routines in order to do so. If they are also interested in being ranked, then they must compete in all three routines in order to be ranked against their peers. 7

8 Group athletes (large group, small group, duets, trios, quartets) may compete in up to two routines. If they are aiming to receive a Group All-Around (AA) score, then they must compete in two group routines in order to do so. Athletes may compete in both Individual and Group events. These two different divisions are not added up together, however. The All-Around scores are kept separate. Group Athletes must use the appropriate Level sheet for Group routines. The Level is determined by the difficulty of the skills within the routine, not by the gymnasts individual levels. For example, three Gold Level gymnasts and two Silver Level gymnasts can do a Group routine together, but the skills that they include on their skill sheets will determine at what level they compete. Please follow the general guidelines for each level to determine what apparatus and body skills that the gymnasts should be using for Group. A Group routine may be competed with any combination of two different apparatus as long as each gymnast has their own piece of equipment. For example, a routine cannot consist of five gymnasts with only four hoops; each athlete must have a piece of equipment if the routine contains any apparatus. Routines may be choreographed with five identical apparatus (five ribbons, for example), or it may be any combination of other mixed apparatus (three balls, four hoops; four sets of clubs and two ribbons; three ropes and two hoops, etc.) Coaches must make sure that a Group routine comprised of apparatus skills includes gymnasts interacting and exchanging the apparatus as per the Apparatus requirements on their Overall Apparatus sheet. There should be a small toss, medium toss, and a large toss, as well as a variety of other apparatus handlings. At least one of these should be a significant exchange among the athletes. Group floor routines are also permitted at all levels of USAIGC and IAIGC Rhythmic. Please follow the body skills guidelines for that level. Floor routines may be of any style, level, or age group of athletes as long as they follow the general guidelines for the level and for the Rhythmic Program itself. Lifts are allowed in Group routines as long as the gymnast is not thrown or does not take flight (such as a cheerleading toss or lift, which is strictly not allowed). As long as a part of the airborne gymnast is in contact with the fellow group performers, a lift is permissible. Routine Composition Skills cannot be repeated in a routine and be evaluated. For example, a Silver Level gymnast (who is allotted six skills: five of the required categories and one optional category) cannot write down a cartwheel in one box on the Body Skills sheet, and then write another cartwheel further down the page. Skills that are repetitive by nature (for example, a double forward roll or triple backwards illusion) are to be written in the same box. Combination skills, which are required in certain levels, are to be written in separate boxes with a plus sign either next to or on the line between the two boxes to indicate that they are being joined together in combination. As always, a gymnast can include additional skills from any level for choreographic purposes, but they are not to be written down on the skill sheet for evaluation beyond the core required skills. Only skills that befit the gymnast s level should be written down on the skill sheet. A combination can be any grouping of skills: a leap + a leap, a balance + a pivot, a leap + a flexibility, and so on. In order to qualify it as a combination, no more than a prepatory step should be used in between the two (or more) skills. No significant pauses allowed. 8

9 Fees We strongly encourage meet directors to keep the fees reasonable for rhythmic competition. Fees that are unreasonable will only deter gymnasts from attending due to the cost. The World Championships for USAIGC and IAIGC caps out at $95 to $130 for rhythmic athletes and should never exceed that number. Regional Championships and State Championships should not exceed $65 in registration fees for an individual athlete competing in three routines. Invitational and Local events should remain under $50 for an individual athletes competing in three routines. Additional fees may be incurred for athletes competing in multiple group routines in addition to individual routines, but the price should remain reasonable. Dress Attire Leotards may be sleeveless, short-sleeved, cap-sleeved, tank-style, long sleeved, or halter neck. No ballet leotards (spaghetti-thin straps) allowed. If the leotard has a deep open back, it must be covered with mesh material. Large expanses of torso skin are not allowed (no open backs without some sort of fabric insert, no plunging necklines, etc.) The leotard may be of the usual leg cut (such as that of an artistic gymnastics leotard) or it may have attached leggings (a unitard) or a skirt. If a unitard is worn, it must be tight to the shape of the leg, with no flared fabric at the ankle or elsewhere. If a skirted leotard is worn, it must be formed to the hips or with a slight flounce. No tutu shapes or wide-shaped skirts are allowed. Skirts should only reach the mid-to-upper thighs. No knee-length skirts are allowed. No biketards (leotards with bike shorts attached). Ankle-length footless tights or thin leggings may be worn under a leotard if a gymnast feels more comfortable, but they must compliment the leotard. Undergarments should not be showing; if there are obvious undergarments viewable to the audience, a deduction will be taken on the Overall Impression sheet. Male Rhythmic Gymnasts USAIGC and IAIGC Rhythmic has begun an inaugural program to permit male rhythmic gymnasts to perform in rhythmic gymnastics competitions. They must adhere to the current COP and will follow the general Awards System already set in place. They may either be ranked against female rhythmic gymnasts or ranked separately, as per the number attending or per the meet director s discretion. The dress attire for male rhythmic gymnasts must be of an artistic male gymnast s uniform (tunic leotard underneath long pants or competition shorts). Rhythmic shoes may be worn for males. New Skills Creativity is encouraged in the choreography of routines. Various types of dance, world cultures, and musical styles are welcomed in the composition of routines. If a gymnast creates a brand new skill and performs it at a national-level competition, the skill will be evaluated and named after them and be added to the COP. Flight elements (handsprings, back or front tucks, front aerials, etc.) are not allowed in rhythmic gymnastics. The USAIGC and IAIGC Rhythmic program does allow for the following three flight-style elements, however: horizontal butterfly and vertical butterfly (both of which fall under Jumps and Leaps) and the side aerial 9

10 (no-handed cartwheel). Please see the Table of Acro Skills in the Code of Points for additional non-flight acrobatic elements that can be utilized at any level. Awards System Scoring within a certain range earns a gymnast a particular medal in USAIGC/IAIGC. The beauty of this type of program is that gymnasts receive the results that they truly earned alongside other athletes. Copper Level Participation Award: 40 points and below Bronze Medal: points Silver Medal: points Gold Medal: points Bronze Level Participation Award: 45 points and below Bronze Medal: points Silver Medal: points Gold Medal: points Silver Level Participation Award: 50 points and below Bronze Medal: points Silver Medal: points Gold Medal: points Gold Level Participation Award: 55 points and below Bronze Medal: points Silver Medal: points Gold Medal: points Platinum Level Participation Award: 60 points and below Bronze Medal: points Silver Medal: points Gold Medal: points Premier Level Participation Award: 65 points and below Bronze Medal: points Silver Medal: points Gold Medal: points Elite Level Participation Award: 65 points and below Bronze Medal: points Silver Medal: points Gold Medal: points 10

11 Optional Ranking System For gymnasts who wish to know how they ranked against their peers, there is an additional ranking system that is purely optional. Coaches must alert the meet directors ahead of time if their athletes wish to be ranked at a particular event. The All-Around scores, which are the scores totaled from all three of a gymnast s routines, are added up to reach a final cumulative score. Those scores will then be ranked against other scores in that level, and placements of 1 st, 2 nd, 3 rd, 4 th place, etc., will be awarded. All of the gymnasts All-Around scores from that level and session are added up privately by the judges regardless, but only the athletes who wish to know their ranking will be told. Coaches can obtain a copy of the ranking sheet for personal reference even if none of their athletes chose to be ranked. For gymnasts who competed in individual and group routines, the Group All-Around score is kept separate from a gymnast s individual All-Around score, for the reasoning that the gymnast would have an inordinately larger score with an extra routine. Group routine scores are tallied separately. If multiple groups are present at an event and wish to be ranked, that is another option determined by the event s meet director. Judging Qualifications To ensure that all judges have studied the Code of Points and are aware of any potential changes, the USAIGC/IAIGC is requiring that judges gain a certificate before judging at a state, regional, or national/international event. To become a judging official, the process is as follows: 1) The interested party must contact the USAIGC office to inquire about the next judging training or clinic. 2) A new judge must participate in a free training session with the USAIGC Rhythmic director in-person at a judging clinic, with the exception of individuals living outside of the United States, wherein we will arrange an alternate method. 3) New or uncertified judges can train alongside an experienced judge during an event. They must judge at an event alongside a more experienced judge to gain a certificate. 4) The new judge receives a certificate announcing their ability to judge at USAIGC/IAIGC events. They must have judged three large events (State/Regional/ Provincial event) in order to judge at the Rhythmic Championships. Judging Inquiries If a gymnast, coach, or parent feels that there is a scoring discrepancy or error, the coach must approach the judging panel immediately after the competitive session concludes and before Awards. The judges will remain in the building until any scoring discrepancies have been noted and dealt with; however, once the judges and officials have exited the building, the scoring of the competition is considered case closed. If a coach has not approached the judges by the close of the session in which their gymnast competed in, then scoring issues cannot be questioned after the fact. It must be taken care of at the event while still on the venue premises. Disrespect for judges or officials will not be tolerated and if discovered, while result in dismissal of the offender from the facility without re-admittance or refund. 11

12 Coaches, parents, and gymnasts are not allowed to approach the judges table during a competition. They must approach the meet director and fill out an Appeal sheet if there is an issue, and the meet director will take care of the problem from there. Absolutely no disruption of the judges is allowed while they are in the middle of evaluating gymnasts routines. If there is an issue with a gymnast s music, please approach the meet director and they will discuss the matter or bring the coach over to the sound booth directly. If there is an issue with a gymnast s skill sheet or other related judging issue that needs immediate attention, the meet director will first discuss the matter with the coach and will then approach the judges. Coaches, parents, or gymnasts approaching the judges panel during a meet not only unfairly pulls the judges attention away from the gymnast performing on the floor, but it also compromises the integrity of the entire event and puts the judges at risk of accusations of being influenced by coaches or teams. The USAIGC and IAIGC Rhythmic Program can accommodate as few as two judges at a competition if the event contains twenty rhythmic gymnasts or less. If this is the case, a minimum of 30 minutes must be allotted after the last gymnast performs for the officials to add up the scores and complete any final computation tasks leading up to the awards ceremony. In this situation, one judge evaluates the Overall Impression sheet of a gymnast, and the other evaluates the Body Skills sheet. Using only one judge at a rhythmic competition is not allowed, as it is incredibly challenging for one person to watch, evaluate, and record all of the body skills and apparatus requirements and retain the accuracy and integrity needed to properly evaluate a routine, particularly if the optional ranking is utilized to rate the athletes numerically. For competitions of twenty to fifty gymnasts, a minimum of three rhythmic judges must be used. They will split the responsibility of the judging sheets amongst themselves and may either use the third person as an assistant or work in a team of two for one judging sheet and a solo judge for the other. For competitions with more than fifty gymnasts, four judges or more must be used for effective time management. They will then work in pairs or small groups to take turns evaluating each gymnast, one after the other. Judges must be certified to judge a USAIGC and IAIGC rhythmic event, or in training alongside a more experienced judge. Awards Ceremonies There are a variety of options to hold the awards ceremonies for USAIGC and IAIGC rhythmic events. Holding one awards ceremony after each session, or hosting an awards ceremony after each half of the day concludes, or holding one large awards ceremony at the end of the day are all permissible. It is up to the meet director to determine how to proceed based on the number of competitors and the allotments of the venue where it is being hosted. March-ins and marchouts, while not required, are strongly encouraged so the audience can greet the athletes and teams, and also so the national anthem of the host nation can be respected. Timed Warmups This is not required, although it is strongly encouraged so that the gymnasts may have a few moments to test out their apparatus on the full carpet. Generally, five minutes or less is allotted either to a full team that is competing that session (for example, giving five minutes to a team of ten gymnasts) or to a full session of gymnasts (if that session is small and all of the gymnasts can 12

13 fit on the carpet at once), or to a random group of athletes (often carried out in the higher levels where only one or two gymnasts per team may be competing in that particular session). Explanation of the Skill Sheets (Judging Sheets for Competitions) An athlete s total score for a routine is determined by the sum of two sheets: the Body Skills sheet + the Overall Apparatus sheet (for routines with apparatus), or the Body Skills sheet + the Overall Floor sheet (if the gymnast is performing a floor/freehands sheet). This applies to all Individual levels and Group. The Body Skills Sheet This sheet is different depending on the level of the gymnast (i.e, the amount of skills required ascends as the gymnast moves up through the levels). The skill must come from the five body categories (acro, leaps/jumps, flexibilities, balances and pivots). If a gymnast wants to use a skill that is not listed in the Code of Points (i.e, a leap that she uses in a ballet or jazz class separate from rhythmic gymnastics), that is acceptable as long as it fits into the parameter of difficulty for that level. If it is very simple dance leap that shows no flexibility, for example, then a Premier Level gymnast can use it in her routine for choreographic purposes, but it cannot be written down on a skill sheet to be judged if it is far below her needed level of difficulty. A gymnast must only write down Body Skills that fit his or her level or a deduction will be taken per outside-oflevel skill. On this sheet, only write down the Body Skills (leaps/jumps, pivots, etc.). Do not write down the apparatus skills that are done with each move. This sheet s total points vary depending on the level. Take a look at the below categories to understand how the judges evaluate the routines: Execution: Body Alignment and Grace: is the gymnast performing her choreography and skills gracefully? Is there fluidity? Are her movements well-aligned with correctly turned-out legs, straight posture, shoulders pulled-back, etc.? Skill Difficulty Match Level: are her skills appropriately difficult? She should not be performing skills better suited to Platinum if she is in Silver, nor should she be in Gold if her skills better match Copper. Make sure that her skills place her in the correct sphere of difficulty and execution. It is better to spend a few years in a level to sharpen up the routine than to advance too quickly. Overall Routine Flow: did the gymnast carry her choreography out smoothly from one move to the next? Was she too unsure, forgetful, or hesitant about the next section of her routine to keep the flow going in a performance-ready way? Did she confidently toss her apparatus or did she freeze before each throw? This section evaluates much of the confidence level of the gymnast s performance. Did it feel calm and collected or did it feel shaky and uncertain? 13

14 Rhythm with Music: did the gymnast confidently run through her choreography and hit the various beats of the song? Did she really feel and hear the music or was it simply background noise to her? Facial Expression: keeping with the appropriate style of music, of course, did the gymnast smile during an upbeat song? Did she maintain a dramatic expression if the song was a serious one? Was her face set in an angry scowl during the whole time or did she look as though she was on the verge of tears because she was in a bad mood? Did her face accurately express the emotion and mood of the musical piece or did she keep a bland, poker-face throughout the entire performance? Body Expression: did the gymnast feel the music and choreography with the way her entire body moved? Did she accentuate the musical piece with her limbs as well as torso? Did she truly express the choreography in an emotional way, or was she simply performing the skills monotonously? Did she truly dance, or just go through the motions inexpressively? Showmanship: did she sell the routine to the audience? Did she maintain eye contact whenever possible? Did she play up to the judges, the crowd, and really feel all of her choreography emotionally? Or did she seem withdrawn, nervous, and just wanted to get off the floor as quickly as possible? Choreography: did the choreography accurately fit the tone of the music? Did it seem wellplanned and well-executed? Or did it seem uncertain or not quite prepared? Keep in mind that even a piece is amazingly choreographed, a gymnast still has to perform it with all of her ability to truly show it off! Floor Pattern, Level Changes, Variety of Traveling: did the gymnast make use of the whole floor or did she seem to get stuck in one corner? Did she change her level throughout the routine (meaning, did she do choreography while standing as well as along the floor itself? Did she change planes of movement throughout the routine?) and did she attempt to do choreography in a variety of different ways (traveling across the floor, standing still, etc.)? Variety of dance steps: even if the music style stays relatively similar throughout the routine, did the gymnast make an effort to carryout different styles of movement and dance steps? For example, if her music is a traditional Argentinean tango piece, did she consistently change up her footwork or did she rely on the same old step throughout the routine? If her music is a waltz, did she try to use a plethora of different waltz-like movements? Did she incorporate the apparatus work into some of those dance moves or were they stuck in awkwardly just to fulfill the requirements? Did it seem to flow naturally? The Overall Apparatus Sheet This sheet is the evaluation of the gymnast s apparatus skills: Change up use of hands: did the gymnast make an effort to use both left and right hands to exchange the equipment or to execute tosses? 14

15 Staying still and while traveling: does the gymnast execute handling or tosses only when she is paused, or does she carry the ability to attempt trickier work while moving? Blind catches or tosses: does she attempt to catch the apparatus behind her back or while her eyes are fixed elsewhere? Does she catch the apparatus at least once while she is immediately coming out of something difficult that holds her attention until the last second (i.e, a toss, forward walkover, catch)? Does she toss the apparatus in a way that her eyes are diverted elsewhere or not in immediate view of the trajectory of the apparatus? Unusual catches: does she attempt to catch the apparatus with other body parts (arms, feet, knees, etc.)? Variety of changing planes: does she execute handling only while standing or does she try to do apparatus handling while lower to the ground, or during a skill where she is not entirely upright? Variety in the approach: does she toss the apparatus the same way every time or does she make an effort to change things up (tossing under an arm, during a skill, tossing with a foot, etc.)? One toss with an acrobatic element beneath it: does the gymnast execute at least one toss when her attention is diverted before the catch because she is doing an acrobatic skill (such as a walkover, somersault, etc.)? One toss with an acro element beneath it (see below): Bronze: acro or body skill Silver: 1 acro Gold: combo of 1 acro paired with 1 chaine or 1 body skill Platinum: acro+acro, acro+body skill, chaine+acro+acro, Premier: any combo of 3 body skills including 1 acro Variety of echappes, boomerangs, or rotation of apparatus: does the gymnast allow the apparatus to rotate or come back to her in an echappe-style movement? Variety of bounces and/or rolls: does the gymnast perform bounces or rolls (depending on the apparatus being used)? Rotations around the body: does the gymnast allow the apparatus to move around her torso and limbs? Does she go through the apparatus (if able to, such in the example of hoop, ribbon, and rope)? Using the body to manipulate the apparatus: does the gymnast use her arms, legs, or torso to move the apparatus as well as the more typical use of hands? For Bronze Level and higher:using minimum of one low toss (within five feet above gymnast), one medium toss (within ten feet above gymnast) and high toss (fifteen feet or higher above gymnast): does the gymnast use a variety of small, medium, and high tosses to create a visually interesting and challenging routine for her level? 15

16 Scoring Guide for Body Skills 5 Skill is performed exceptionally Skill is performed with one small error: form break, small wobble, precision, etc Skill is performed with one major mistake: bad form, bent knees, flexed feet, shaky finish, alignment, balance, etc Skill is performed with several errors: bad form, wobbles or lack of precision, very shaky, poor execution, etc. 1 Skill is barely recognizable or identifiable to the judges 0 Skill didn t happen. In the occurrence that a judge briefly glances down and misses a gymnast s skill, or in the rare case that the entire judging panel misses a skill, then the benefit of the doubt must go to the gymnast, who will be awarded a 4 (partial credit, yet avoiding the perfect 5) for the skill. Apparatus usage The apparatus must be used cleanly, precisely, and with intent. Static dead apparatus is not allowed (unless it is very obviously part of the choreography or in process of a particular element, such as an intricate ribbon wrapping around the gymnast s body). Beginning a routine with the apparatus not in contact with the gymnast in some way is also not permitted. A gymnast cannot leave the apparatus on the floor across the carpet, do a skill, and eventually go over to retrieve it. A gymnast receives full credit when the apparatus is used correctly, with proper technique. Apparatus skills are scored on a three point scale evaluating their technique and handling. This does not include drops or fumbles; please see the section on drops and routine deductions. Scoring Guide for Apparatus 3 Apparatus skill is performed exceptionally with perfect technique Apparatus skill is performed with minor mistakes in technique, form, handling, etc Apparatus skill is performed poorly with major errors in technique or is barely recognizable 0 Apparatus skill didn t happen. Some reasons for deductions may include the following technical errors: Rope: sloppy grip or severely bent arms during skips, a bad angle of rotation before a toss, the rope slapping the floor during chasses, skips, or jumps, or if the rope loses its tautness during movement and folds back on itself. Hoop: a badly angled rotation, release or toss, catching on the arms or wrists when a palm catch was intended, hitting the body and causing ricochet when the catch was supposed to be clean, etc. Ball: if the ball was rolling and wobbled slightly, a botched roll or catch, gripping the ball with the tips of the fingers instead of the palm of the hand, using the wrist to steady the ball when it is supposed to be balanced on the palm, if the ball rolls away and the gymnast must retrieve it, etc. Clubs: a badly angled rotation, severely bent or awkward arms during motions where the elbows should be relaxed and straighter (such as mills or tosses), not catching the club on the obviously proper spot (such as catching the club on the wide end or body, instead of on the neck where it was clearly supposed to go), or executing awkwardly slow mills, ducking to avoid the clubs because of discomfort with or fear of the apparatus, etc. 16

17 Ribbon: tangled ribbon, static ribbon, sloppy spirals or snakes, ribbon trailing on the ground too frequently, incorrectly angled tosses, messy boomerangs, etc. The Floor/Freehands Routine Requirements If an athlete is performing a floor routine (freehands), then they must use a Body Skills Sheet and an Overall Floor Sheet (not an Overall Apparatus Sheet) to hand to the judges during a competition. The requirements for a Floor routine are: 1) The appropriate level Body Skills as per the Body Skill sheet and Code of Points, and 2) Performance evaluation as per the Overall Floor sheet. The gymnast must show: Difficulty: The routine overall and choreography aren t too simple or too difficult for that level. Execution of Style/Genre: Did the gymnast execute choreography that consistently fit the style of music or genre for that routine? Power and Dynamics: Did the gymnast seem strong and assertive, or lackluster? Confidence: Is the gymnast attacking the routine, or barely surviving it? Consistent Energy Level: Does the gymnast start to droop and lose momentum halfway? Eye contact with judges and audience: Does the gymnast keep their face and eyes engaged? Overall precision: Does the gymnast crisply perform their choreography, or is it all over the place? Music Interpretation: Is the music simply background noise, or does the gymnast feel it? Facial expression matches the feel/emotion of routine: is the gymnast portraying the emotion of the routine, or has she just plastered on a smile on during a serious, dramatic routine? Overall performance quality: Is the routine performance-ready, or does it look unprepared and lacking polish? Entertainment value: Is it interesting and engaging to all spectators, or does the gymnast perform as though disconnected? Creativity: Is the routine interesting, engaging and contain unique choreography? Communication of emotion: Does the gymnast truly feel the routine and choreography? Smooth transition in between skills and choreography: Are the transitions sloppy, awkward, or choppy, or are the smooth and seamless? Interesting variety of choreography: Does the gymnast simply repeat a few moves over and over? 17

18 Code of Points Coaches and athletes may choose the skills for their athletes routines from the following charts for all of the USAIGC and IAIGC levels. If there is a skill that a gymnast wants to include that is not on the charts (such as a unique dance leap or pivot), they may include it only if it matches a similar difficulty level of the ones actually listed. Copper Level Jumps and Leaps Straddle jump Takeoff from two feet Pointed toes Split leap Split must be 160 Cat leap Legs must be turned out. Stag jump Takeoff: from assemble or plie Front leg tucked under Back leg held 75. Front scissors jump Clear switch of legs. Full-turn jump Body straight Vertical takeoff. Must rotate 360 Tuck jump Legs must be tucked up and in towards stomach. Takeoff: assemble or plie. Copper Level Pivots Contracted passé pivot Bent leg must be parallel and foot level with standing knee. Torso contracted. Skater pivot Back leg remains trailing. Leg height: skims floor Rotation: 360 Back Arabesque pivot Back leg at hip level and turned out. Leg height: 50 Passe pivot Bent leg may be parallel or turned out. 18

19 Copper Level Flexibilities Kneeling back arch Hold 1-2 seconds to show shape. Knees shoulder width apart. Arms straight. Hands within five inches of floor. Body wave Must travel length of body. Must show arch in lower back. Finish on flat foot or releve. Chest stand Hold 1-2 seconds to show shape Arms on floor for support. Split on the floor Flat to the floor. Hold for 3 seconds Torso upright Copper Level Balances Passé balance Hold on flat foot with finish in releve. Leg parallel or turned out. Front Arabesque balance Hold on flat foot with finish in releve. Leg at 75 height Back Arabesque balance Hold on flat foot with finish in releve. Leg at 75 height Side extension balance Hold on flat foot with finish in releve. Side split must be 150 angle Kneeling Front Arabesque balance Leg at 75 height. Bottom leg steady. 19

20 Bronze Level Jumps and Leaps Cossack leap Leg must be tucked under or level with straight leg. Front leg 90. Cabriole Legs straight or slightly bent. Ankles must quickly tap. Cat leap Legs must be turned out. Back arabesque jump Takeoff: assemble or Free leg must be 75. Side arabesque jump Free leg must be 75. Front arabesque jump Free leg must be 75 Back scissors jump Clear leg switch. Full-turn jump Body straight Vertical takeoff. Must rotate 360 Split leap Split must be 160 Passé jump, 180 Bent leg can be held parallel or turned out. Must complete 180 rotation. Front scissors jump Clear switch of legs. Tuck jump Legs must be tucked up and in towards stomach. Takeoff: assemble or plie. Stag jump Takeoff: from assemble or plie Front leg tucked under Back leg held 75. Stag leap Takeoff: one footed from Front leg tucked under Back leg held 75. Straddle jump Takeoff: two feet from plie or assemble. Straddle should be wider than hip width apart. 20

21 Bronze Level Flexibilities Kneeling back arch Hold 1-2 seconds to show shape. Knees shoulder width apart. Arms straight. Hands within five inches of floor. Body wave Must travel length of body. Must show arch in lower back. Finish on flat foot or releve. Chest stand Hold 1-2 seconds to show shape Arms on floor for support. Arch in lower back; legs should be in straight line above rear end. Fouette step Hold 1-2 seconds to show shape. Flat foot; releve during transition of turn. Toe fall Feet tucked under and not sickled. Controlled fall to knees. Slight arch in lower back. Grapevine Arch of lower back during turn. Feet crisscross. Rolling split Split must be flat on floor and be maintained throughout. Roll must end in same position as beginning. Passé backscale Show lower back arch. Hold on flat foot Back arches at same time leg rises in passé. Hold long enough to show shape. Bronze Level Pivots Contracted passé pivot Bent leg must be parallel and foot level with standing knee. Torso contracted. Attitude pivot Back leg at hip level and turned out; calf horizontal with leg. Back Arabesque pivot Back leg at hip level and turned out. Leg height: 75 Front Arabesque pivot Front leg at hip level and turned out. Leg height: 75 Passe pivot Bent leg may be parallel or turned out. Back Arabesque pivot Back leg at hip level and turned out. Leg height: 75 Skater pivot Back leg remains trailing. Leg height: 45 21

22 Bronze Level Balances Passé balance Hold on flat foot with finish in releve. Leg parallel or turned out. Front Arabesque balance Hold on flat foot with finish in releve. Leg at 75 height Arched back skater balance Back leg at 45 height. Lower back arch. Hold on flat foot with finish in releve. Contracted passé balance Bent leg must be parallel and foot level with standing knee. Torso contracted. Hold on flat foot with finish in releve. Kneeling Front Arabesque balance Leg at 75 height. Bottom leg steady. Kneeling Side Arabesque balance Bottom leg steady. Leg at 75 height Arched back passé balance Show lower back arch. Hold on flat foot with finish in releve. Kneeling Arabesque balance Bottom leg steady. Leg at 75 height Kneeling attitude balance Back leg at hip level and turned out; calf horizontal with leg. Bottom leg steady. Side Arabesque balance Hold on flat foot with finish in releve. Leg at 75 height Side extension balance Hold on flat foot with finish in releve. Side split must be 150 angle Back Arabesque balance Hold on flat foot with finish in releve. Leg at 75 height Attitude balance Back leg at hip level and turned out; calf horizontal with leg. Hold on flat foot with finish in releve. 22

23 Silver Level Jumps and Leaps Tuck jump 180 Legs must be tucked up and in towards stomach. Takeoff: assemble or plie. Full-turn jump Body straight Vertical takeoff. Must rotate 360 Arch Jump Must show arch in lower back and straight legs. Two-footed takeoff from assemble or plie. Back arabesque jump 180 Takeoff: assemble or Free leg must be 90 height Cat leap 180 Legs must be turned out. Half-turn must be completed. Stag jump Takeoff: from assemble or plie Front leg tucked under Back leg held 90 height Stag leap Takeoff: one footed from Front leg tucked under Back leg held 90 height Double stag jump Takeoff: two-footed from assemble or plie Front leg tucked under Back leg held 90 height Foot within 12 inches of back of head. Double stag leap Takeoff: one footed from Front leg tucked under Back leg held 90 height. Foot within 12 inches of back of head. Split leap Split must be 170 angle Side arabesque jump 180 Takeoff: assemble or Free leg must be 90 height. Front scissors jump Clear switch of legs. Legs reach shoulder height and show split amplitude. Passé jump 360 Takeoff: assemble or Leg turned out; passé foot level with knee. Front arabesque jump 180 Takeoff: assemble or Free leg must be 90 Fouette jump Legs straight throughout. Must show amplitude. Clear twist of leg during half-turn. Switch leap through passé Resulting split leap must be 170 angle. Must show passé during the switch. Must show amplitude. 23

24 Silver Level Pivots Back Arabesque pivot Back leg at hip level and turned out. Leg height: 90 Rotation: 540 Attitude pivot Back leg at hip level and turned out; calf horizontal with leg. Rotation: 540 Arabesque Cossack pivot Leg minimum 45 height. Remain over center. Arched skater pivot Torso upright but back arched. Back leg remains trailing. Leg height: 45 Cossack pivot Leg 90 height. Remain over center. Front Arabesque pivot Leg at hip level and turned out. Leg height: 90 Rotation: 540 Contracted passé pivot Bent leg must be parallel and foot level with standing knee. Torso contracted. Rotation: 540 Side Arabesque pivot Leg at hip level and turned out. Leg height: 90 Rotation: 540 Passe pivot Bent leg may be parallel or turned out. Rotation: 540 Ring pivot Face forward; torso upright. Show arch in back. Must catch foot. Foot must be within twelve inches of back of head. Skater pivot Back leg remains trailing. Leg height: 45 Rotation: 540 Side extension pivot Side split must be 160 angle. Front extension pivot Split must be 160 angle. Hold leg with one or two hands. Fouette pivot 1 passé, 1 kick, 1 passé. Must show 360 in passé rotations. Spiral pivot Show strong arm position and lower back arch. Leg stays in passé. 24

25 Silver Level Balances Cossack balance Leg 90 height. Remain over center and in releve. Don t completely rest weight on back of supporting heel. Back Arabesque balance Hold on flat foot with finish in releve. Leg at 90 height Attitude balance Back leg at hip level and turned out; calf horizontal with leg. Hold on flat foot with finish in releve. Ring balance Face forward; torso upright. Show arch in back. Foot should be within twelve inches of back of head. May pull foot into ring position manually or catch. Kneeling Front Extension balance Bottom leg steady. Foot should be level with top of head. Kneeling Side Extension balance Bottom leg steady. Foot should be level with top of head. Front extension balance Split must be 160 angle. Hold leg with one or two hands. Rise into releve at end. Front scale balance Split must be 160 angle. Hold leg with one hand. Rise into releve at end. Kneeling Front Scale balance Bottom leg steady. Foot should be above the level of top of head. Kneeling Arabesque balance Bottom leg steady. Leg at 90 height Kneeling Ring balance Face forward; torso upright. Show arch in back. Foot should be within twelve inches of back of head. May pull foot into ring position manually or catch Kneeling attitude balance Bottom leg steady. Leg at 90 height Plank Arabesque Torso and leg make a T shape. Shape must stay level. May be on releve or flat foot, but must finish in releve. Side Cossack balance Leg 90 height. Remain over center and in releve. Don t completely rest weight on back of supporting heel. Side extension balance with assistance Split to side must be 160 angle. Flat foot with rise into releve at end. Penchee Split must be 160 angle. Hold on flat foot. Hands may be placed on floor if needed.. Must hold for 1-2 seconds to show shape. 25

26 Silver Level Flexibilities Forward illusion Split must be 160 angle. Must complete 360 rotation. Hand may touch floor briefly. Sideways illusion Split must be 160 angle. Must complete 360 rotation. Hand may touch floor briefly. Backwards illusion Split must be 160 angle. Must complete 360 rotation. Hand may touch floor briefly. Horizontal illusion Split must be 160 angle. Must complete 360 rotation. Torso remains horizontal. Chest stand Hold 1-2 seconds to show shape Arms on floor for support. Arch in lower back; back of knees should be directly above rear end and feet above head. Rolling split Split must be flat on floor and be maintained throughout. Roll must end in same position as beginning. Attitude kick ½ turn to side leg kick Back leg at hip level and turned out; calf horizontal with leg. Hold on flat foot with finish in releve. Half-turn should be smooth. Split to side must be 160 angle. Attitude kick into front leg kick Back leg at hip level and turned out; calf horizontal with leg. Hold on flat foot with finish in releve. Split to front must be 160 angle. Ronde jambe Leg 90 height during entirety. Flat foot, may rise to releve at end. Passé promenade rotation. Only heel lifts every ¼ turn. Toes remain in place Passé leg turned out. Toe rise Must show arch in back. Must keep feet parallel, no more than hip width apart with no sickling. Body must rise upright and not lean or fall backwards or forwards. Backscale Split must be 160 angle. Must show arch in back. Leg must rise at the same time the torso dips backwards. Leg rises straight; no developpe. Deep back body wave in lunge Must show steady balance. Strong arch in back with finish. Torso finishes parallel to back leg. Ring promenade rotation. Only heel lifts every ¼ turn. Toes remain in place Ring may be pulled into place or caught. Side extension promenade 360 rotation. Only heel lifts every ¼ turn. Toes remain in place Split to side must be 160 angle. 26

27 Gold Level Jumps and Leaps Split leap Split must be 180 angle Split jump Takeoff: two footed from plie or assemble.. Split must be 180 angle Turning split leap Split must be 180 angle Double stag jump Takeoff: two-footed from assemble or plie Front leg tucked under Back leg held 90 height Foot within 6 inches of back of head. Double stag leap Front leg tucked under Back leg held 90 height Foot within 6 inches of back of head. Turning stag leap Front leg tucked under Back leg held 90 height Foot within 6 inches of back of head. Cossack Leg must be tucked under or level with straight leg. Front leg 90. Double ring jump Takeoff: two-footed from assemble or plie Legs tucked under Back arched Foot within 12 inches of back of head. Two successive split leaps Second split must have opposite leading leg than the first. Splits must be even and 180 angle Cossack with leg high, assisted Leg must be tucked under or level with straight leg. Tuck jump Legs must be tucked up and in towards stomach. Takeoff: assemble or plie. Full turn jump Body straight Vertical takeoff. Must rotate 540 Ring jump Takeoff: two-footed from assemble or plie Back arched Foot within 12 inches of back of head. Ring leap Back arched Foot within 12 inches of back of head. Half-turn into arch jump Pike jump Takeoff: two-footed from assemble or plie Torso leans forward to reach during pike. 27

28 Straddle side leap Good amplitude. Landing: one foot. Show clear straddle and turned out hips. Switch leap, through passé Split must be 180 angle Must show clear transition through passé position. Switch leap. straight leg Split must be 180 angle Straight legs throughout switch. Straddle jump Takeoff: two-footed from assemble or plie Torso leans forward to reach during straddle. Gold Level Pivots Passé pivot Bent leg may be parallel or turned out. Rotation: 720 Attitude pivot Back leg at hip level and turned out; calf horizontal with leg. Rotation: 720 Back arabesque pivot Back leg at hip level and turned out. Leg height: 90 Rotation: 720 Front arabesque pivot Leg at hip level and turned out. Leg height: 90 Rotation: 720 Contracted front arabesque pivot Leg at hip level and turned out. Torso hunches over to meet leg with light grip. Standing leg bent. Leg height: 90 Contracted passé pivot Bent leg must be parallel and foot level with standing knee. Torso contracted. Rotation: 720 Cossack pivot Leg 90 height. Remain over center. Rotation: 540 Cossack with back leg in arabesque pivot Leg minimum 45 height. Remain over center. Rotation: 540 Fouette ala seconde Minimum of 2 rotations with straight leg at 90 angle. Must go immediately into straight leg no start in passé. No traveling or hopping. Fouette pivot Minimum of 3 passé, 2 kicks Must show 360 in passé rotations. No traveling or hopping. Arched skater pivot Torso upright but back arched. Back leg remains trailing. Leg height: 45 Rotation: 540 Ring pivot Face forward; torso upright. Show arch in back. Rotation: 540 Must catch foot. Foot must be within twelve inches of back of head. 28

29 Front arabesque into Cossack pivot Leg at hip level and turned out. Smooth and controlled drop into Cossack. Consistent leg height: 90 each pivot Front extension pivot Split must be 170 angle. Hold leg with one or two hands. Rotation: 540 Side extension pivot Side split must be 170 angle. Rotation: 540 Side Arabesque pivot Leg at hip level and turned out. Leg height: 90 Rotation: 720 Skater pivot Back leg remains trailing. Leg height: 45 Rotation: 720 Penchee pivot Split must be 170 angle. No hands on floor Spiral pivot Show strong arm position and lower back arch. Leg stays in passé. Rotation:

30 Gold Level Balances Back arabesque balance in tour lent Leg at 90 height ¼ turns solely on releve Rotation: 180 Front arabesque balance in tour lent Leg at 90 height ¼ turns solely on releve Rotation: 180 Front scale balance Split must be 170 angle. Hold leg with one hand. Rise into releve at end. Side arabesque balance in tour lent Leg at 90 height ¼ turns solely on releve Rotation: 180 Side extension balance with assistance Split to side must be 170 angle. Flat foot with rise into releve at end. Attitude balance into Cossack attitude balance Hold for 2 seconds each. Retain attitude shape throughout. Controlled drop into Cossack. Don t completely rest weight on back of supporting heel. Arabesque balance into Cossack arabesque balance Hold for 2 seconds each. Retain arabesque shape throughout. Controlled drop into Cossack. Don t completely rest weight on back of supporting heel. Side extension balance in tour lent Leg at 90 height ¼ turns solely on releve Rotation: 180 Attitude balance in tour lent Back leg at hip level and turned out; calf horizontal with leg. ¼ turns solely on releve Rotation: 180 Kneeling backscale balance Split must be 160 angle. Must show arch in back. Leg must rise at the same time the torso dips backwards. Bottom leg remains steady. Front arabesque balance into Cossack balance Hold for 2 seconds each. Leg 90 height. Controlled drop into Cossack. Don t completely rest weight on back of supporting heel. Side arabesque balance into side Cossack balance Hold for 2 seconds each. Leg 90 height. Controlled drop into Cossack. Don t completely rest weight on back of supporting heel. T-balance Free leg must be level with torso once balance is attained. Flat foot; turned out leg. Side tilt Lean away from free leg to attain horizontal torso. Split must be 180 angle. Hips turned out. Assist with hand. Ring balance Face forward; torso upright. Show arch in back. Foot should be within twelve inches of back of head. May pull foot into ring position manually or catch High Cossack balance with help Foot level with eyes. Don t completely rest weight on back of supporting heel. Assist with hands. 30

31 Side extension balance without assistance Split to side must be 150 angle. Flat foot with rise into releve at end. May kick and hold, or unfurl from developpe. Penchee balance Split must be 160 angle. Hold on flat foot. No hands on floor. Must hold for 3 seconds. Kneeling ring balance Face forward; torso upright. Show arch in back. Foot should be within six inches of back of head. May pull foot into ring position manually or catch Front extension balance Split must be 170 angle. Hold leg with one or two hands. Rise into releve at end. Gold Level Flexibilities Chest stand Hold 1-2 seconds to show shape Arms on floor for support. Sharp arch in lower back; back of knees should be directly above head and feet past head. Deep back body wave in lunge Must show steady balance. Strong arch in back with finish. Torso finishes parallel to back leg and rests against it. Ronde jambe Leg held above 90 height during entirety; foot should be level with stomach. Flat foot, may rise to releve at end. Back attitude swing into front grand battement Must show clear shape in both attitude and front kick. Swing must be steady and strong. No wavering of balance. Front foot should finish aboveforehead level at height of kick. Forward illusion Split must be 170 angle. Must complete 720 rotations without pause. Double horizontal illusion Split must be 170 angle. Must complete 720 rotations without pause. Double backwards illusion Split must be 170 angle. Must complete 720 rotations without pause. Hand may touch floor. Double forward illusion Split must be 170 angle. Must complete 720 rotations without pause. Hand may touch floor. 31

32 Penchee into front acro skill Split must be 170 angle. No hands on floor until acro begins. Toe rise Must show deep arch in back. Must keep feet parallel, no more than hip width apart with no sickling. Body must rise upright and not lean or fall backwards or forwards. Double rolling split Split must be flat on floor and be maintained throughout. Roll must end in same position as beginning. Two full rolls on floor. Penchee promenade Split must be 170 angle. No hands on floor. 180 rotation. Only heel lifts every ¼ turn. Toes remain in place Luk toe rise Must show deep arch in back. Must keep feet staggered; one foot in front of the other. Body must rise upright and not lean or fall backwards or forwards. Backscale Split must be 170 angle. Must show arch in back. Leg must rise at the same time the torso dips backwards. Leg rises straight; no developpe. Side extension promenade Split to side must be 170 angle. Flat foot with rise into releve at end. Only heel lifts every ¼ turn. Toes remain in place Ring promenade May manually pull into place or kick and grab. Flat foot with rise into releve at end. Only heel lifts every ¼ turn. Toes remain in place 32

33 Platinum Level Jumps and Leaps Double stag leap Front leg tucked under Back leg held 90 height Foot within 6 inches of back of head. Head may be tilted back or upright. Turning double stag leap Front leg tucked under Back leg held 90 height Foot within 6 inches of back of head. Head may be tilted back or upright. Double stag jump Takeoff: two footed from plie or assemble. Head may be tilted back or upright. Front leg tucked under Back leg held 90 height Foot within 6 inches of back of head. Turning stag leap chasse and chaine entry. Front leg tucked under Back leg held 90 height Tuck jump Legs must be tucked up and in towards stomach. Takeoff: assemble or plie. Rotation: 540 Double ring jump Takeoff: two feet from plie or assemble. Feet must be within six inches of back of head. Show clear arch in lower back. Must show amplitude. Double ring jump in scissors position Takeoff: one or two feet Feet successively reach within six inches of back of head. Must show amplitude. Side straddle leap Must show 160 minimum in straddle portion of the leap. One footed landing. High side Cossack, no help Foot must reach within twelve inches of side of head. Ring leap Foot must reach within six inches of back of head. Switch leap Split must be 180 angle Straight legs throughout switch. Turning ring leap chasse and turning entry. Foot must reach within six inches of back of head. 33

34 Side straddle leap from tour jete Straddle split must show clear shape and height. Horizontal butterfly Must show horizontal torso during flight. Clear swing of legs level with or slightly above torso. Must show amplitude Ring jump Takeoff: two feet from plie or assemble. Foot must reach within six inches of back of head. Three successive split leaps Second split must have opposite leading leg than the first. Third split returns to original leading leg. Apart from landing leg, no additional steps in between each leap. Splits must be even and 180 angle Split leap Split must above 180 angle Split jump Takeoff: two footed from plie or assemble. Split must be above 180 angle Turning split leap Split must be above 180 angle Turning Cossack leap into Cossack pivot Takeoff: from chasse or similar steps. Leg should remain at hip level throughout leap. Show clear amplitude. Smooth transition from leap into pivot. Rotation of leap: minimum 180, maximum 360 Rotation of pivot: 360 Half-twist into ring leap a chasse Foot should reach within six inches of back of head. Tour jete into turning stag leap 180 tour jete. Show amplitude and clear stag shape. Must show 180 rotation in leap. Half-twist into split leap Must show clear switch into 180 split Entrelace Must have good amplitude. Must show clear switch into 180 split 34

35 Ring jump 180 Takeoff: from one or two feet; from assemble, plie, or chasse Must show amplitude. Ring foot should be within six inches of back of head. Bottom leg should be straight. Fouette stag leap Takeoff: from chasse into a front fouette hop with a quick halftwist into a stag. Must show amplitude and a clean transition. Arch jump from half-twist Arch should be deep in the lower back, with the head directly above the rear end during the arch. Pike jump Must show good amplitude. Torso should be straight. Takeoff: two feet from plie or assemble. Legs should be at hip level. Straddle jump Takeoff: from two feet from plie or assemble. Legs should reach hip level. Show clear straddle and good amplitude. Tour jete Show clear transition and good amplitude. Show clear split position during the second half of the leap. Turning Cossack leap, 180 Takeoff: from chasse or similar steps. Leg should remain at hip level throughout leap. Show clear amplitude. Ring leap Foot should reach within six inches of back of head. Show clear arch in lower back and bend of back knee. Front leg should remain consistently at hip level during the leap. 35

36 Platinum Level Pivots Passé pivot Bent leg may be parallel or turned out. Rotation: 900 Attitude pivot Back leg at hip level and turned out; calf horizontal with leg. Rotation: 900 Contracted passé pivot Bent leg must be parallel and foot level with standing knee. Torso contracted. Rotation: 900 Penchee pivot Split must be 180 angle. No hands on floor Rotation: 540 Cossack pivot Leg 90 height. Remain over center. Rotation: 720 Contracted Cossack pivot Leg at hip level and turned out. Torso hunches over to meet leg with light grip. Fouette a la seconde Minimum of 3 rotations with straight leg at 90 angle. Must go immediately into straight leg no start in passé. No traveling or hopping. Fouette pivot Minimum of 3-4 passé, 3-4 kicks Must show 360 in passé rotations. No traveling or hopping. May also use attitude position instead of passé, but must specify this on skill sheet. Back arabesque pivot Back leg at hip level and turned out. Leg height: 90 Rotation: 900 Front arabesque pivot Leg at hip level and turned out. Leg height: 90 Rotation: 900 Contracted front arabesque pivot Leg at hip level and turned out. Torso hunches over to meet leg with light grip. Standing leg bent. Leg height: 90 Rotation: 540 Front extension pivot Split must be 170 angle. Hold leg with one or two hands. Rotation: 720 Arched skater pivot Torso upright but back arched. Back leg remains trailing. Leg height: 45 Rotation: 720 High Cossack pivot with assistance Foot level with eyes. Use one or two hands for assistance. Remain over center. Cossack with back leg in arabesque pivot Leg minimum 45 height. Remain over center. Rotation: 720 Back arabesque into arabesque Cossack pivot Leg at hip level and turned out. Smooth and controlled drop into Cossack. Consistent leg height: 90 Rotation: 540 each pivot 36

37 Front arabesque into Cossack pivot Leg at hip level and turned out. Smooth and controlled drop into Cossack. Consistent leg height: 90 Rotation: 540 each pivot Front arabesque into penchee pivot Leg at hip level and turned out. Smooth and controlled twist into penchee Consistent leg height: 90 during arabesque and 180 during penchee Rotation: 540 each pivot Front scale pivot Split must be 170 angle. Hold leg with one hand. Side Arabesque pivot Leg at hip level and turned out. Leg height: 90 Rotation: 900 Ring pivot Face forward; torso upright. Show arch in back. Rotation: 720 Must catch foot. Foot must be within six inches of back of head. Skater pivot Back leg remains trailing. Leg height: 45 Rotation: 900 Front extension pivot into high Cossack pivot with assistance Split must be 170 angle. Hold leg with one or two hands. per pivot Spiral pivot Show strong arm position and lower back arch. Leg stays in passé. Rotation: 720 Side tilt pivot Lean away from free leg to attain horizontal torso. Split must be 180 angle. Hips turned out. Assist with hand. Rotation: 720 Side extension pivot Side split must be 170 angle. Rotation: 720 Back split pivot Split must be 170 angle Rotation:

38 Platinum Level Balances Side Cossack balance tour lent Hold for 3 seconds Leg 90 height. Controlled drop into Cossack. Don t completely rest weight on back of supporting heel. Front extension balance in tour lent Split: 170 angle ¼ turns solely on releve Rotation: 180 Penchee balance Split must be 180 angle. No hands on floor Rotation: 540 Front extension balance into front high Cossack balance Hold for 2 seconds each. Leg 170 height for first balance; foot eye level for the second. Controlled drop into Cossack. Don t completely rest weight on back of supporting heel. Front extension balance Split must be 170 angle. No assistance. Front scale balance Split must be 180 angle. Hold leg with one hand. May be in flat foot or releve, but must finish in releve. Front arabesque balance into Cossack balance Hold for 2 seconds each. Leg must be above 90 height. Controlled drop into Cossack. Don t completely rest weight on back of supporting heel. High Cossack balance without help Hold for 3 seconds consistently. Foot level with eyes. Don t completely rest weight on back of supporting heel. No assistance. Cossack balance tour lent Leg 90 height. Remain over center. ¼ turns on releve only. Rotation: 360 Kneeling back scale Must show 170 split for 2 seconds and maintain arch in back. Hands may be used for support on the floor. Arabesque balance into Cossack arabesque Hold for 2 seconds each. Retain arabesque shape throughout. Controlled drop into Cossack. Don t completely rest weight on back of supporting heel. Front arabesque in T-balance Free leg and torso should form continuous line. 38

39 Kneeling back arch into kneeling backscale Kneeling back arch should show deep arch and hold for 2-3 seconds. Must show 170 split for 2 seconds and maintain arch in back. Hands may be used for support on the floor. Kneeling ring balance Face forward; torso upright. Show arch in back. Foot should be within six inches of back of head. May pull foot into ring position manually or catch Ring balance Face forward; torso upright. Show arch in back. Foot should be within six inches of back of head. Must catch foot into ring; may not pull manually. Attitude balance into Cossack attitude balance Hold for 2 seconds each. Retain attitude shape throughout. Controlled drop into Cossack. Don t completely rest weight on back of supporting heel. Back arabesque balance in tour lent Leg at 90 height ¼ turns solely on releve Attitude balance in tour lent Back leg at hip level and turned out; calf horizontal with leg. ¼ turns solely on releve Front arabesque balance in tour lent Leg at 90 height ¼ turns solely on releve Side extension balance in tour lent Leg at 90 height ¼ turns solely on releve Side extension balance in tour lent Leg at 90 height ¼ turns solely on releve Kneeling front extension balance Split must be 170 angle. No assistance. Kneeling side extension balance Split must be 170 angle. No assistance. Side arabesque balance into Cossack balance Hold for 2 seconds each. Leg must be above 90 height. Controlled drop into Cossack. Don t completely rest weight on back of supporting heel. Kneeling side tilt Lean away from free leg to attain horizontal torso. Split must be 180 angle. Hips turned out. Assist with hand. Side tilt Lean away from free leg to attain horizontal torso. Split must be above 180 angle. Hips turned out. Assist with hand. Back split balance Split must be 170 angle. Assist with one or two hands. 39

40 Platinum Level Flexibilities Back arch Hold 1-2 seconds to show shape No arm support on floor Sharp arch in lower back with abdomen off of the floor and hips and legs holding up the weight. Chest stand Hold 1-2 seconds to show shape No arm support Sharp arch in lower back; back of knees should be directly above head and feet past head. Chest stand into back arch Hold 1-2 seconds to show shape No arm support. Sharp arch in lower back; back of knees should be directly above head and feet past head. Backscale (from standing position or from the floor) Split must be 180 angle. Must show arch in back. Leg must rise at the same time the torso dips backwards. Leg rises straight; no developpe. Triple backwards illusion Split must be 170 angle. Must complete 900 rotations without pause. Hand may touch floor briefly. Triple forward illusion Split must be 170 angle. Must complete 900 rotations without pause. Hand may touch floor briefly. Triple horizontal illusion Split must be 170 angle. Must complete 900 rotations without pause. Triple horizontal illusion Split must be 170 angle. Must complete 900 rotations without pause. Back attitude, front extension and return to attitude Hold each long enough to show full shape. Attitude: back leg at hip level and turned out; calf horizontal with leg. Front extension: at least 170 split before returning to attitude. Releve or flat foot permitted. Back attitude, front extension half-turn into attitude Hold each long enough to show full shape. Attitude: back leg at hip level and turned out; calf horizontal with leg. Front extension: at least 170 split before returning to attitude. Releve or flat foot permitted. Half-turn should be a smooth transition. Side extension promenade Rotation: 180 Split: 170 Only heel lifts every ¼ turn. Toes remain in place Ronde jambe back to front Leg held above 90 height during first skill; foot should be level with stomach. Torso upright during first half; contract during the second half of the skill. Flat foot or releve. Front extension promenade Penchee from (or into) an acro Penchee promenade Front arabesque twist into 40

41 Rotation: 180 Split: 170 Only heel lifts every ¼ turn. Toes remain in place skill Penchee should be 180 split. Flat foot or releve. Acro skill should transition smoothly to (or from) penchee with no interruptions. Penchee should be 180 split. Rotation: 180 Flat foot or releve. Only heel lifts every ¼ turn. Toes remain in place side arabesque Leg held above 90 height during entirety of skill. Contract torso throughout. Toe rise Must show deep arch in back. Must keep feet parallel, no more than hip width apart with no sickling. Body must rise upright and not lean or fall backwards or forwards. Ronde jambe into penchee Leg held above 90 height during first skill; foot should be level with stomach. Penchee should be 180 split. Flat foot or releve. 41

42 Premier Level Jumps and Leaps Ring leap Foot should reach or go above back of head. Show clear arch in lower back and bend of back knee. Split should be beyond 180. Front leg should remain consistently at hip level during the leap. Tour jete into side straddle leap tour jete. Show amplitude and clear middle split or straddle position. Switch leap into side straddle leap Leg remains straight throughout transition. Show amplitude and clear middle split or straddle position Tour jete into double stag leap 180 Takeoff: tour jete entry. Foot must reach back of head or above head in stag. Tour jete into stag leap 180 tour jete. Show amplitude and clear stag position for the 180 rotation. Contracted Cossack leap 360 Leap rotates one full rotation and maintains shape throughout. Leg must stay at consistent 90 height throughout. Torso contracts over leg and remains consistent. High leg Cossack leap 360 with assistance Leap rotates one full rotation and maintains shape throughout. Leg must stay at consistent 90 height throughout. High leg Cossack leap 360 without assistance Leap rotates one full rotation and maintains shape throughout. Leg must stay at consistent 90 height throughout. High side Cossack, no help Foot must reach within six inches of side of head. Cossack leap 360 Leap rotates one full rotation and maintains shape throughout. Leg must stay at consistent 90 height throughout. Fouette ring jump Entry leg should show clear lift before the twist into the ring. Back foot should consecutively come in contact with back of head or reach above head during ring. Vertical butterfly Legs must be above head and torso pointed at a downward angle. 42

43 Switch passé ring leap with deep arch, half-turn Resulting split must be beyond 180 angle Leg passes through passé during switch. Deep arch in back; head comes close to back of knee Switch passé split leap with deep arch Resulting split must be beyond 180 angle Leg passes through passé during switch. Deep arch in back; head comes close to back of knee Switch split leap with deep arch Resulting split must be beyond 180 angle Legs remain straight throughout. Deep arch in back; head comes close to back of knee Switch side straddle leap with ¼ turn Leg passes through passé position. Side straddle leap should have amplitude and strong turnout from the hips. Switch double stag leap with deep arch, half turn Resulting split must be beyond 180 angle Leg passes through passé during switch. Half turn before double stag. Deep arch in back; head comes close to back of knee Switch stag leap with deep arch Resulting split must be beyond 180 angle Leg passes through passé during switch. Deep arch in back; head comes close to back of knee Split leap with extreme arch Split must beyond 180 angle Deep arch in back; head comes close to back of knee Side straddle leap with contracted torso Side straddle leap should have amplitude and strong turnout from the hips. Torso is parallel to floor. Switch leap Split must be beyond 180 angle Straight legs throughout switch. Stag leap 180 Stag leap must remain consistently in position throughout the 180 rotation. Split leap with end catch in ring or back split Split must beyond 180 angle. Ring or back split is caught during landing, and is held for 2-3 seconds. Ring jump Takeoff: two feet from plie or assemble. Foot must reach above and beyond overhead and back of leg should come in close contact with back of head. Stag leap with extreme arch Split must beyond 180 angle Deep arch in back; head comes close to back of knee Split leap with half-twist into stag leap with extreme arch Split must beyond 180 angle Deep arch in back; head Split leap half-twist in air Split must beyond 180 angle Leading leg remains consistently high and does not droop. Split leap Split must beyond 180 angle 43

44 comes close to back of knee. Leading leg remains consistently high and does not droop. Smooth transition. Smooth transition. Split jump Takeoff: two feet from plie or assemble. Split must beyond 180 angle Turning split leap chasse and chaine entry. Split must beyond 180 angle Double ring jump in scissors position Takeoff: two feet from plie or assemble. Feet should consecutively come in contact with back of head or reach above head. Switch leap 180 Split must be beyond 180 angle Leg straight through transition and half-turn. Switch leap double stag Foot must reach back of head or above head. Leg in passé position through switch. Switch leap stag 180 Split must be beyond 180 angle Leg in passé position through switch. Half turn transition into stag should be smooth. Double ring jump Takeoff: two feet from plie or assemble. Feet should be level and come in contact with back of head or reach above head. Fan jump chassetype entry or two feet from plie or assemble-type entry. Legs remain at eye level and straight throughout jump. Ring leap with free leg above horizontal Split must be beyond 180 angle. Back leg sharply bent. Front leg above horizontal. Fouette stag leap Half turn transition into stag should be smooth. Entry leg should show clear lift before the twist into stag. Split leap with half-twist into ring leap Split must beyond 180 angle Back foot should come in close contact with back of head during ring. Leading leg remains consistently high and does not droop. Smooth transition. Fouette double ring in scissors position Entry leg should show clear lift before the twist into stag. Feet should consecutively come in contact with back of head or reach above head. 44

45 Fouette crossover mid-air with landing in back arabesque Entry leg should show clear lift before the twist. Rear leg crosses over mid-air and becomes landing leg. Must show significant amplitude. Horizontal butterfly, double Must show horizontal torso during flight. Clear swing of legs level with or slightly above torso. Must show amplitude and smooth, quick transition between the two jumps. Premier Level Pivots Front extension pivot Split must be 180 angle. Hold leg with one or two hands. Rotation: 900 Attitude pivot Back leg at hip level and turned out; calf horizontal with leg. Rotation: 1080 Arched back attitude pivot Back leg at hip level and turned out; calf horizontal with leg. Head within six inches of leg. Front extension pivot, lowered into high Cossack pivot, and rise back to original pivot Split must be 180 angle. Hold leg with one or two hands. Smooth, controlled drop and rise between pivots. per pivot Back arabesque pivot Back leg at hip level and turned out. Leg height: 90 Rotation: 1080 Arched skater pivot Torso upright but back arched. Back leg remains trailing. Leg height: 45 Rotation: 720 Cossack with back leg in arabesque pivot Leg minimum 45 height. Remain over center. Rotation: 900 Side arabesque pivot into back arabesque pivot with extreme arch Legs consistently at hip level and turned out. Back of head should be brushing against back of leg. Must show controlled transition. Leg height: consistent 90 per pivot 45

46 Backscale pivot Can execute from floor position into a push-up pivot or froma standing position with a dip backwards. Leg: 170 to 180 split Attitude into front scale pivot Must show clear position in each pivot. Must show controlled transition. per pivot Cossack pivot rising into front arabesque pivot Leg: 90 height. Remain over center. Show controlled, uninterrupted rise into front arabesque. per pivot Back arabesque pivot with extreme arch into Cossack back arch pivot Back leg at hip level and turned out. Back of head should be brushing against back of leg. Must show controlled transition. Leg height: consistent 90 per pivot Back arabesque into Cossack with back leg in arabesque pivot Leg minimum 45 height. Remain over center. Rotation: 720 per pivot Back arabesque pivot with extreme arch Back leg at hip level and turned out. Back of head should be brushing against back of leg. Leg height: consistent 90 Arched side arabesque pivot Back show arch. Remain centered. Leg height: 90 Back split pivot Split must be 170 angle behind back May use assistance with hand. Contracted passé pivot Bent leg must be parallel and foot level with standing knee. Torso contracted. Rotation: 1080 Cossack pivot Leg: 90 height. Remain over center. Rotation: 900 Passé pivot Bent leg may be parallel or turned out. Rotation: 1080 Skater pivot Back leg remains trailing. Leg height: 45 Rotation: 1080 Side tilt pivot Lean away from free leg to attain horizontal torso. Split must be 180 angle. Hips turned out. Assist with hand. Side tilt pivot Lean away from free leg to attain horizontal torso. Split must be 170 angle. Hips turned out. No assistance T-balance pivot Torso and leg make a T shape. Shape must stay level. Hips turned out. Side Arabesque pivot Leg at hip level and turned out. Leg height: 90 Rotation:

47 Rotation: 900 Side extension pivot Side split must be 170 angle. Rotation: 900 Side extension pivot without help Side split must be 170 angle. Spiral pivot Show strong arm position and lower back arch. Leg stays in passé. Rotation: 900 Side extension pivot into back split pivot Side split must be 170 angle. Smooth transition into back split pivot per pivot Ring pivot Face forward; torso upright. Show arch in back. Rotation: 900 Must catch foot. Foot must be within six inches of back of head. Penchee pivot in attitude Split must be 180 angle. No hands on floor. Must show attitude in bent overhead leg. Overhead foot should be directly above shoulders. Penchee pivot Split must be 180 angle. No hands on floor Rotation: 720 Plank arabesque pivot Torso and free leg should show a clear T position. The T position should remain consistent throughout pivot. Rotation: 720 Front extension pivot without assistance Split must be 170 angle. No assistance from hands. Ring pivot without assistance Face forward; torso upright. Show arch in back. Foot must be within six inches of back of head. High Cossack pivot without assistance Foot level with eyes. No assistance from hands. Remain over center. High Cossack pivot with assistance Foot level with eyes. Use one or two hands for assistance. Remain over center. Rotation:

48 Front extension pivot into high Cossack pivot with assistance Split must be 180 angle. Hold leg with one or two hands. Fouette a la seconde Minimum of 4 rotations with straight leg at 90 angle. Must go immediately into straight leg no start in passé. No traveling or hopping. Fouette pivot Minimum of 4 passé, 4 kicks Must show 360 in passé rotations. No traveling or hopping. May also use attitude position instead of passé, but must specify this on skill sheet. Front arabesque pivot Leg at hip level and turned out. Leg height: 90 Rotation: 1080 Front arabesque into Cossack pivot with return to original pivot Leg at hip level and turned out. Smooth and controlled drop into Cossack. Consistent leg height: 90 each pivot Front arabesque into Cossack pivot Leg at hip level and turned out. Smooth and controlled drop into Cossack. Consistent leg height: 90 Rotation: 720 each pivot Front arabesque into ring pivot with or without assistance Leg at hip level and turned out. Smooth and controlled twist into ring. Consistent leg height: 90 Rotation: 720 each pivot Front scale pivot Split must be 180 angle. Hold leg with one hand. Rotation: 540 High Cossack pivot with rise into front split pivot Leg at hip level and turned out. Smooth and controlled rise into High Cossack pivot with rise into front split pivot, no assistance Leg at hip level and turned out. Front split pivot with drop into high Cossack pivot, no assistance Leg at hip level and Cossack pivot into high Cossack pivot, with or without assistance Consistent leg height per pivot. 48

49 secondary pivot. Consistent leg height: 90 for first pivot and 180 for second. each pivot Smooth and controlled rise into secondary pivot. Consistent leg height: 90 for first pivot and 170 for second. each pivot turned out. Smooth and controlled drop into secondary pivot. Consistent leg height: 170 for first pivot and 90 for the second. each pivot Foot level with eyes during second pivot. Use one or two hands for assistance, if used. Remain over center. per pivot Contracted front arabesque pivot Leg at hip level and turned out. Torso hunches over to meet leg with light grip. Standing leg bent. Leg height: 90 Rotation: 720 Front scale pivot with drop into Cossack front scale pivot Split must be 180 angle. Smooth and controlled drop and rise. Hold leg with one hand. per pivot Contracted Cossack pivot Leg at hip level and turned out. Torso hunches over to meet leg with light grip. Rotation: 540 Side arabesque pivot, drop into Cossack side arabesque pivot, rise into original pivot Leg at hip level and turned out. Smooth and controlled drop and rise. Consistent leg height: 90 each pivot Back arabesque pivot into front split pivot Leg at hip level and turned out. Smooth and controlled swing into secondary pivot. Consistent leg height: 90 for first pivot and 180 for second. each pivot Turning Cossack leap 180 into Cossack pivot Cossack leap must rotate 180 and transition smoothly into Cossack pivot. The pivot must rotate 360 Front arabesque into penchee pivot Leg at hip level and turned out. Smooth and controlled twist into penchee Consistent leg height: 90 during arabesque and 180 during penchee Rotation: 720 each pivot Back split pivot Split must be 180 angle. Assist with one or two hands. Rotation: 540 Premier Level Balances Planche forearm handstand Kneeling back arch into High Cossack balance Penchee twist into 49

50 into kneeling back arch Must hold for 3 seconds in handstand. Lower back should be directly over or past back of head. Smooth transition to back arch. Kneeling back arch should show deep arch and hold for 2-3 seconds. kneeling backscale Kneeling back arch should show deep arch and hold for 2-3 seconds. Must show 180 split for 2 seconds and maintain arch in back. Hands may be used for support on the floor. without help Hold for 3 seconds consistently. Free leg should be within six inches or less of body. Don t completely rest weight on back of supporting heel. No assistance. backscale balance Penchee and backscale should beyond 180 split. Must hold for 3 seconds total. Flat foot or releve. Must show arch in back. Leg must rise at the same time the torso dips backwards during backscale. Leg rises straight; no developpe. Front scale balance Split must beyond 180 angle. Hold leg with one hand. May be in flat foot or releve, but must finish in releve. Backscale balance Must be done on releve Held for 3 seconds Leg consistently at 180 split. Torso can be held horizontally or aimed slightly downwards. Front arabesque balance into Cossack balance and rise to original Hold for 2 seconds each. Leg must be above 90 height. Controlled drop into Cossack and rise back up. Don t completely rest weight on back of supporting heel. Kneeling back scale Must show 180 split for 2 seconds and maintain arch in back. Hands may be used for support on the floor. Penchee balance Penchee should beyond 180 split. Rotation: 180 Flat foot or releve. No hands on the floor. Kneeling side tilt, without assistance Lean away from free leg to attain horizontal torso. Split must beyond 180 angle. Hips turned out. Kneeling ring balance, no assistance Face forward; torso upright. Show deep arch in back. Foot should be above the head and the back of the leg closely parallel to the back of the body. Front extension balance, half-turn, back split balance Split: 170 to 180 angle for both Smooth transition from first extension to the second. Side tilt, without assistance Lean away from free leg to Front extension balance, halfturn, back split balance, no Side arabesque balance into Cossack balance Front extension balance into back split balance 50

51 attain horizontal torso. Split must beyond 180 angle. Hips turned out. assistance Split: 170 to 180 angle for both Smooth transition from first extension to the second. and rise to original Hold for 2 seconds each. Leg must be above 90 height. Controlled drop into Cossack and rise back up. Don t completely rest weight on back of supporting heel. Split: 170 to 180 angle for both Smooth transition from first extension to the second. Tour lent variations Must keep a consistent shape throughout the 360 rotation. Must be completed entirely on releve with a series of smooth ¼ rotations. Premier Level Flexibilities Penchee attitude Split must be 180 angle. No hands on floor. Must show attitude in bent overhead leg. Overhead foot should be directly above shoulders or further. Support foot may be in releve or flat. Side illusion (minimum of three rotations or in combination with other types of illusions) Split must be 180 angle. No pauses. Hand may touch floor briefly. Forward illusion (minimum of three rotations or in combination with other types of illusions) Split must be 180 angle. No pauses. Hand may touch floor briefly. Forearm handstand (stand-alone or from acro) with leg in crossover stag Must hold for 2-3 seconds to show shape. Rear end should be directly above or beyond back of head. Smooth transition if from previous acro element. Switch leg forearm handstand Must hold for 2-3 seconds to show full range of shapes. Legs may be stag or split position. Must show 180 split. Lower back should show arch. Horizontal illusion (minimum of three rotations or in combination with other types of illusions) Split must be 180 angle. No pauses. Hand may touch floor briefly. Ronde jambe with deep arch Free leg must stay consistently at 90 Back must finish parallel to free leg, with back of head coming in close Ronde jambe into penchee Free leg must stay consistently at 90 and the penchee reach beyond 180 split. Back must finish parallel to free leg, with back of head 51

52 contact with back of knee. coming in close contact with back of knee. Back rolling split Split must remain consistently overhead at 180 Complete full rotation, without pause, through the beginning split and transitions. Must finish in same position as starting. Chest stand split (with or without rotation) Split must remain consistently overhead at 180 NO arm support on floor unless pushing into a spin. If a spin occurs, it must complete a full 180 rotation on chest. Toe rise Must show deep arch in back. Must keep feet parallel, no more than hip width apart with no sickling. Body must rise upright and not lean or fall backwards or forwards. Switch leg forearm handstand into kneeling back arch Must hold for 2-3 seconds to show full range of shapes. Legs may be stag or split position. Must show 180 split. Lower back should show arch. Smooth transition to back arch. Kneeling back arch should show deep arch and hold for 2-3 seconds. Backwards illusion (minimum of three rotations or in combination with other types of illusions) Split must be 180 angle. No pauses. Hand may touch floor briefly. Backscale Can be performed on flat foot or releve. Leg must be beyond 180 split. Must show deep arch in back. Leg should lift at the same moment as the torso dips backward. Arch into chest stand Hold each movement for 2-3 seconds to show shape No arm support. Sharp arch in lower back; back of knees should be directly above head and feet past head. Chest spin Must show 360 rotation on the abdomen or lower chest region. Back should show deep arch. Knees should be level with back of head and feet overhead. Chest stand Hold 1-2 seconds to show shape No arm support Sharp arch in lower back; back of knees should be directly above head and feet past head. Arch, chest-stand half-twist into arch Hold chest stand 1-2 seconds to show shape Arm support only during twist transition. Sharp arch in lower back; back of knees should be directly above head and feet past head. Back split Split must be beyond 180 split. Hold 2-3 seconds to show shape. May assist with one or two hands. 52

53 Italian Fouette variations Must retain shapes consistently throughout the rotations. Must show each shape 1-2 seconds before transitioning to the next. Heel may drop only during the rotation transitions; each shape must be on releve. Promenade variations Must retain shapes consistently throughout the 360 rotation. May be done on foot or on knee, if the skill allows for it. Heel may drop only during the rotation transitions; each shape must be on releve. Split (if a split position is performed): beyond 180. Rings must be performed with an extreme arch in lower back. Only heel lifts every ¼ turn. Toes remain in place during the ¼ turns; only the heel lifts up. Utyasheva variations Must retain shapes consistently. Transitions must be smooth. Heel may drop only during the rotation transitions; each shape must be on releve. Split (if a split position is performed): beyond 180. Rings must be performed with an extreme arch in lower back. 53

54 Cartwheels Rolls Walkovers Forearm Acro Cartwheel (two-handed) Cartwheel (one-handed) Cartwheel (side aerial) Cartwheel on the chest Forward roll Backward roll Forward straddle roll Backward straddle roll Forward pike roll Backward pike roll Backward stag roll Forward roll from a dive leap position Fish flop (forward Fish flop (backward) Forward donut roll Backward donut roll Donut roll out of a preceding acro skill Backbend Front walkover Back walkover (foot resting on floor) Front walkover from arabesque or penchee Back walkover with foot held above the floor Tinsica Front walkover (one arm) Back walkover (one arm) Front walkover (on the forearms) Back walkover (on the forearms) Onodi walkover Valdez back walkover Shpekt (one arm) Forearm handstand (straight) Forearm handstand (stag) Forearm handstand (split) Forearm handstand (middle split) Forearm handstand (combo) Handstand lowering to forearms with roll onto chest Forearm walkovers and variations Forearm cartwheels and variations 54