Ice dance
Ice dance is a discipline of figure skating that historically draws from ballroom dancing. It joined the World Figure Skating Championships in 1952, and became a Winter Olympic Games medal sport in 1976. According to the International Skating Union, the governing body of figure skating, an ice dance team consists of one woman and one man.
Ice dance, like pair skating, has its roots in the "combined skating" developed in the 19th century by skating clubs and organizations and in recreational social skating. Couples and friends would skate waltzes, marches, and other social dances. The first steps in ice dance were similar to those used in ballroom dancing. In the late 1800s, American Jackson Haines, known as "the Father of Figure Skating", brought his style of skating, which included waltz steps and social dances, to Europe. By the end of the 19th century, waltzing competitions on the ice became popular throughout the world. By the early 1900s, ice dance was popular around the world and was primarily a recreational sport, although during the 1920s, local skating clubs in Britain and the U.S. conducted informal dance contests. Recreational skating became more popular during the 1930s in England.
The first national competitions occurred in England, Canada, the U.S., and Austria during the 1930s. The first international ice dance competition took place as a special event at the World Championships in 1950 in London. British ice dance teams dominated the sport throughout the 1950s and 1960s, then Soviet teams up until the 1990s. Ice dance was formally added to the 1952 World Figure Skating Championships; it became an Olympic sport in 1976. In the 1980s and 1990s, there was an attempt by ice dancers, their coaches, and choreographers to move ice dance away from its ballroom origins to more theatrical performances. The ISU pushed back by tightening rules and definitions of ice dance to emphasize its connection to ballroom dancing. In the late 1990s and early 2000s, ice dance lost much of its integrity as a sport after a series of judging scandals, which also affected the other figure skating disciplines. There were calls to suspend the sport for a year to deal with the dispute, which seemed to affect ice dance teams from North America the most. Teams from North America began to dominate the sport starting in the early 2000s.
Before the 2010–11 figure skating season, there were three segments in ice dance competitions: the compulsory dance, the original dance, and the free dance. In 2010, the ISU voted to change the competition format by eliminating the CD and the OD and adding the new short dance segment to the competition schedule. In 2018, the ISU voted to rename the short dance to the rhythm dance.
Ice dance has required elements that competitors must perform and that make up a well-balanced ice dance program. They include the dance lift, the dance spin, the step sequence, twizzles, and choreographic elements. These must be performed in specific ways, as described in published communications by the ISU, unless otherwise specified. Each year the ISU publishes a list specifying the points that can be deducted from performance scores for various reasons, including falls, interruptions, and violations of the rules concerning time, music, and clothing.
History
Beginnings
Ice dance, like pair skating, has its roots in the "combined skating" developed in the 19th century by skating clubs and organizations and in recreational social skating. Couples and friends would skate waltzes, marches, and other social dances together. According to writer Ellyn Kestnbaum, ice dance began with late 19th-century attempts by the Viennese and British to create ballroom-style performances on ice skates. However, figure skating historian James Hines argues that ice dance had its beginnings in hand-in-hand skating, a short-lived but popular discipline of figure skating in England in the 1890s; many of the positions used in modern ice dance can be traced back to hand-in-hand skating. The first steps in ice dance were similar to those used in ballroom dancing, so unlike modern ice dance, skaters tended to keep both feet on the ice most of the time, without the "long and flowing edges associated with graceful figure skating".In the late 1800s, American Jackson Haines, known as "the Father of Figure Skating", brought his style of skating to Europe. He taught people in Vienna how to dance on the ice, both singly and with partners. Capitalizing on the popularity of the waltz in Vienna, Haines introduced the American waltz, a simple four-step sequence, each step lasting one beat of music, repeated as the partners moved in a circular pattern. By the 1880s, it and the Jackson Haines waltz, a variation of the American waltz, were among the most popular ice dances. Other popular ice dance steps included the mazurka, a version of the Jackson Haines waltz developed in Sweden, and the three-step waltz, which Hines considers "the direct predecessor of ice dancing in the modern sense". The three-step waltz, which was done around the perimeter of the ice rink, was first skated in 1894 in Paris and within a few years became a craze throughout Europe.
By the end of the 19th century, the three-step waltz, called the English waltz in Europe, became the standard for waltzing competitions. It was first skated in Paris in 1894; Hines states that it was responsible for the popularity of ice dance in Europe. The three-step waltz was easy and could be done by less skilled skaters, although more experienced skaters added variations to make it more difficult. Two other steps, the killian and the ten-step, survived into the 20th century. The ten-step, which became the fourteen-step, was first skated by Franz Schöller in 1889. Also in the 1890s, combined and hand-in-hand skating moved skating away from basic figures to the continuous movement of ice dancers around an ice rink. Hines insists that the popularity of skating waltzes, which depended upon the speed and flow across the ice of couples in dance positions and not just on holding hands with a partner, ended the popularity of hand-in-hand skating. Hines writes that Vienna was "the dancing capital of Europe, both on and off skates" during the 19th century; by the end of the century, waltzing competitions became popular throughout the world. The killian, first skated in 1909 by Austrian Karl Schreiter, was the last ice dance invented before World War I still being done as of the 21st century.
Early years
By the early 1900s, ice dance was popular around the world and was primarily a recreational sport, although during the 1920s, local clubs in Britain and the U.S. conducted informal dance contests in the ten-step, the fourteen-step, and the killian, which were the only three dances used in competition until the 1930s. Recreational skating became more popular during the 1930s in England, and new and more difficult set-pattern dances, which later were used in compulsory dances during competitions, were developed. According to Hines, the development of new ice dances was necessary to expand upon the three dances already developed; three British teams in the 1930s—Erik van der Wyden and Eva Keats, Reginald Wilkie and Daphne B. Wallis, and Robert Dench and Rosemarie Stewart—created one-fourth of the dances used in International Skating Union competitions by 2006. In 1933, the Westminster Skating Club conducted a competition encouraging the creation of new dances. Beginning in the mid-1930s, national organizations began to introduce skating proficiency tests in set-pattern dances, improve the judging of dance tests, and oversee competitions. The first national competitions occurred in England in 1934, Canada in 1935, the U.S. in 1936, and Austria in 1937. These competitions included one or more compulsory dances, the original dance, and the free dance. By the late 1930s, ice dancers swelled memberships in skating clubs throughout the world, and in Hines' words "became the backbone of skating clubs".The ISU began to develop rules, standards, and international tests for ice dance in the 1950s. The first international ice dance competition occurred as a special event during the 1950 World Figure Skating Championships in London; Lois Waring and Michael McGean of the U.S. won the event, much to the embarrassment of the British, who considered themselves the best ice dancers in the world. A second event was planned the following year, at the 1951 World Championships in Milan; Jean Westwood and Lawrence Demmy of Great Britain came in first place. Ice dance, with the CD and FD segments, was formally added to the World Championships in 1952. Westwood and Demmy won that year, and went on to dominate ice dance, winning the next four World Championships as well. British teams won every world ice dance title through 1960. Eva Romanova and Pavel Roman of Czechoslovakia were the first non-British ice dancers to win a world title, in 1962.
1970s to 1990s
Ice dance became an Olympic sport in 1976; Lyudmila Pakhomova and Alexandr Gorshkov from the Soviet Union were the first gold medalists. The Soviets dominated ice dance during most of the 1970s, as they did in pair skating. They won every Worlds and Olympic title between 1970 and 1978, and won medals at every competition between 1976 and 1982. In 1984, British dancers Jayne Torvill and Christopher Dean, whom Hines calls "the greatest ice dancers in the history of the sport", briefly interrupted Soviet domination of ice dance by winning a gold medal at the Olympic Games in Sarajevo. Their free dance to Ravel's Boléro has been called "probably the most well known single program in the history of ice dance". Hines asserts that Torvill and Dean, with their innovative choreography, dramatically altered "established concepts of ice dancing".During the 1970s, there was a movement in ice dance away from its ballroom roots to a more theatrical style. The top Soviet teams were the first to emphasize the dramatic aspects of ice dance, as well as the first to choreograph their programs around a central theme. They also incorporated elements of ballet techniques, especially "the classic ballet pas de deux of the high-art instance of a man and woman dancing together". They performed as predictable characters, included body positions that were no longer rooted in traditional ballroom holds, and used music with less predictable rhythms.
The ISU pushed back during the 1980s and 1990s by tightening rules and definitions of ice dance to emphasize its connection to ballroom dancing, especially in the free dance. The restrictions introduced during this period were designed to emphasize skating skills rather than the theatrical and dramatic aspects of ice dance. Kestnbaum argues that there was a conflict in the ice dance community between social dance, represented by the British, the Canadians, and the Americans, and theatrical dance represented by the Russians. Initially the historic and traditional cultural school of ice dance prevailed, but in 1998 the ISU reduced penalties for violations and relaxed rules on technical content, in what Hines describes as a "major step forward" in recognizing the move towards more theatrical skating in ice dance.
At the 1998 Olympics, while ice dance was struggling to retain its integrity and legitimacy as a sport, writer Jere Longman reported that ice dance was "mired in controversies", including bloc voting by the judges that favored European dance teams. There were even calls to suspend the sport for a year to deal with the dispute, which seemed to impact ice dance teams from North America the most. A series of judging scandals in the late 1990s and early 2000s, affecting most figure skating disciplines, culminated in a controversy at the 2002 Olympics.