Curved, Straight Line and Stationary Lifts
Let's find out what the rules are for these short lifts, and then we can looks at some good ones, and some downgraded ones.
All short lifts have to be complete in 6 seconds.
The description of Levels is the same for Curved Lifts, Straight Line Lifts and Stationary Lifts. A Stationary Lift can be done as a spin in place:
The heart of the curved, straight line, and stationary lifts, then, are the definitions of what is difficult, or creative:
So I will repeat these definitions, which are the same as for the rotational lift:
First the document describes the options for the lifted partner (usually the lady). She may be displaying a difficult position, or a change of position:
Since we now have the four lift option, there can be two of one type of short lift in a program. There also can be a short curved lift, say, and additionally, a curved l lift can be part of a combination lift. To ensure there isn't a lot of repetition of poses, the following rule is in place:
For the lifting partner, all of these options are possible for a straight line or curved lift:
And now we deal with the entry and exit of the lift:
So those are the rules.
Let's see how they work out.
Let's find out what the rules are for these short lifts, and then we can looks at some good ones, and some downgraded ones.
All short lifts have to be complete in 6 seconds.
The description of Levels is the same for Curved Lifts, Straight Line Lifts and Stationary Lifts. A Stationary Lift can be done as a spin in place:
Level One
Lifted Partner is held off the ice for at least 3 seconds
Level Two has two options
The lifted partner sustains a difficult pose for at least 3 seconds, or has a change of pose
OR
The lifting partner sustains a difficult pose for at least 3 seconds
Level Three; you must have both the Level 2 options
The lifted partner sustains a difficult pose for at least 3 seconds, or has a change of pose
AND
The lifting partner sustains a difficult pose for at least 3 seconds
Level Four
The lifted partner sustains a difficult pose for at least 3 seconds, or has a change of pose
AND
The lifting partner sustains a difficult pose for at least 3 seconds
AND
A creative and difficult entry
Additional causes for downgrades:
If there is a hand or foot touching down, the level shall be reduced by one level
The heart of the curved, straight line, and stationary lifts, then, are the definitions of what is difficult, or creative:
So I will repeat these definitions, which are the same as for the rotational lift:
First the document describes the options for the lifted partner (usually the lady). She may be displaying a difficult position, or a change of position:
5.4.2. ADDITIONAL DEFINITIONS, SPECIFICATIONS TO DEFINITIONS AND NOTES
Difficult Pose for lifted partner (examples):
a) Full split: when the legs of the lifted partner are extended in one line with the angle between thighs about 180 degrees;
b) full “Biellmann”: body upright with the heel of the boot pulled by the hand behind and above the level of the head;
c) full doughnut/ring: upper body arched back, with one or both feet almost touching the head in a full circle (maximum of half a blade length between head and blade);
d) upside down combined with difficult hold;
e) from a vertical position lady is cantilevered out: lady’s torso is extended away from the man and the only one additional point of support are the hands;
f) balancing in a horizontal position with only one additional point of support;
g) leaning out (forwards or backwards) with the only one additional point of support being the legs;
h) full layback with arched pose with no support from the lifting partner above the thigh;
i) extended out with the majority of body weight in a horizontal line with the only one additional point of support being shoulders and/ or upper back.
Since we now have the four lift option, there can be two of one type of short lift in a program. There also can be a short curved lift, say, and additionally, a curved l lift can be part of a combination lift. To ensure there isn't a lot of repetition of poses, the following rule is in place:
Notes:
a chosen example of Difficult Pose shall be considered for Level only the first time it occurs, whether it be in a Short Lift or in a part of Long Lift;
Examples b) (full “Biellmann) and c) (full doughnut/ring) shall be considered as the same example of Difficult Pose.
Change of Pose for lifted partner:
A Change of Pose shall be considered for Level if it fulfills the following characteristics:
lifting partner changes hold and lifted partner changes hold and body pose so that it is a significant change (i.e. a photographer would produce two different photos). A mere change of position of arm(s) and/or legs, changing to the reverse side (mirror) or changing the height of the body is not enough to constitute a Change of Pose;
the change of body pose and changes of hold occur simultaneously;
each pose, preceding and following the change is clearly defined and the first pose is attained and clearly shown prior to the change to the second pose;
....
Note: Changes of Pose shall be considered for Level only the first two times they occur, whether they are in Short Lifts or in parts of Long Lift.
For the lifting partner, all of these options are possible for a straight line or curved lift:
Difficult Position for lifting partner (examples):
a) one foot;
b) Shoot the Duck (thigh at least parallel to the ice) with any position of free leg;
c) Spread Eagle – inside: same edges (one forward one backward) on the same curve;
d) Spread Eagle – outside: same edges (one forward one backward) on the same curve;
e) Spread Eagle – on a straight line (for Straight Line Lift only): same edges (one forward, one backward) on the same line;
f) Ina Bauer: same or different edge (one forward one backward) on parallel tracing;
g) Crouch with two knees bent (thighs at least parallel to the ice) on two feet;
h) Crouch with one knee bent (thigh at least parallel to the ice) on two feet with one leg extended to side;
i) Lunge (thigh at least parallel to the ice) with any position of free leg;
j) One Hand/Arm Lift: with no contact other than the lifting partner’s hand/arm and the lifted partner.
Notes:
Examples g) h) and i) (Crouch or Lunge) shall not be considered for Level in a Stationary Lift which is not rotating;
A chosen example of Difficult Position shall be considered for Level only the first time it occurs, whether it be in a Short Lift or in a part of Long Lift (exception: Reverse Rotational Lift Levels 3 and 4 Option 2, where the One Hand/Arm Lift is considered for Level in both directions);
if the three different examples of Spread Eagle (c), d) and e)) are performed, only the twoc first performed different examples shall be considered for Level;
if an Ina Bauer (example f) skated on same edges) and an example of Spread Eagle (c), d) or e)) are performed on the same edges, only the first performed of the two Difficult Positions shall be considered for Level.
And now we deal with the entry and exit of the lift:
Creative/Difficulty Entry (Groups of examples):
a) unexpected entry without any evident preparation;
b) entry from a Difficult Position for the lifting partner: the Difficult Position must be reached before the lifted partner leaves the ice;
c) entry from a difficult transition by the lifting partner: series of at least two difficult Turns (e.g. Bracket, Choctaw, Counter, Outside Mohawk, but not progressives) before the Dance Lift;
d) significant transitional movement performed by the lifted partner to reach and establish the desired pose (Note: this is not the same as a Change of Pose, because the movement is transitional and not established).
Notes:
A chosen Group of examples of Creative/Difficult Entry a), c) or d) shall be considered for Level only in the Dance Lift where it is first performed;
A chosen example of Creative/Difficult Entry from Group b) shall be considered for Level only in the Dance Lift where it is first performed;
if the three different examples of Spread Eagle (c), d) and e) of paragraph Difficult Position for lifting partner) are performed as Creative/Difficult Entry, only the two first performed different examples shall be considered for Level;
if an Ina Bauer (example f) of paragraph Difficult Position for lifting partner skated on same edges) and an example of Spread Eagle (c),d) or e) of paragraph Difficult Position for lifting partner) are performed as Creative/Difficult Entry on the same edges, only the first performed of the two Creative/Difficult Entry shall be considered for Level.
So those are the rules.
Let's see how they work out.