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Home , Closed position, Double reverse spin, Foxtrot, Impetus (waltz), Lock (waltz), Natural spin turn

TGA APPROVED FIGURES, ELEMENTS AND RESTRICTIONS AS OF FEBRUARY, 2014 General Restrictions for the International Standard / Ballroom Elements and figures unique to one may not be used in another dance unless Weave actions may not be extended in Bronze or Silver , but a Weave may be specified. Example: The is in both and , but may extended by 2 counts in Gold Foxtrot. Figures from higher levels may not be danced at not be used in Foxtrot or . a lower level. Example: The Weave From Promenade may not be danced at the Bronze level. Unless specifically approved within the syllabus, syncopations are not permitted Entrances are not permitted except as listed for . Elements must be completed, but partial steps may be danced. Examples: The Foxtrot Partners may start in Open Facing Position and step to once the Open , Open Natural may be followed by a Closed or Open ; Step 11 begins, or they may simply start in Closed Position. Once the dance commences, (step 10 if entered from a Spin Turn) of the V-6 in Quickstep need not be followed by a partners must remain in Closed Hold until the end of the dance. In Viennese Waltz, it is Forward . permitted to perform a single curtsey facing partner before stepping to Closed Position. *** International Waltz *** Technical Aspects of these figures are detailed in The Ballroom Technique (available from USISTD Publications via www.usistd.org) and in publications provided by other dance organizations – see www.NCDA.org for a complete list. ** Bronze Waltz ** ** Bronze Waltz Continued ** ** Gold Waltz ** Left Foot and Right Foot Closed Changes Double Reverse Spin Overturned Natural Turn Reverse Pivot Left Reverse Turn Back Lock Left Whisk when Man steps back on count 1 Natural Spin Turn Progressive Chassé to Right Left Whisk on 1st Beat of the Bar/Measure Underturned Natural Spin Turn ** Silver Waltz ** Contra Check Whisk Whisk when Man turns 1/8 at side of room Closed Whisk when Man turns 1/4 to Left Weave from Turning Lock to Right Chasse from Promenade Position Closed Telemark Fallaway Reverse and Slip Pivot Closed Impetus Open Telemark and Cross Hesitation Hover Corté Hesitation Change Open Telemark and Wing Hover Corté over 2 Bars/Measures of Music Outside Change Open Impetus and Cross Hesitation Fallaway Whisk Outside Change ended in Promenade Position Open Impetus and Wing Reverse Corté Outside Spin Back Whisk Underturned Outside Spin Back Whisk with Turn Turning Lock Weave Drag Hesitation

TGA APPROVED FIGURES, ELEMENTS AND RESTRICTIONS AS OF FEBRUARY, 2014

*** International Tango *** Technical Aspects of these figures are detailed in The Ballroom Technique (available from USISTD Publications via www.usistd.org) and in publications provided by other dance organizations – see www.NCDA.org for a complete list. ** Bronze Tango ** ** Bronze Tango Continued ** ** Silver Tango Continued ** Left Foot or Right Foot Walk Natural Turn Four Step Change Progressive Side Step Natural Promenade Turn Brush Tap Progressive Link ** Silver Tango ** ** Gold Tango ** Closed Promenade Promenade Link Fallaway Four Step Open Finish Reverse Promenade Link Oversway and Endings for Oversway Rock Turn Four Step Drop Oversway Open Reverse Turn, Lady Outside Overturned Four Step Basic Reverse Turn Back Corté Back Open Promenade The Chase and Alternate Endings for the Chase Open Reverse Turn, Lady in Line Outside Swivel Method 1: After an Open Finish, ending Fallaway Reverse and Slip Pivot DW Progressive Side Step Reverse Turn Outside Swivel Method 2: Turning to Left, ending DC Five Step Open Promenade Reverse Outside Swivel (Method 3): Entering with steps Overturned Five Step 1-2 of Open Reverse Turn, Lady Outside Rock Back on Right Foot (RF Rock) Reverse Outside Swivel (Method 4): Man using Foot Contra Check Swivel, Lady turns less than normal Rock Back on Left Foot (LF Rock) Fallaway Promenade

TGA APPROVED FIGURES, ELEMENTS AND RESTRICTIONS AS OF FEBRUARY, 2014

*** International Foxtrot *** Technical Aspects of these figures are detailed in The Ballroom Technique (available from USISTD Publications via www.usistd.org) and in publications provided by other dance organizations – see www.NCDA.org for a complete list.

** Bronze Foxtrot ** ** Silver Foxtrot Continued ** ** Gold Foxtrot ** Feather Step Top Spin Natural Twist Turn Three Step (May curve 1/8 to Left) Hover Feather Natural Twist Turn with Weave Ending Natural Turn Hover Telemark Natural Twist Turn with Closed Impetus Ending Reverse Turn (Incorporating the Feather Finish) Hover Telemark to Promenade Position Natural Twist Turn with Open Impetus Ending Closed Impetus and Feather Finish Natural Telemark Curved Feather to Back Feather Natural Weave Hover Cross Natural Zig-Zag from Promenade Position Change of Direction Open Telemark, Open Natural Turn, Outside Swivel and Fallaway Reverse and Slip Pivot Feather Ending Basic Weave Alternate Amounts of Turn & Alternate Methods of Natural Hover Telemark Entering / Exiting Outside Swivel ** Silver Foxtrot ** Open Natural Turn Bounce Fallaway with Weave Ending Natural Weave from Promenade Position Open Impetus Overturned Natural Weave from Promenade Position Weave from Promenade Position Closed Telemark Reverse Wave Open Telemark and Feather Ending

TGA APPROVED FIGURES, ELEMENTS AND RESTRICTIONS AS OF FEBRUARY, 2014

*** International Quickstep *** Technical Aspects of these figures are detailed in The Ballroom Technique (available from USISTD Publications via www.usistd.org) and in publications provided by other dance organizations – see www.NCDA.org for a complete list.

** Bronze Quickstep ** ** Bronze Quickstep Continued ** ** Silver Quickstep Continued** Quarter Turn to Right Tipple Chassé to Right at Corner Fishtail Natural Turn Tipple Chassé to Right along side of room Running Right Turn Natural Turn with Hesitation Running Finish Four Quick Run Natural Pivot Turn Natural Turn and Back Lock The V-6 Progressive Chassé Double Reverse Spin Closed Telemark Chassé Reverse Turn Zig-Zag, Back Lock, Running Finish ** Gold Quickstep ** Forward Lock Cross Chasse Cross Swivel Closed Impetus Change of Direction Rumba Cross Back Lock ** Silver Quickstep ** Tipsy Chassé to Right Reverse Pivot Underturned (Checked) Tipple Chassé to Right Tipsy Chassé to Left Progressive Chassé to Right Quick Open Reverse Hover Corté *** International Viennese Waltz *** Technical Aspects of these figures are detailed in The Viennese Waltz (available from USISTD Publications via www.usistd.org) and in publications provided by other dance organizations – see www.NCDA.org for a complete list. ** Bronze Viennese Waltz ** ** Silver Viennese Waltz ** ** Gold Viennese Waltz ** Reverse Turn Reverse Fleckerl Natural Fleckerl Natural Turn Contra Check Forward Change – Left Foot or Right Foot Backward Change – Left Foot or Right Foot

TGA APPROVED FIGURES, ELEMENTS AND RESTRICTIONS AS OF FEBRUARY, 2014

General Restrictions, Holds, Notes and Other Information for the International Latin Dances Restrictions Pertaining to the International Latin Dances Entrances are not permitted except. 1. Floor lunges, layover lines, slashes, slides, etc, are not permitted - dancers must remain in standing positions at all times. 2. Dancers are not permitted to use figures from a higher level, meaning that Bronze dancers may not use Silver material and Silver dancers may not use Gold material. However, Silver and Gold dancers will use material from lower levels, include any Alternate Holds, Alternate Timings or any other allowable method of dancing a lower level step that is appropriate at the level entered. 3. In syllabus manuals,figures marked ST or A are Bronze; Figures marked L are Silver; Figures marked F are Gold. Precedes and Follows are also marked in this manner. 4. Figure Developments are only permitted in the appropriate level. Example: The Fan is a Bronze figure, but the Fan Development is a Silver-level method of dancing the figure. 5. Alternate Methods, Alternate Timings, Figure Developments, etc, are marked ST, A, L or F to determine the level at which that action/timing may be used. 6. Various “holds” and “positions” are used in the Latin dances; not all positions are used at the same level in every dance. Some are used in 1 dance or in 2 or 3 dances, but not in others. Please review the information in the Allowable Holds and Usage section below. Allowable Holds and Usage 1. Dancers are only permitted to use the holds allowed for a figure at the level the figure is being danced. Example: Progressive Walks in Rumba may be danced in Closed or , retaining Left to Right hold (or 2-hand / Double hold) when in Open Position; When danced in Left Side or Right Side Position, a 1-hand hold or the Alternative Hold may be used, but the Walks may not be danced without hold. 2. The Positions detailed below are with hold unless other information is provided. 3. In every allowable position, dancers are never farther away from one another than arms length. Exception: There and Back in Cha Cha. 4. When releasing hold is permitted, dancers must regain an allowable hold again after a maximum of 2 bars/measures in a “no hold” position. Exception: Up to 4 bars in a “no hold” position may be used in a Time Step grouping in Cha Cha. 5. Dancers must use only the allowable timing for a figure at the level it is being danced. Examples: 1. A Time Step grouping in Bronze Cha Cha must use “normal” timing of 2.3.4&1. The same group in Silver Cha Cha could be danced using Guapacha timing (Hold count 2, step a.3.4&1). 2. A Travelling Volta in Bronze must use the normal count of 1a2a3a4, etc, taking steps on all counts. The same action in Gold Samba may be danced taking a step on 1, hold position on 2, then continue with the normal Volta steps on a3a4, etc. Abbreviations: L = Left; R = Right; LF = Left Foot; RF = Right Foot; LSP = Left Side Position; RSP = Right Side Position

TGA APPROVED FIGURES, ELEMENTS AND RESTRICTIONS AS OF FEBRUARY, 2014

Positions and Allowable Holds Classic or “Normal” Hold: Used in Closed Position, Promenade Position, Counter Closed Position Allowable Holds: Promenade Position, Contact Position and Outside Partner steps (Shoulder to a. Normal Hold, used in all dances Shoulder) b. Man’s L hand holding Lady’s R hand Facing partner, Man holds Lady’s R hand in his L hand; Man’s R hand on Lady’s back, c. Man’s R hand holding Lady’s L hand (Not allowed in Paso Doble) Lady’s L hand on Man’s R arm or shoulder, or just behind Man’s R shoulder. Arm d. No Hold – Samba (Solo Spot Volta Turns) and various figures in Cha Cha and arrangement may vary slightly depending on distance between partners or figure being Rumba. The 2-bar restriction applies except in Time Step groupings in Bronze danced. Cha Cha, The Chase in Silver Cha Cha and up to 8 bars for Same Foot Contact Position (“Normal” hold, but partners have light body contact) groupings in Gold Cha Cha Open Position: Facing but away from partner at approximately arms length Fan Position: a. L hand holding Lady’s R hand This is a “classic” position used in Rumba and Cha Cha. Lady is to Man’s L side, LF b. Right hand holding Lady’s R hand back, weight on LF. She is at a 90-degree (Right) angle to Man on an imaginary line c. No hold – Samba (Solo Spot Volta Turns) and various figures in Cha Cha and about 6 inches in front of him. Lady’s R hand is in Man’s L hand, Man’s feet apart to Rumba. Also used for 1 beat in some turns in . side, weight on RF. d. Double / 2-hand Hold – L hand holding Lady’s R hand or R hand holding Lady’s L hand. Promenade Position (PP): Counter Promenade Position (CPP): Man and Lady in a V-shaped position open to Man’s L (Lady’s R) side. Man and Lady in a V-shaped position open to Man’s R (Lady’s L) side. Normal hold is used, and travel would be forward to Man’s L and Lady’s R Normal hold is used, and travel would be forward to Man’s R and Lady’s L Open Promenade Position (Open PP): As Promenade Pos, using the following holds. Open Counter Promenade Position (Open CPP): As Counter Promenade Position, a. L hand holding Lady’s R hand using the following holds. b. R hand holding Lady’s L hand a. L hand holding Lady’s R hand c. No hold b. No hold – Only in Rumba, Cha Cha and Silver Jive d. R hand on Lady’s back, L to R hand hold released (Gold Samba only) c. L hand on Lady’s back – Gold Samba only e. 2-hand / Double hold – Gold Jive (Stalking Walks or Break Ending) RSP – Right Side Position: Lady and Man facing same way with Lady on Man’s R LSP – Left Side Position: Lady and Man facing same way with Lady on Man’s L side side a. L to R hold a. Normal Hold b. Alternative hold – Man’s L arm further around Lady’s back, Lady’s R arm b. R to L hold further across Man’s L shoulder, Man’s R & Lady’s L hands released c. Alternative hold – Man’s R arm further around Lady’s back, Lady’s L arm c. No hold further across Man’s R shoulder, Man’s L & Lady’s R hands released d. No hold Continued on following page TGA APPROVED FIGURES, ELEMENTS AND RESTRICTIONS AS OF FEBRUARY, 2014

Positions and Allowable Holds continued Tandem Position: Both facing same way with Lady directly in front of or directly Fallaway: As Promenade Position, direction of travel backwards to Man’s R, Lady’s L behind Man. With or without hold, depending on figure. Right Shadow Position: Lady slightly in advance on Man’s R side, both facing same way. Lady can be behind Man for beginning of Criss Cross Volta in Samba or during Turkish Towel in Cha Cha.  Hold 1: R hand on or just below Lady’s R shoulder blade, L hand holding Lady’s L hand, wrist or lower arm  Hold 2: A 2-hand hold known as a “Cuddle” hold. R arm behind Lady’s back, R hand holding her L hand and L hand holding her R hand. Lady’s arms crossed in front of her body, just below chest level with her R arm above her L arm  Hold 3: R hand on or just below Lady’s R shoulder blade, L hand holding her R hand in front of bodies, just below chest level. Lady’s L arm is held across front of her body, just below or just above the joined hands. Inverted Promenade Position: Right Contra Position: A V-shaped position in which Man and Lady are almost back to back with Lady on Partners on same foot, Man & Lady moving (or ready to move) toward partner’s R Man’s R side. R to L hold or no hold. side. Gold Samba only Inverted Counter Promenade Position: Left Contra Position: A V-shaped position in which Man and Lady are almost back to back with Lady on Partners on same foot, Man & Lady moving (or ready to move) toward partner’s L Man’s L side. L to R hold or no hold. side. Gold Samba only Used in Silver and Gold Paso Doble for the Taps, a R to L hold is used L & R Contra Bota Fogos are normally danced in 2-hand Hold, but may be for the Inverted Prom Position and a L to R hold is used for the Inverted CPP danced in an alternating L to L, R to R hold action. In the Roundabout, only 2-hand hold may be used All hold may be released on these actions, and a grouping featuring Flamenco Taps could last for 8 bars/measures of Paso Doble music danced without hold

TGA APPROVED FIGURES, ELEMENTS AND RESTRICTIONS AS OF FEBRUARY, 2014

*** International Cha Cha *** Technical Aspects of these figures are detailed in Latin American Cha Cha (available from USISTD Publications via www.usistd.org) and in publications provided by other dance organizations – see www.NCDA.org for a complete list. ** Bronze Cha Cha ** ** Bronze Cha Cha continued ** ** Silver Cha Cha continued ** Types of Bronze Cha Cha Chasse (all counted 4&1) There and Back Steps 6-10 of Hockey Stick after step 10 of Natural Top Side Chasse to L or R Time Steps (May NOT use Guapacha Timing in Bronze, Natural Opening Out Movement ended in Contact Compact Chasse but may release hold for up to 4 bars/measures in a Time Position Cucaracha Chasse (Listed as Another Alternative) Step grouping) RF or LF Forward Lock Fan – Only as described. Open Hip Twist – May end: in Open Position; in Open LF or RF Backward Lock The Fan Development may NOT be used. Counter Promenade Position; in Contact Position Simple Forward or Backward Chasse (a “shuffle” with no lock and no passing of fee on middle step) Alemana from Fan Position (1 ¼ turn) or from Open Reverse Top - A Spiral Turn may be danced on step 10 to Split Cuban Break Chasse (Man or Lady, RF only) Position (1 full turn). May end: to side; in Open Counter continue into the Aida, to Fan Position or to Open Promenade Position; or Lady stepping forward toward Position Forward or Backward Runs (Feet pass on all 3 steps) Man’s R side Opening Out from Reverse Top Cha Cha Basic Movements Hockey Stick (from Fan Position) May end in Open Aida Closed, Open, In Place Position; May end in Open Counter Promenade Position Ending 1 – Rock and Switch Turn Alternative (As per Rumba, counting 2&3, 4&1) Ending 2 – Switch and Underarm Turn to Right

New York (Crossover) to LSP or RSP Natural Top – May use all 15 steps or just the last 5 steps Aida after step 5 of Curl or Spiral Spot Turns to L or R Natural Opening Out Movement Spiral Turns: Spiral / Curl – May end in Fan Position, Switch Turns to L or R Closed Hip Twist – May end in Fan Position; in Open Open Position, Open Counter Promenade Position, L Side Underarm Turns to R or L (Facing) Pos (Man turns ¼ to L over steps 7-10); or in Position or Contact Position Open Counter Promenade Position Underturned Spiral – ends in Open Position Rope Spinning – Turns to R L Side or R Side Shoulder to Shoulder ** Silver Cha Cha ** Hand to Hand to LSP (L to R hold) or RSP (R to L hold) Types of Silver Chasses (all counted 4&1 Cross Basic: Guapacha Timing may be used May be danced using Alternative Hold Ronde Chasse (Man or Lady) Underarm Turn to R May be used after step 5 with Man Twist Chasse (Man or Lady) continuing his turn to L over the chasse on 8-10. Three Cha Cha Chas Forward or Backward (May use L to A Spiral may be danced on step 5 R hold, Double hold, Alternating R to R, L to L, R to R Slip Chasse (Man only) hold or no hold. Guapacha Timing Left Foot and Right Foot Cuban Breaks * Three Cha Cha Chas Forward in RSP (R to L hold) Hold position on count 2, “break” on count “a” (or &), Counted 2&3&4&1 Three Cha Cha Chas Forward in LSP (L to R hold) then continue with normal counts for remainder of the Left Foot and Right Foot Split Cuban Breaks bar/measure Counted 2&3, 4&1 LF or RF Side Steps (travelling) to Left Spot/Switch Turn to L (Lady to R) Development The Chase – Note that Turkish Towel and Follow My RF or LF Side Steps (travelling) to Right Fan Development (May NOT use Guapacha Timing Leader are Gold Figures and may not be used in Silver * Man may dance a Cuban Break (2&3&4&1) as Lady dances a Time Step, or Vice Versa TGA APPROVED FIGURES, ELEMENTS AND RESTRICTIONS AS OF FEBRUARY, 2014

*** International Cha Cha continued *** Technical Aspects of these figures are detailed in Latin American Cha Cha (available from USISTD Publications via www.usistd.org) and in publications provided by other dance organizations – see www.NCDA.org for a complete list. ** Gold Cha Cha ** Types of Gold Cha Cha Chasse Cross Basic with Lady’s Spiral Turn on 5, Man Turkish Towel – Incorporates L Shadow Position with Runaway Chasse (Lady only) continuing with Cross Basic over 6-10 Lady behind Man Fan Development with Guapacha Timing Advanced Hip Twist Sweetheart Alemana from Open Position in R to R hand hold Advanced Hip Twist with Man’s “Press Line” Follow My Leader Lady’s Underarm Turn to L during 1-10 of Natural Top Hip Twist Spiral. Steps 7-10 of Hip Twist Spiral may Foot Changes 1-4 (Other methods may be used) Including follow step 6 of Open Hip Twist the Foot Change entry and the Foot Change exit, up to 8 bars may be danced on Same Foot Figures that may be danced on the Same Foot in RSP,R Shadow or Tandem: Closed or Open Basics, replacing appropriate chasses with Twist, Ronde or Slip chasses; Spot or Switch Turns; Three Cha Cha Chas Forward or Backward; Forward or Backward Runs; Time Steps with or without Guapacha Timing; Cuban Breaks; Split Cuban Breaks *** International Samba *** Technical Aspects of these figures are detailed in Latin American Samba (available from USISTD Publications via www.usistd.org) and in publications provided by other dance organizations – see www.NCDA.org for a complete list. ** Bronze Samba ** Note: The Bounce may be used in any position, such as Closed, Promenade, Open, or on Same Foot as partner. Except when in Shadow Position after a Foot Change, dancers must be on opposite feet at all times. Same Foot Figures in Bronze are: Samba Walks, Traveling Bota Fogos Forward, Shadow Traveling Voltas and Rhythm Bounce. Releasing Hold is permitted for 1 bar for a single Solo Spot Turn or during Lady’s Volta Turn in a Foot Change, or for a maximum of 2 bars during a 2-bar Solo Spot Turn. Basic Movements: Natural, Reverse, Side and Traveling Bota Fogos Forward Reverse Turn counted 1a2, 1a2 or 1&2, 1&2 Progressive (Counted 1a2 or 1.2) Criss Cross Bota Fogos Corta Jaca Whisks to L and R (Also with Lady’s Spot Volta Traveling Bota Fogos Back Back Rocks Underarm Turns) Bota Fogos to Promenade and Counter Promenade ** Silver Samba ** Samba Walks: Promenade, Side, Stationary (Lady may Criss Cross Voltas Circular Voltas to L or R dance Spot Volta Underarm Turns during Stationary Solo Spot Volta – 1 full turn over 1a2 or 2 full turns over Foot Changes: 4, R Shadow to Promenade; 8, R Side to R Samba Walks) 1a2a3a4 Shadow Rhythm Bounce counted a1a2 or a1a2a3a4 Foot Changes: 1. Closed to R Shadow; 2. R Shadow to Shadow Traveling Volta Development Traveling Voltas to L or R danced without turn or with up Closed; 3. Promenade or Open Promenade to R Shadow. Corta Jaca as per Note 3, page 85 of the ISTD Latin to 3/8 turn in Criss Cross Voltas and in Voltas danced in Same Foot Figures: Samba Walks; Rhythm Bounce; American Samba Technique Traveling Voltas; Traveling Bota Fogos Forward Shadow Position on Same Foot as Partner Open Rocks Shadow Traveling Volta Back Rocks

TGA APPROVED FIGURES, ELEMENTS AND RESTRICTIONS AS OF FEBRUARY, 2014

*** International Samba continued *** Technical Aspects of these figures are detailed in Latin American Samba (available from USISTD Publications via www.usistd.org) and in publications provided by other dance organizations – see www.NCDA.org for a complete list. ** Silver Samba continued ** ** Gold Samba ** ** Gold Samba continued ** Plait Foot Changes: 5, a, b, c or d (Promenade to R Contra); Contra Boto Fogos Rolling Off the Arm & Endings 1, 2 & 3 6, R Contra to Promenade; 7, R Contra to Open Counter Contra Boto Fogo Hand Change Development Promenade Argentine Crosses Roundabout to R or L to L or R Traveling Volta Timing Development Natural Roll Shadow Circular Voltas Corta Jaca as per Note 4, page 85 of the ISTD Latin Reverse Roll American Samba Technique Promenade and Counter Promenade Runs Lady’s Underarm Turn during Argentine Crosses (Lady’s) Three Step Turn (Man dances Stationary Walk) Development Samba Locks Cruzados Walks and Locks *** International Rumba *** Technical Aspects of these figures are detailed in Latin American Rumba (available from USISTD Publications via www.usistd.org) and in publications provided by other dance organizations – see www.NCDA.org for a complete list. ** Bronze Rumba ** ** Bronze Rumba continued ** ** Bronze Rumba continued ** Types of Rumba Walk include Normal Forward or L Side or R Side Shoulder to Shoulder Fan (Fan Development may NOT be used in Bronze) Backward Walks, Walks to be followed by a backward Hand to Hand to LSP (L to R hold) or RSP (R to L hold) Alemana from Fan Position (1 ¼ turn) or from Open step, Pressed Forward or Backward Walks and the May be danced using Alternative Hold Position (1 full turn). May end: to side; in Open Counter Extended Forward Walk Promenade Position; or Lady stepping forward toward Rumba Basic Movements Progressive Walks Forward or Backward in Closed or Man’s R side Closed, Open, In Place Open Position Hockey Stick (from Fan Position) May end in Open LF & RF Alternative Basics Progressive Walks Forward in RSP (R to L hold) Position; May end in Open Counter Promenade Position Progressive Walks Forward in LSP (L to R hold) LF & RF Cucarachas Natural Top – May use all 9 steps or just the last 3 steps (Alternative Hold may be used in RSP and LSP Walks) New York to LSP or RSP Opening Out to R and L Spot Turns to L or R LF or RF Side Steps (travelling) to Left Natural Opening Out Movement Switch Turns to L or R RF or LF Side Steps (travelling) to Right Closed Hip Twist – May end in Fan Position; in Open Underarm Turns to R or L LF & RF Cuban Rocks (Facing) Pos (Man turns ¼ to L over steps 4-6); or in Open Counter Promenade Position

TGA APPROVED FIGURES, ELEMENTS AND RESTRICTIONS AS OF FEBRUARY, 2014

*** International Rumba continued *** Technical Aspects of these figures are detailed in Latin American Rumba (available from USISTD Publications via www.usistd.org) and in publications provided by other dance organizations – see www.NCDA.org for a complete list. ** Silver Rumba ** ** Silver Rumba continued ** ** Gold Rumba continued ** Development of LF & RF Alternative Basic Movements Aida and Endings 1, 2 & 3 Alemana from Open Position in R to R hand hold Spot/Switch Turn to L (Lady to R) Development Aida from step 3 of Curl or Spiral Lady’s Underarm Turn to L during 4-5 of Natural Top Cuban Rocks in LSP Spiral Turns: Spiral / Curl – May end in Fan Position, Aida Ending 4 Fan Development (May NOT use Alternative Timing) Open Position, Open Counter Promenade Position, L Side Spiral during Progressive (Kiki) Walks in R Shadow Pos Position or Contact Position Steps 4-6 of Hockey Stick after step 6 of Natural Top Underturned Spiral – ends in Open Position Sliding Doors Opening Out to L & R Developments Rope Spining – Turns to R Fencing, including Spin Endings 1, 2 & 3 Natural Opening Out Movement ended in Contact Pos. Rope Spinning from Progressive Walks Backward Three Threes Open Hip Twist – May end: in Open Position; in Open ** Gold Rumba ** Three Threes with Fan Ending Counter Promenade Position; in Contact Position “Press Line” Development of Cucarachas Three Alemanas Reverse Top - A Spiral Turn may be danced on step 6 to Progressive Walks Forward in R Shadow (Kiki Walks) Hip Twists: Advanced; Continuous; Circular continue into the Aida, to Fan Position or to Open Syncopated Cuban Rocks Advanced Hip Twist with Man’s “Press Line” Position Opening Out from Reverse Top Fan Development with Alternative Timing Advanced Hip Twist in R to R hand hold *** International Paso Doble *** Technical Aspects of these figures are detailed in Latin American Paso Doble (available from USISTD Publications via www.usistd.org) and in publications provided by other dance organizations – see www.NCDA.org for a complete list. ** Bronze Paso Doble ** ** Bronze Paso Doble continued ** ** Silver Paso Doble ** The Appel; The Slip Appel (Man & Lady both move Promenade Link / Promenade Close Sur Place with Elevations back); The Slip Appel (Man Back, Lady Forward) Promenade Overturned Promenade & Counter Promenade Sur Place (May end in Promenade Position) Ecart (also “Slip” Ecart) Methods of Changing Feet Basic Movement Forward or Backward (May end in Separation La Passe Promenade Position) Separation with Lady’s Caping Walks Banderillas Chasses to R and L (also with Elevation) Fallaway Ending to separation Twist Turn Chasse to L ended in Promenade Huit Fallaway Reverse Turn Drag Sixteen Coup de Pique (including Alternative Methods A & B) Deplacement Promenade and Counter Promenade Left Foot Variation Attack Method of dancing Deplacement Grand Circle Spanish Lines Slip Attack Method of dancing Deplacement Open Telemark Flamenco Taps, Method 1

TGA APPROVED FIGURES, ELEMENTS AND RESTRICTIONS AS OF FEBRUARY, 2014

*** International Paso Doble continued *** Technical Aspects of these figures are detailed in Latin American Paso Doble (available from USISTD Publications via www.usistd.org) and in publications provided by other dance organizations – see www.NCDA.org for a complete list. ** Gold Paso Doble ** Fallaway Reverse Turn with Open Telemark Ending Traveling Spins from Promenade Position The Twists Flamenco Taps, Method 2 Traveling Spins from Counter Promenade Position Chasse Cape and all Endings Syncopated Separation & Ending 1, 2 or 3 Fregolina (also The Farol) Outside Turn *** International Jive *** Technical Aspects of these figures are detailed in Latin American Jive (available from USISTD Publications via www.usistd.org) and in publications provided by other dance organizations – see www.NCDA.org for a complete list. ** Bronze Jive ** ** Silver Jive ** ** Gold Jive ** Chasses: Side; Compact; Forward; Backward; Turning Chasses: Forward or Backward Locks; Forward or Overturned Fallaway Throwaway with Lady’s Locks or Basic in Place Backward Running Chasse Forward Runs Fallaway Rock and all Alternative Methods Overturned Fallaway Throwaway Overturned Change of Places L to R with Lady’s Locks Fallaway Throwaway Alternatives to 1-2 of the Link: or Forward Runs The Link (also Double Link) A – Flick (or Point) Ball-Change Stop and Go with Lady’s Free Turn B – Hesitation Ball-Change Change of Places R to L (Underarm Turn to R) including Mooch with Boppy Hops or Flick Cross hand change as per Method 1 or 2 Change of Places R to L with Lady’s Spin Spin Ending to Rolling Off the Arm Change of Places L to R (Underarm Turn to L) including The Walks with Man’s Action Simple Spin from Tandem Position hand change as per Method 1 or 2 Reverse Whip Curly Whip Change of Hands Behind the Back, including Alternate Windmill Curly Whip with “Opening Out” entry Hold/Use of Hands Hip Bump (Left Shoulder Shove) Spanish Arms Shoulder Spin Development of 1-5 of Fallaway Rock, Man turning 3/8 (Also Spin Ending to Spanish Arms) Toe Heel Swivels to R over 2-5 Rolling Off the Arm Break Ending to Toe Heel Swivels American Spin Simple Spin Chugging The Walks Miami Special Chicken Walks Stop and Go Catapult Mooch Stalking Walks, Flicks into Break Whip Whip Throwaway