Hi Anonymous,
The vast majority of the figures outlined in our syllabus are compatible with NDCA rules and restrictions. I can't guarantee 100% compatibility all of the time, as the NDCA does occasionally update their rules, but discrepancies are extremely rare. When we do hear of a change, we try to update our syllabus to conform, unless it contradicts our own philosophy about the arrangement of figures from the standpoint of pedagogy. But we always note exceptions, so whenever something seems questionable, always look at our written notes about the figure (i.e. the "Overview" tab below the video window) for warnings about NDCA compatibility.
At present, the only exception that comes to mind for American style is the slip pivot variation of the Promenade Check in Foxtrot, where slip pivots are not allowed in bronze syllabus NDCA competitions. We kept this variation in because it provides a better variety of exits from the check (variety and maneuverability in social dancing being a staple of the bronze American syllabus), and because we think the slip pivot is best taught at incrementing levels of difficulty, from the simple pseuo-slip to outside partner, to the basic non-syncopated slip pivot, and eventually to the full syncopated Fallaway Reverse & Slip Pivot. It is generally accepted that the latter two are considered silver and gold, respectively, so it makes sense to us pedagogically to introduce the slip to outside partner position one level prior, at the full bronze level. But again, this is noted in the overview of the figure (#'s 17 B and C), as you can see here:
https://ballroomdancers.com/dances/info.asp?sid=106Nothing else comes to mind immediately, but there may be one or two others that I'm not remembering at the moment.
In comparison to all other syllabi officially available to the public (ISTD, DVIDA, etc), as well as those that aren't (Arthur Murray, Fred Astaire), ours is the most comprehensive, and the most component-oriented. It therefore provides the most opportunity for variety, and encompasses most other figures in all the other syllabi put together in one way or another, while still maintaining a simplicity of presentation. For example, the figure known by Fred Astaire as the Triple Twinkle is a bronze figure that can be constructed by combining a Forward Twinkle and a Back Twinkle. At Arthur Murray, a figure of the same name is really just a combination of a silver level Twinkle, Open Natural from Promenade, Natural Twinkle (i.e. Open Impetus), and Continuity or Feather Finish. By presenting the syllabus as individual components rather than long, drawn out amalgamations, we give the student more opportunity for variety as a means of better floorcraft, and we avoid non-descriptive or even misleading names like "Triple Twinkle" (which in fact only has two Twinkles in either version).
The other advantage to our syllabus is that it is the product of 20 years of careful study of the prevailing trends in both social and competitive dancing, and so it is the best reflection of what people are actually doing out there. We have avoided the pitfalls of including any of our own favorite "pet patterns", which is quite common in other syllabi, as almost all of them are the product of one primary author. To some, this may have the drawback of causing it to seem a little dry. But again, this is more in presentation than execution, since many of the pet patterns and extended amalgamations of other syllabi can be found in ours by simply stringing together the available components.
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