16.04 Clogging Council (Aug 11)

ECTA Handbook
16
Supplement for Instructors
August 11
16.1 Table of contents
Chapter
page
Table of contents
16.1 / 1
Greetings from the Clogging Coordinator
16.2 / 1
Clogging history
Advertisement flyer
16.3 / 1
16.3 a
Clogging Council
- Job description ECTA Clogging Coordinator
- CC-Committees
- Rules and Regulations
- Minutes Clogging Council meetings
16.4 / 1
16.4 / 1
16.4 / 2
16.4 / 4
16.4 / 8
ECTA Clog Convention
- Guidelines
- Checklist
16.5 / 1
16.5 /13
Supplies
- Clogging sign
- Who delivers what?
- Cuesheet collection
16.6 / 1
16.6 / 2
16.6 / 4
Steplist
- Introduction
- Basic Level
- Easy Intermediate Level
- Intermediate Level
- High Intermediate Level
- Advanced Level
- Commonly used combinations
- „Vine“ List
- alphabetical step-index
16.7 / 2
16.7 / 6
16.7 / 9
16.7 /13
16.7 /18
16.7 /19
16.7 /20
16.7 /21
16.7 /22
Repertoire Lists
- Beginner / Basic
- Easy / Easy Intermediate
- Intermediate
- High Intermediate / Advanced
- Favourite Songs
- Experimentals
16.8 / 1
16.8 / 2
16.8 / 2
16.8 / 3
16.8 / 3
16.8 / 4
Cue Sheet
- Master Cue Sheet
19.9 / 2
Beginner Class
- Tips for a beginner class
- Song / Step-Table
16.10/ 1
16.10/ 4
Further training / Active Clogging Instructor Test
- Checklist with points to assess
- Registration form for the Active Clogging Instructor Test
- Registration form for the mandatory Basic seminar
16.11/ 1
16.11/ 4
16.11/ 5
16.11/ 7
chapter 16.1 / 1
ECTA Handbook
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Supplement for Instructors
August 11
Chapter
page
Clothing
16.12/ 1
Related Dance Styles
16.13/ 1
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16.2
Greetings from the Clogging Coordinator
On behalf of ECTA I would like to welcome you in our organization.
Here you will find friends that share with you the joy and fun of our common hobby
and will support you in word and deed.
In the Clogging Council, you will find help and support for your start as an instructor.
At the same time, your support will be highly appreciated.
We would like to help you to reach your goals. Your activities and your commitment
contribute to pursue our hobby successfully and to let the thought of friendship grow
continually.
Our library will be available to you as an ECTA member and our Clog Shoe, our
official newsletter for instructors, will always keep you informed.
This handbook should help you with your start. Here, you will find information to
assist you in your club work.
I am happy to welcome you as a new ECTA member and I wish you all the best for
your start.
I am looking forward to working with you.
Sincerely,
Sandra Pohlmann
Clogging Coordinator
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16.3 Clogging – What’s that?
Attached to this chapter you will find flyers as advertisement material for Clogging
and the Clogging Council.
You may adapt the flyer for your own purpose and fill in your address as contact.
16.3.1
Clogging History
[German version in main parts written by Monika Zöller]
What is Clogging?
It’s a kind of historically developed folk-dance incorporating additional tap-dancing
steps as a special feature. In order to emphasize the rhythm of the steps, the
dancers wear shoes that are stud with iron taps on both heels and toes. Initially,
Clogging was danced in wooden shoes (clogs, that’s where the name originates) or
barefoot and back in those times it was the dance of the ordinary people. That’s how
Clogging could be described in short, but in fact its real history is a lot longer.
A real folk-dance or a folk-song is something that is passed on from generation to
generation, from one man to another through word or performance, without ever
being written down.
The name Clogging itself gives a clue on the origin of the dance. That a clog is a
wooden shoe points out that the original dance was performed in wooden shoes. In
the very first years of the eighteenth century, pioneers from England, Germany,
Holland and Ireland started settling in the Appalachian territories of the USA. Cut off
from the rest of the world, they lived in their self-chosen isolation, barely affected by
the progressing civilization outside. The result was a lack of contact to other people
and the influence of foreign languages and habits was reduced to a minimum. They
became natives of the early America. Their songs and dances didn’t change for
decades due to the lack of influence from the outside and today we know those
dances as Clogging, although the original name was CLOG-dance. This dance was
particularly shaped by the Scottish Highland Dances and the Irish Jig. In exactly the
same way, German, Negro and Indian dance elements were taken and as time went
by, those elements and dances merged into the so-called Flatfoot-Dancing. It is this
mixing process as well, that makes the story of Clogging so hard to understand.
Nobody can tell for sure where the original dance with wooden shoes came from and
what the original form of performance was like. Clogging represents a bridge
between various immigrated cultures.
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“Music passes away, if it isn’t captured in ones memory, ‘cause you cannot write it
down.” This is a saying of the bishop of Sevilla, a famous scholar from the early
Christianity. It wasn’t possible to write down music until the end of the Middle Ages,
but then, it made dance develop enormously. Music is an art in time, opposed to the
sculpture art, which is an art in space. And dance, yes, dance is an art of the body
and is the easiest of all those arts in terms of learning it. Why? For humans, dance is
one of the most natural ways of expression, because he can portray mental
processes with physical movements. Since earliest mankind, many events of life
have been captured by dances. The diverse forms of dance have very different
meanings with the most distinctive one being the devotion to myths. But the most
important form was and still is the community dance as it always showed the
people’s zest for living, even in the old times. In its beginnings, Clogging was a dance
of stomping feet, clapping hands and without fixed rules for dancing. But today, after
Clog Dance became our Clogging, it experiences an incredible boost in popularity.
Out of the isolation it blends into almost every other form of modern dance.
Through the huge interest in the American history that emerged in the late fifties and
early sixties, Clog-Dancing experienced a huge revival. In those years, folk-groups
like the Kingston Trio and Peter, Paul and Mary created the awareness for a great
heritage. With this new interest in folk music, the popularity of folk dancing naturally
started growing again as well. Visitors participating in folk festivals in the
Appalachians territories got aware of a – in some parts still - native dance, Clog
Dance, and this is where the “new” history of Clogging starts. A still lasting revival.
How was the further development?
After world war two was over, there were only a few traditional clog-dancers left. One
of them was Bascom Lamar Lunceford. He was born in Mars Hill, North Carolina in
1882 and known as the “Minstrel of the Appalachians”. He died in 1973 and left a
large repertoire of stories, songs and dances. He was a teacher, singer, dancer and
a real “Mountaineer”. He also published texts about an American folk-dance that was
established firmly everywhere in the States at that time – Square Dance. To write
about Square Dance here would probably be beyond the scope of this report,
nevertheless, the connection between Clogging and Square-Dance should be
mentioned. The roots of Square-Dance can be traced back to around 1450 and are
of course based in Europe as well. It is shown in various publications on SD that you
can find traces of all European dances in Square-Dance. Around the year 1700, it
was the time of the Appalachian Big Circle or Mountain Hoedown formations, which
were based on the same background and already featured a lead dancer calling out
the figures.
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They developed into “the number of four couple sets”, danced to mandolin, banjo and
fiddle music or just rhythmic hand-clapping if there weren’t any instruments around.
Very often people agreed beforehand to incorporate a few easy clogging-steps. That
is how Appalachian Mountain Style Clogging emerged, a nice and lively kind of
dance. And exactly the same Bascom Lamar Lunceford was one of the important
persons that helped to let clogging survive as a Mountain Dance and that it is still
well-kept and preserved by many groups in its traditional form.
Meanwhile Clogging spread from the Appalachians (a mountain chain in eastern
USA from central Alabama to Maine) throughout the States. On festivals musicians
and dancers met and naturally the traditional Clogging was a part of it. This dance
and music movement also arrived at Europe in the 80th. And that’s how the
Americans brought this step dance, which got more and more popular, “back” to
Europe.
Traditionally Clogging had no breaks in a beat, no turns nor high kicks. And the steps
were always new freely combined to the music by each dancer individually. But by
the time the dance form changed and became a modern image. Now we find
elements like turns and jumps, arm and head movements as influences from Jazz
Dance, Ballroom dancing and even from Acrobatics. And the progress didn’t stop
until today. New influences and dancing stiles became visible in Clogging as we
know it today. Depending on the stile of a specific time period this has been
Canadian Step Dance, Street dancing, Hip Hop as well as Irish dance.
You can distinguish “Freestyle-“ and “Precision-“ Clogging. Doing Freestyle each
dancer dances by himself as much as his condition, feeling for the music and form of
expression makes him want to dance. Doing Precision the steps, combinations and
movements will be done by all dancers in the same order at the same time. Well liked
fixed choreographies are written to a certain song.
Traditionally the dance was done to Blue Grass and Country & Western music, but
by now the repertoire goes from Rock, Pop to Techno and back to Irish Folk
(Riverdance gives his regards!). Mostly you dance as a single person, often in lines,
but there are also dances with partner (Duets) and even group formations.
In most European countries there are no competitions as a difference to the US.
Therefore, at the organised festivals and conventions here, you dance “just for fun”,
to learn new steps, songs and techniques and to meet old and new friends.
chapter 16.3 / 3
What is Clogging ?
Just as tap dancing, which is better known in
Europe, clogging belongs to the big family of
precision dancing. Clogging and tap dancing
have the same roots, they come from the same
line, but at some point they split up into
separate lines. It is interesting to notice that they
have come closer again lately.
Clogging developed from different European
dance forms (e.g. Irish Jig und English Step
Dancing). Cultivated especially in the
Appalachian Mountains it was called
Appalachian Flatfooting or sometimes Buck
Dancing. In the thirties and forties of the 20th
century, modern clogging evolved from this.
Clogging consists basically of eight basic
movements, which form the foundation of all
step combinations. Most of the time you start
with the left foot.
Keeping the downbeat and a slight up and down
movement are characteristic for clogging. In
general, you can divide the clogging steps in toe
movements and heel movements. The heel
movements also give the beat. . You dance with
so-called taps similarly to the ones used in tap
dancing, most of the time with so-called jingle
taps (double taps). Traditionally clogging is
danced to Blue Grass and Country & Western
Music, but nowadays each type of music is
used, from pop music up to techno.
USA, too. But there is also a German address
from which you can order your jingle taps.
Clogging is mainly danced without a partner,
often in lines (a so-called line dances or
precision dance). But there are also clogging
routines with a partner (Duo and Duets) or in
formations such as in contra dance or square
dance.
Interested in clogging? Looking for a beginner
class? Contact the address below and you will
get more information about clogging:
In former times, the dances were only passed on
by word of mouth. Then the so-called cue
sheets were developed to pass on the
choreographies to the songs in writing.
The clogging leader is called instructor.
In Germany there have been clogging groups
and clubs since the early/mid-eighties.
Currently, there are about 35 clogging clubs of
different size. Over the last years, the
development has speeded up; more and more
new clubs are founded. At first, clogging was
concentrated in the Southern parts of Germany,
but by now this dance form has also spread to
the North! Besides, there are also clogging
groups in other parts of Europe, in the
Netherlands, in Belgium, Austria, Switzerland,
Sweden and Denmark.
In the United States you can find several
clogging publications. The taps come from the
Your telephone number, address, and the
name of your club
or contact:
Sandra Pohlmann
ECTA Clogging Coordinator
Goethestraße 5
28832 Achim
Tel. +49 4202 638089
e-mail: [email protected]
ECTA Clogging Council, what’s that?
How can I become a member?
ECTA, the European Callers and Teachers
Association e.V. is the chair organisation for
leaders of American folk dances in Europe. It
covers the Square Dance Callers, Round Dance
Cuers, Contra Dance Prompters and Clogging
Instructors. The Clogging Council is one
section in this chair organisation that is engaged
in the advancement and spreading of clogging
in Europe. Also it is evolved in the development
of the instructors and it stays in contact with
other „Step Dancing“ associations.
The first step is to become a Subscribermember, a membership without voting rights.
You will get the whole information material the
organisation publishes and you can participate
in all events the association organizes
(especially in the training-seminars). The fee is
50 ! per year. The official language in the
association is English and most of the
Information is published in English.
The chairperson of the Clogging Councils,
Clogging Coordinator, has to coordinate
work of the Clogging Council and the
operation with the other sections of
organisation.
the
the
cothe
ECTA is equipped with an own little library
where books, journals and even videos are at
every member’s disposal.
Furthermore, the Clogging Council offers
seminars of different length for its members.
The seminars cover topics like teaching
techniques, dancing styles, advertisement and
new dance techniques. But also it is discussed
how to lead groups or how to organize
performances.
ECTA Clogging Council
To become an active member of the clogging
council you must have been instructing for at
least a year, must have taught a beginner class
and you must have visited a seminar. There
will be a test for the candidate to show that he
has the required knowledge.
Further information:
Sandra Pohlmann
ECTA Clogging Coordinator
Goethestraße 5
28832 Achim
Tel. +49 4202 638089
e-mail: [email protected]
ECTA Handbook
August 11
16.4 Clogging Council
16.4.1 What is the Clogging Council?
The Clogging Council is the division of the clogging instructors in ECTA. It meets at
each Jamboree and at the ECTA Convention to discuss topical questions and to
work on any special tasks in subgroups/committees (see 16.4.3). The Clogging
Coordinator runs the Clogging Council meetings.
16.4.2 Job description ECTA Clogging Coordinator
The Clogging Coordinator is elected for two years. The name already tell us that the
Clogging Coordinator coordinates and leads all matters referring to the Clogging
Council. He runs the Clogging Council meetings, but also has the possibility to
delegate this job to another active instructor in case of his own absence. He takes
care of training and advanced training for clogging instructors and for this purpose
also organizes seminars. He is also co-responsible for the seminar/workshop
program on the ECTA Convention. It’s also his task to represent the clogging
interests in the ECTA Board as well as the ECTA matters in the Clogging Council.
The Clogging Coordinator is the contact for everybody who wants to know more
about clogging, the Clogging Council or the training programs. He advises the clubs
on setting up the Jamboree clogging program. The Clogging Coordinator helps with
the planning of the Clog Convention and checks its workshop program. Information,
invitation and minutes are gathered by the Clogging Coordinator and sent out by the
ECTA Secretary to the members of the Clogging Council. All mailings of the Clogging
Council are prepared in German and English, the Clogging Coordinator delegates the
translations if needed to the translation committee. The Clogging Coordinator is
automatically member of the critique committee and member of the education(EEP)
committee.
Currently, Sandra Pohlmann is elected as ECTA Clogging Coordinator.
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16.4.3 CC- Committees
Next you will find the currently active CC-Committees. Further participation is
possible and wanted all the time, please contact the chairperson.
Step- and Repertoire Committee:
Task:
• actualizes the ECTA-Clogging Repertoire
• takes care of the ECTA Steplists
Chair:
Members:
Bianca Behrens
Brigitte Lanatowitz (Cue-Sheet Collection), Daphne Dahl,
Claudia Wagner, Sandra Pohlmann, Gunnar Lanatowitz, Michael
Becker
EEP/Education committee:
Task:
• works out the Clogging part of the EEP
• the chair person is also the CC-representative in the ECTA-EEPcommittee
Chair:
Members:
Angelika Kromer
CC-Coordinator (Sandra Pohlmann), Elli Günther, Heike Ludwig,
Anja Gottschalk, Tina Kipp, Daphne Dahl
Training Committee:
Task:
• reviews the keyword-lists for the clogging specific EEP seminars
• checks EEP test questions regarding the keyword lists
Chair:
Members:
Bernd Flühr
Dani Schell, Michael Brammer
Critique Committee:
Task:
• coordinates the execution and the content of the Basic-seminar
• coordinates the examination board and a room to take the practical
examination to become ECTA Active Clogging Instructor
Chair:
Members:
Michael Brammer
CC-Coordinator (Sandra Pohlmann), Elli Günther, Gunda Martinetz,
Sandy Pittermann, Angelika Kromer, Claudia Wagner, Dani Schell,
Daphne Dahl, Niels van Brouwershaven, Bernd Flühr
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Translation Committee:
Task:
• takes care of all translations of the Clogging Council information,
including the Clog-Shoe
Chair:
Members:
Sandra Pohlmann (coordinates)
Dani Schell (as proof-reader), Martin Rohrbach, Gunda Martinetz,
Carmen Baehr
History Committee:
Task:
• puts together and takes care of the ECTA Clogging History
• puts together and takes care of the family-tree of the European
Clogging-Instructors
Members:
Tina Kipp, Brigitte Lanatowitz, Gunnar Lanatowitz,
and with the support of Karl-Heinz Kipp
Clog Shoe:
Task:
• puts together regularly the Clog Shoe - magazine (= Notes of the CC)
• collects therefore articles of Clogging/Instructor - interest
• collects therefore dates of Clogging/Instructor - interest
Members:
Carmen Baehr (editor), CC-Coordinator (Sandra Pohlmann), all
Floor - Manager:
Task:
• puts together and takes care of a list documenting the floor-coverage
possessed by ECTA
This position is not occupied at the moment. Please refer to the ECTA Clogging
Coordinator for any inquiries.
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16.4.4 Rules and Regulations
Here you will find the Rules and Regulations, which are the basis for the work of the
Clogging Council.
I.
NAME AND PURPOSE
A. The Clogging Council is a special interest section within ECTA created by the Board.
Hereafter the Clogging Council may be referred to as "CC".
B. The purpose of the CC is to promote Clogging by:
1. electing a Clogging Coordinator to represent the CC to the ECTA Board;
2. establishing evaluation criteria and procedures for the acceptance of new active
CC members in accordance with established ECTA policy;
3. evaluating and critiquing CC members or prospective members;
4. establishing and maintaining a uniform clogging step terminology and level
description within ECTA;
5. establishing and maintaining the ECTA Clogging Repertoire;
6. organizing the ECTA Clog Convention;
7. supporting Clogging activities in particular and other forms of dance recognized
by ECTA when possible.
II. GENERAL
A. The English version of these Rules & Regulations is the binding version.
B. Changes to these Rules & Regulations can be made during a council meeting using
the regular voting and council procedure.
C. The Rules & Regulations will be approved yearly at the ECTA Convention by the
ECTA Extended Board. Changes will only become effective after approval by the
ECTA Extended Board.
D. The official, signed copy of this document will be kept with the designated ECTA
board member.
E. A copy of these Rules & Regulations, with attachments, will be kept in the ECTA
library and on the ECTA website and will be available to any ECTA member.
III. MEMBERSHIP
A. The Clogging Council is made up of all Clogging leaders including the Active,
Trainee, Subscriber and Honorary members who have met the requirements for
being an ECTA member.
B. Membership in the CC
1. The requirements for Trainee, Subscriber & Honorary membership are stated in
the ECTA Rules & Regulations.
2. Active Membership in the CC
To achieve active membership status, an applicant must fulfill the following
requirements:
a. The Instructor has been actively instructing for at least 1 year and has taught a
beginner class.
b. The Instructor has attended the Clogging Instructor Basic Seminar of the CC,
presented by an active CC member or has alternatively attended the following
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three seminars from the EEP curriculum: Teaching 1, Cuesheets 1,
Programming.
c. The Instructor has passed an evaluation judged by the CC Critique Committee
as specified in attachment 1.
IV. MEETINGS
A. The CC will meet during each joint ECTA/EAASDC function and during the ECTA
Convention. An invitation for these meetings is not required. For other meetings (e.g
at the ECTA Clog Convention) an invitation will be sent out at least 14 days before
the date of the meeting.
B. The agenda for any meeting will be sent to the council members at least 10 days
before the meeting.
C. The CC meeting is planned and coordinated by the CC Coordinator.
D. The purpose of the CC meetings will be to:
1. add/drop dances to/from the CC repertoire,
2. to critique new applicants for active membership. These evaluations can also take
place in separate meetings.
3. to conduct any other business considered necessary.
V. VOTING
A. General
1. Only active CC members may vote.
2. Each voting member has one vote.
3. An abstention is not counted as a vote.
4. All business requiring a vote must be on the published agenda.
5. Decisions requiring a vote are decided by a simple majority of those voting.
B. Revoking a CC decision
If within 4 weeks after the minutes are sent out by the designated ECTA Board
member, more than 50% of the Active CC members send in a written statement to the
CC Coordinator that they disagree with the decision made at the CC meeting, the
decision will be revoked.
C. Election of the ECTA CC Coordinator
1. The CC Coordinator needs to be an active CC member.
2. The CC Coordinator will be elected each even year during the ECTA General
Membership Meeting by a simple majority of the Active Clogging leaders present.
3. If the CC Coordinator for whatever reason cannot complete his/her term of office
a new CC Coordinator will be elected by the CC at the earliest possible meeting.
Until the time that the CC can elect a new CC Coordinator, the ECTA Executive
Board will appoint an interim CC Coordinator. The new CC Coordinator will fulfill
the term to the next regular election time.
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VI. COMMITTEES
A. CC committees are appointed and dissolved by the CC Coordinator. The chairperson
may be appointed by the CC Coordinator or be selected by the committee. The CC
Coordinator will have ultimate responsibility for the committee.
B. Standing Committees
1. EEP-(sub)Committee
The task and purpose of the CC-EEP-(sub)Committee are as written in the ECTAEEP Committee Rules & Regulations.
2. CC Critique Committee.
The CC Critique Committee consists of at least 3 active CC members that have
been active CC members for at least one year.
C. Non-standing Committees
The Clogging Coordinator has the authority to establish non-standing committees for
specific purposes.
VII. DUTIES AND RESPONSIBILITIES OF THE CLOGGING COORDINATOR
A. Represents the CC.
B. Is the liaison between the CC and the ECTA Board.
C. May appoint someone to act on his/her behalf for a function he/she is unable to attend,
at ECTA Board meetings this is without voting rights.
D. Works with the ECTA Board on all matters related to Clogging and Clogging leader
education.
1. In coordination with the ECTA Education Program (EEP) Committee, he/she
works out training programs for Instructors.
2. Along with the CC and in coordination with the ECTA Vice President he/she plans
the program for the ECTA Convention.
E. Is responsible to arrange ECTA Instructor training including critiquing of new applicants
for active status within the CC.
F. Chairs the CC meetings.
G. Is responsible for the agendas, invitations and minutes of the CC meetings and sends
them to the designated ECTA board member for distribution.
H. Maintains the CC policy file.
I. Works in close cooperation with the designated ECTA board member in updating lists,
definitions and standardizing procedures as they pertain to Clogging (for the library,
handbook and website).
J. Prepares articles for submission to appropriate publications that are of interest to
Cloggers and Clogging leaders.
K. Is responsible, along with the CC, for planning and organizing the annual ECTA Clog
Convention, including coordination with the hosting club(s) and the ECTA Executive
Board and for reviewing the workshop program of the ECTA Clog Convention.
L. Appoints committees within the CC and supervises their work. Collects information
from the CC committees to pass them to the CC members.
M. Is responsible to initiate sending out a new ECTA Clogging Repertoire list once a year,
normally with the minutes of the Fall Round Up and to initiate the regular review.
N. Is automatically member of the Critique Committee and the CC-EEP-(sub)Committee.
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VIII. ECTA CLOGGING REPERTOIRE
A. The CC will maintain an ECTA Clogging Repertoire as a set of commonly known
dances for joint events.
B. Dances taught at an ECTA or joint ECTA/EAASDC event will be added to the ECTA
Clogging Repertoire on an experimental basis until the next review.
After a review, those dances that have been experimentals for less than 12 months
and have not been elected to become part of a level specific repertoire will remain
experimentals for a period of another 3 years until the next review
C. The ECTA Clogging Repertoire will be reviewed at least every three years.
D. For this review:
1. The repertoire list will be sent out to all CC members.
2. Each club represented by a CC member can participate in the review.
3. Participating clubs will be asked to select all songs they dance or are planning to
dance in the near future from the repertoire list.
4. The returned lists will be analysed and the 15 most frequently named songs of
each level will form the new repertoire.
E. The "Favourites" list will not be affected by this regular review, it can only be changed
by proposal and a subsequent vote of the CC.
IX. ECTA CLOG CONVENTION
A. Except in extenuating circumstances, the CC will organize one ECTA Clog
Convention a year.
B. The guidelines governing the ECTA Clog Convention are in the ECTA Handbook.
C. Local clubs may bid to host the ECTA Clog Convention. Selection of host club will be
made by the CC and approved by the Executive Board. ECTA will donate 50% of the
net-income from the dance to the hosting club.
These Clogging Council Rules and Regulations have been approved by the ECTA
Clogging Council on March13th 2010.
Approval of the Extended ECTA Board on March 12th 2010.
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16.4.5 Minutes of Clogging Council
On the following pages you find the minutes of the last Clogging Council meetings.
This way you can have a look on the topics discussed at the moment.
(If it happened that there are no minutes sent out please ask the Clogging
Coordinator.)
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16.5 ECTA Clog Convention
The European Callers and Teachers Association e.V. (ECTA) annually hosts an
“ECTA Clog Convention”. The ECTA Clog Convention is held in the summertime
each year.
The ECTA Clog Convention is solely hosted by ECTA and is conducted along with a
hosting club. All clubs may submit bids for hosting the dance, however ECTA will be
the sole approval authority. The hosting club (or at least one of the clubs if the
Convention is hosted by more than one club) has to be a member of EAASDC.
These guidelines are to be used as a tool to assist the hosting club with planning and
conducting the activity. Any special considerations or problems not covered by this
document need to be sent to the ECTA Clogging Coordinator for approval and/or
resolution by the ECTA Executive Board.
The ECTA President has the overall responsibility for the ECTA Clog Convention.
16.5.1
ECTA Clog Convention – Guidelines
16.5.1.1
Submitting a bid
Clubs interested in hosting a future ECTA Clog Convention can submit a bid to the
ECTA Clogging Coordinator. Ideally, this should be done 18 to 12 months before the
planned event. A bid must include the following:
•
•
•
•
•
Name of bidding club
proposed location and name of hall
blueprint (or copy) of the hall layout to include all facilities and rooms and their
sizes
planned complete costs
any other information pertinent to the event and it’s organization
Bids received will usually be discussed and voted on by the ECTA Executive Board
and the ECTA Clogging Coordinator at the next regularly scheduled meeting or via
phone conference. Clubs who have submitted a bid will be informed about the
outcome of the ECTA Executive Board decision in writing by the ECTA Clogging
Coordinator. Thereafter the club or clubs can proceed with the planning of the dance.
16.5.1.2
Dance hall requirements
Dance Floor
For the ECTA Clog Convention two halls and a third room for the beginners’ course
are needed.
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Based on past experience the ECTA Clog Convention is expected to have between
200 and 300 dancers. This means that the dance floor must be large enough to
accommodate these dancers. The dance floor in the main hall should be at least
500m2 big, in the second hall at least 300 m2. The beginners’ room must
accommodate 15-20 dancers.
The floor should be of a smooth surface and needs to be approved for dancing with
the metal clogging taps. If Clogging is not allowed on the dance floor of the hall,
special carpets (e.g. TetraPak®) are available. It is the club’s responsibility to make
sure that carpets are used at the dance when necessary.
Acoustics
It is recommended that an ECTA Leader from the hosting club is involved with the
sound requirements. The equipment utilized must be specifically designed for use at
Square Dance events.
The equipment required is normally more than a leader or club owns and therefore
more equipment needs to be rented for the event. This can be accomplished by
1. Using the ECTA owned equipment. The ECTA Equipment Manager is available
for advice in this area.
No fees will be charged by ECTA when the ECTA equipment is used for an
ECTA Clog Convention. The hosting club is responsible for the transportation to
the location of the Convention and back to the location where the equipment is
stored.
2. Using equipment from local leaders. Many ECTA leaders will provide their
equipment for small fees or even for free .
3. Hiring a company to furnish the complete sound requirements may only be
considered when options 1 and 2 are insufficient.
It must be insured that enough sockets are available:
1) electrical (e.g. for connecting laptops, MP3 players, wireless microphones )
2) microphone (one for each leader on stage in a time slot)
3) input (e.g. for connecting laptops, MP3 players, wireless microphones )
It is not the hosting club’s responsibility to provide special equipment like MP3
players or wireless microphones. In any case it has to be pointed out to the leaders
that they may only use properly licensed equipment (e.g. wireless microphones).
Costs for sound equipment shall be kept low and have to be approved by the ECTA
Executive Board. The planned costs have to be submitted to the ECTA Clogging
Coordinator along with the bid, otherwise the bid will not be finally approved.
Stage
The stage should be at least 80 cm to 1 m high and of very stable construction, as
the instructors have to clog on it. It would be nice to have a stage 1,50 m high, so
that all dancers can see the feet of the instructors. The size of the stage should be a
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minimum of 6 m wide and 4 m deep. There should be enough tables available for the
sound equipment and for all programmed leaders’ record and equipment cases. A
separate stage for the equipment is very helpful.
The hosting club has to ensure that enough drinks are available for the leaders on
stage during their appearance.
Decorations on the stage should not be placed across the front of the stage between
the leaders and the dancers. All cords and decorations need to be planned and
utilized so there is no hazard to the individuals working on the stage and freedom of
movement is guaranteed. The equipment tables should be placed so that the
equipment will be on the leaders’ right or left side or on the back side of the stage,
not across the front of the stage between the leaders and dancers.
Seating in the Hall
There should be seating available for the dancers and for spectators if they are
allowed in the hall. Preferably spectators should be seated separate from the
dancers in order to protect the personal belongings of the dancers when they are on
the dance floor. If seating is to be offered outside the dance hall, i.e. lobby, extra
rooms, etc., keep in mind that good flow of dancers must be maintained and
sufficient exits must be available.
Decorations
Decorations are nice but are not necessary. In any case the ECTA Clog Convention
flag shall be hung either in the main hall or outside if possible and an ECTA banner
should be hung near the stage in each hall. The name of the event should be
displayed somehow. In addition as many ECTA banners as possible shall be hung up
at the sides of the halls. Flags and banners are available from the ECTA Board
members. There should also be space to hang up the club banners of visiting clubs.
This should be somewhere in the hall easy to see but somewhat protected from
accidental damage.
Costs for decoration need to be approved by the ECTA Executive Board and
therefore have to be submitted to the ECTA Clogging Coordinator before the
decoration can be made.
Additional Room Requirements
There must be sufficient dressing rooms and shower facilities, both male and female.
These must be marked plainly so the dancers can find the proper rooms easily. Keep
in mind that dancers need a place to leave their clothes, bags and so forth.
Precautions must be taken to ensure that non-dancers do not have access to these
rooms (theft!!!).
Space for Square Dance Shops does not necessarily have to be available. But if
there is some, it will be made available to the shops on a first come, first serve
reservation basis. The shops will be required to pay a fee per m! of space utilized for
their shop. The price per m! may vary depending on the cost of the hall or extra
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rooms. Hosting clubs must check with the owners of the halls if additional fees will be
charged for shop space. Any additional fees will be charged directly to the shops.
The shop areas should be planned and marked off ahead of time and a bill prepared
for presentation to the shops.
It is recommended that the hosting club have a room that is reserved for their own
use as an office or supply room. If possible also a separate room should be made
available for the instructors on the program to be used as a dressing room, quiet
room, for storing records and equipment etc.
If possible, a room and time slot for an ECTA Clogging Council meeting should be
provided. The room shall be large enough to hold 20 – 30 people and the meeting
should be scheduled for at least an hour.
Signs in the Hall
Signs should be posted indicating the location of all important rooms and the
direction to them, i.e. registration, toilets, dressing rooms, shops, First Aid,
emergency exits, etc.
Also the program of the event shall be posted at several places in all halls (including
entrance area)
Registration Table / Information
This should be set up near the hall entrance or in a lobby if existing. Care should be
taken to insure that the line of dancers wishing to register can move freely and as
quickly as possible. The registration table will be manned by the hosting club(s).
The registration table must be large enough for the Treasurer’s bank, for the badges
and for the ECTA Clog Convention guestbook. (There is a special guestbook for the
ECTA Clog Convention: Please contact the hosting club from the last year’s
Convention early to arrange the transport.)
Space for flyers and information should be available but separate from the
registration table.
How To Get There
The way to the dance hall should be plainly marked, e.g. with Clogging or Square
Dance signs. These should be located along the path to be driven and placed early
enough so that drivers, while driving at normal speeds, can recognize them and
prepare for turns or lane changes.
Obtain permission from local police for placing signs on the roads. They will tell you
where you may and where you must not place them.
Road maps should be included in the flyer for the dance and made available to all
clubs. Be as detailed as you possibly can with your road maps, but pay attention to
copyright laws. If the dance is being held in a large town, it is recommended to have
a telephone number (e.g. cell phone) available for drivers who get lost.
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16.5.1.3
Contracts
Official Requirements / Permissions
A formal, written contract with the owner of the hall has to exist. There will be a
variety of requirements that will vary from location to location. It is absolutely
necessary that the hosting club meets all requirements for their particular hall and
city. Usually the hosting club will have to register the event with the local authorities,
follow Fire Department and Police regulations and provide First Aid. If further local
regulations are to be followed it is the club’s responsibility to find them out and take
the necessary steps.
Contracts for halls of this size are usually provided by the hall owner. The hosting
club must be aware of and understand all items contained in the contract. A copy of
this contract must be provided to the ECTA Executive Board for approval.
Musical Copyright Protection Coverage
The ECTA Clog Convention is covered by the general contract between GEMA and
EAASDC. The GEMA registration form for the dance has to be filled out by the
hosting club or the ECTA Clogging Coordinator and sent to the ECTA Treasurer as
soon as a bid has been approved. The ECTA Treasurer will then register the event(s)
at EAASDC and pay the registration fee. Since 2005, afterparty music is included in
this fee.
The hosting club has to ensure that the “GEMA Musikfolgeformular” is correctly filled
out; this form has to be returned to the ECTA Treasurer immediately after the event.
Only the form that is provided by EAASDC (available at www.eaadsc.de) is valid for
this!
Leader Contracts
A written contract shall be made with each instructor on the program at least 6
months before the event. Besides the date and name of the event it shall include the
scheduled time of the appearance, the scheduled theme & level (e.g. Intermediate
Workshop, Welcome Dance (Basic), etc.) and the hall in which the instructor will
appear.
The cuesheets for the workshops must be sent to the ECTA Clogging Coordinator (or
another qualified person appointed by him) at least 3 months before the event to
allow time for corrections. This date must be part of the contract.
It is strongly recommended that instructors on the program also receive food and
drinks during the event (not Afterparty) – it is suggested that each leader be given a
set amount of coupons; costs for this have to be approved by the ECTA Executive
Board and have to be submitted to the ECTA Clogging Coordinator before the event.
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16.5.1.4
Dance program
Only Active ECTA instructors may appear on the program of the ECTA Clog
Convention. Instructors on the program of the ECTA Clog Convention will receive no
payment for their appearance.
The Program for the ECTA Clog Convention has a fixed structure:
On Friday, there is a welcome dance with dances from the ECTA Repertoire. On
Saturday and Sunday, there are workshops in the different levels defined by the
ECTA Clogging Council. (Please remind all program instructors to stick to the levels
and step definitions of the ECTA Clogging Steplist!) In the main hall, workshops from
Easy to Intermediate should be offered, in hall 2 from Intermediate to Advanced.
On Saturday evening, after the Grand March, which shall be conducted by a Board
member of the hosting club or alternatively by the ECTA Clogging Coordinator, all
workshops will be repeated with a quick walk-through (no complete reteach).
Additionally, performances of different visiting clubs are very welcome. These shows
can also be put together in the last half an hour of the afternoon before the dinner
break to shorten the evening program.
The program for the beginners’ course in hall 3 is completely fixed by decisions of the
ECTA Clogging Council.
It is very helpful for the beginners to name a contact person who is responsible for
the whole course and can answer their questions etc.. This contact person should be
the instructor doing the first workshop and the repetition sessions on Saturday
afternoon and Sunday morning. Therefore, this person needs the corrected cue
sheets of all beginner dances from Saturday at least 4 weeks before the event to
allow time for preparation. Furthermore, this instructor should be present at the
beginners’ hall most of the time to inform the other workshop leaders about earlier
problems, questions, etc..
All the instructors doing workshops in the beginners’ course have to keep in mind,
that only the steps from Saturday morning (Basic, Triple, Push family & Toe-Heel)
should be used again in later workshops. Other steps shall not be used to give the
dancers the possibility to take a break, e.g. during the Brush-Workshop, but join in
again later, e.g. in the Vine-8-Workshop, without having problems because they
missed the Brush.
If the hosting club proposes a program, the ECTA Clogging Coordinator needs to
examine it and send it to the ECTA Executive Board for final approval at least 9
months before the event. The staffing of the program parts should be finished at least
6 months before the event to give the instructors enough time to perfectly prepare a
workshop that fits the given program slot (easier workshop within a given level if it is
the first session in the morning; harder Intermediate workshop in hall 2 than in hall 1
depending on the level of the workshop that is hold in parallel, ...).
If the club does not want to or is not able to propose a program it will be the ECTA
Clogging Coordinator’s task. The final decision on the program will be in the
responsibility of the ECTA Executive Board.
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Program Example
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16.5.1.5
Flyer
The hosting club is in charge of creating a flyer for the ECTA Clog Convention. The
flyer has to be approved by the ECTA Executive Board.
Also the spreading of the flyers lies within the responsibility of the hosting club(s).
The flyers for the event should be prepared and distributed to all clogging clubs well
in advance of the dance. Each clogging club should receive a minimum of 5 flyers.
Each non-clogging-EAASDC-club shall get at least a flyer announcing the beginners’
course.
The flyers should be released in envelopes, labled with the club names and
addresses, if possible at the ECTA Clog Convention one year prior to the event to
ensure that a large number of flyers will be picked up by club representatives and
mailing costs can so be reduced. An additional staple of loose flyers shall be
provided beside the club flyer box. Flyers not picked up at the Clog Convention must
be sent to the remaining clubs by mail. Mailing lists and labels can be obtained from
EAASDC.
Do not forget to send a personal copy of the flyer to each ECTA Leader on the
program.
Flyers must contain at a minimum the following information.
•
•
•
•
•
•
road map
correct and complete name and address of the hall
program (general time schedule and program level – not necessarily details!)
Badge Costs (Note: The Entrance Fee is listed as Badge Costs or (even
better) as Start Fee on flyers)
location of Afterparty (if not located in the dance hall)
contact address and telephone numbers / e-mail addresses
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hotel listing for the general area of the dance and information if it is possible to
sleep in the halls
The front page of the flyer should include the logos of ECTA and the hosting club as
well as the name, date and location of the dance.
•
A copy of the flyer can be sent to EAASDC for advertisement in the Bulletin. This
advertisement should be at least a full page advertisement and must include all
pertinent information. No shop or company advertisement from the flyer may be
included in the Bulletin version.
Flyers should be printed in DIN A5 format. This can also be DIN A4 folded once to
have four pages. Flyers should be printed on good quality paper, but flyers should
not be printed on dark coloured paper as original flyers are often copied by clubs to
provide a larger amount of flyers for their members. A maximum of 2 colours may be
used on the flyers. It is recommended that the printing be done at a print shop rather
than a copy shop due to the number of flyers required. Flyers need to be made on a
computer or by a graphic artist. Hand drawn flyers are not acceptable.
Advertisements from various companies may be included in the flyer as a means of
offsetting costs. Advertisement fees have to be approved by the ECTA Executive
Board! Free advertisement will not be authorized!
Prior to the flyer being printed a draft copy must be sent to the ECTA Clogging
Coordinator for approval by the ECTA Executive Board. This also applies to
any kind of pre-flyers!
16.5.1.6
Badges
The badges with the ECTA logo are available from the ECTA Treasurer. Badges are
sold to dancers for 3 Euros. Normally, dancers visiting their first ECTA Clog
Convention will buy a badge to collect their shingles, but buying the badge is not
compulsory.
Honorary guests entitled to free entrance (see below) can get a badge free of charge
if it is their first visit to a Clog Convention, as well as children and youths up to 18
years. The shingle is included in the start fee and is of course also given for free to
the people entitled to free entrance.
The special shingle can be designed in the given sizes within the standard layout. It
must include the following: name “Clog Convention”, year, name of the hosting
club(s) and/or location.
Additional logos etc. may be accepted upon request of the club, but any differences
to the production price of the standard shingles have to be covered by the club.
The shingle layout has to be approved by the ECTA Executive Board. A draft of the
shingle and information about the costs shall be sent to the ECTA Clogging
Coordinator for approval by the ECTA Executive Board.
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16.5.1.7
Food and drinks
During the dance
The organisers should consider that dancers may travel long distances to and from
the dance, and should have the possibility to adequately eat and drink at or close to
the hall.
Drinks must be made available at all times during the event. Beer and alcoholic
beverages will not be served during the dance (not even to spectators). Sale of
alcoholic beverages may begin after the last dance (pay attention to protection of
minors). Local restaurants or caterers must be made aware of these rules.
The hosting club should also plan and organize drinks on the stage for the instructors
on the program, i.e. coffee, soft drinks, water, etc. ...
The club should organize locations for the dancers to eat. This can either be
accomplished through a restaurant in the hall or the club can sell food themselves. If
the hall does not offer sufficient capability for eating then the club should have maps
or flyers available for the dancers showing where local restaurants are located near
the hall.
Care shall be taken that prices for drinks and meals are moderate. It is recommended
to have this fixed in written form. The landlord of a restaurant must be aware that
dancers will come in larger numbers to order food (e.g. at Dinner Break) and drinks
(between dance tips, beginning of Afterparty). Having more than one place to serve
drinks may keep the queues shorter!
If the club provides food and drinks by themselves, this is not part of the financial
statement between the club and ECTA. This also applies to the Afterparty (see next
paragraph); only additional costs (like for putting up chairs and tables) have to be
clarified with the ECTA Treasurer in advance.
Keep in mind that if plastic or paper cups and plates are used then these must be
properly disposed and there must be sufficient trash bags or receptacles available.
Afterparty
Eating and drinking after the dance (the so called Afterparty) must be part of the
planning for the event. If a local restaurant arranges the Afterparty, it is
recommended that all aspects of the Afterparty are made clear with the landlord. A
small menu with 4-6 different meals is recommended and selling tickets for the
Afterparty meals ahead may make the serving faster. Music at the Afterparty (either
live band or recordings) shall not be too loud as many dancers want to meet and talk
to friends – only wishing some background music. Live bands should be made aware
that dancers are not there to just listen to their music. Music or other entertainment at
the Afterparty is not part of the financial statement between hosting club and ECTA!
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16.5.1.8
Financial aspects
Badge Prices / Costs
Costs should be kept as low as possible. The badge prices must be discussed with
and approved by the ECTA Executive Board. In general, the badge price should not
exceed 13 Euros for adults. Children and youths up to 18 get free entrance.
If required the hosting club may draw a loan from the ECTA Treasurer six months
prior to the actual event.
All program leaders and their partners, ECTA and EAASDC Board members and
their partners as well as Honorary Members of both ECTA and EAASDC are entitled
to free entrance to the ECTA Clog Convention. They will receive a shingle (and
badge if needed) free of charge; a current VIP list should be placed at the registration
desk.
A preliminary financial statement must be prepared by the hosting club and submitted
to the ECTA Treasurer at the dance for reimbursement of costs and must include
copies of bills, vouchers, etc. A final financial statement which includes all earnings
and costs will be prepared at the earliest possible date jointly by the hosting club and
the ECTA Treasurer. The ECTA Treasurer will work closely with the hosting club and
is available for questions concerning costs and profits.
Earnings / Loss
After all bills and vouchers have been paid the hosting club will receive 50% of the
net profit of the event. If a loss should occur with the ECTA Clog Convention, it will be
fully carried by ECTA.
Final Financial Report
The following items are part of the cost side of ECTA Clog Conventions:
!
!
!
!
!
!
!
hall costs, including additional hall fees for shops or clogging carpets (as
approved by the ECTA Executive Board)
GEMA costs
equipment costs (as approved by the ECTA Executive Board)
advertisement costs as flyer printing, mailing of flyers, Bulletin advertisement (as
approved by the ECTA Executive Board)
badge & shingle costs (important: submit number of badges & shingles used!)
decoration costs (as approved by the ECTA Executive Board)
costs for food and drinks for instructors on the program (as approved by the
ECTA Executive Board)
The following items are without exception part of the income side of ECTA Clog
Conventions:
chapter 16.5 / 11
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!
!
!
badge prices (incl. ECTA members and banner badges)
flyer advertisement
all shop fees (including additional fees for additional hall costs)
No other fees may be charged to anybody than the listed above!
The following items are not part of the final financial report:
!
!
!
!
costs and earnings for food and meals
travelling costs
Afterparty music or entertainment
additional costs that were not approved by the ECTA Executive Board
16.5.1.9
Changes to these guidelines
Changes to these guidelines will only become valid after approval by the ECTA
Clogging Coordinator and the ECTA Executive Board.
chapter 16.5 / 12
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16.5.2
ECTA Clog Convention – Checklist
1. Submitting a bid (This part should be finished 18 to 12 months before the event.)
inform the ECTA Clogging Coordinator about the club’s interest
make sure to have the latest version of the ECTA Clog Convention Guidelines
(available from the ECTA Clogging Coordinator upon request)
fix a date
halls: get a pre-contract for the chosen date and a map of the halls
plan the costs; use the latest version of the ECTA Treasurer’s cost plan
send the official bid to ECTA Clogging Coordinator
halls: sign the final contract after the approval of the ECTA Board
2. Planning
an initial planning meeting is recommended
clarify tasks within the club, create a Clog Convention committee if needed
try to arrange a good working atmosphere
set up a working list, a shopping list & a list of tools you might need
3. Halls
3 halls available?
big enough?
distance between the halls?
costs?
any time limits, e.g. in the evenings?
dressing rooms & showers?
possibility to sleep in the halls?
security? (e.g. How many strangers have keys for the halls?)
caretaker available in case of need?
different areas for spectators & dancers?
floor?
taps allowed?
Tetrapack needed? source? laying technique? adhesive tape?
stages?
acoustics? possibilities to improve it, e.g. by covering walls?
decorations?
4. Flyer (This part should be finished at least 12 months before the event.)
front page: name (event & club), date, address & ECTA-Logo
program (not necessarily in detail, but be sure to submit the final program to
the ECTA Clogging Coordinator at least 9 months before the event)
badge price
information on accomodation as well as on food & drinks
road map and description
approval of ECTA is needed before distribution (also for pre-flyers!)
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5. Instructors
active ECTA membership is needed
no payment
start early with information & contracts (at least 6 months before the event)
set a submission deadline for cuesheets (at least 3 months before the event)
free entry for program instructors & their partners, ECTA & EAASDC officials
free accommodation available? (not necessarily needed)
separate dressing room available? (not necessarily needed)
VIP room with free snacks & drinks available? (not necessarily needed)
6. Stages
stability? stage elements connected safely? (no screw clamps!)
space & height? decorations not disturbing?
enough stable tables for equipment? space for microphones & laptops?
drinks & snacks for the working instructors?
clarify who is in charge for putting up & down the stage & the equipment and
for taking care of the instructors’ needs
7. Sound
ECTA equipment needed? transport arranged?
enough high-power amplifier, speakers, cables & adapters?
replacements?
positioning & orientation of speakers?
responsibilities before & at the event? assistance for instructors?
security ensured? night watch or disassembly?
8. Registration
briefing & training of the staff for smooth flow
cash box with change
VIP lists (instructors, board & honorary members of EAASDC & ECTA)
list of the helping people (club, class, external helpers)
lower badge prices for kids & teens
free entry for spectators
offer a Syllabus (max. 2-3 Euros)
information sheet for each participant with all important information
9. First Aid
paramedic needed? how many?
first-aid kit at hand? position? content?
inform regional emergency dispatch centre about the event
find out emergency services of general practitioners, dentists,
ophthalmologists & pharmacies
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10. Catering
how organized?
any restrictions in the halls?
low prices?
food vouchers for instructors?
if catering is organized by the club:
cash box with change!
pay attention to hygiene regulations!
pay attention to protection of minors (beverages)!
11. Waste & Cleaning
dustbins & bin-liners?
final disposal clarified?
toilet paper?
paper towels?
soap?
cleaning agents & cloths?
broom?
regularly control of all toilets & lavatories
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16.6
Equipment, Clogging Supplies
Here you can find addresses and contacts to get equipment, clogging supplies, and
further information.
If you want to advertise clogging you may use the illustrated clogging sign below.
You can copy it or you can get it electronically from ECTA. But it also available as a
free download (www.eaasdc.de)
16.6.1
Clogging Sign (registered in Europe)
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16.6.1
Who delivers what?
Records, cassettes, CDs, equipment
Palomino Records INC
2905 Scenic Dr.
Marion, OH 43303-8386
USA
Tel: +1 800 328 3800
Fax: +1 800 227 5420
Perry's Place Records & Supplies
P.O. Box 69
Nicholasville, KY 40340-0069
USA
Fax: +1 606 885 9235
www.perrysplace.com
Rolands Sound Corner
Roland Federle
Zum Spermel 7
76698 Ubstadt-Weiher
Germany
Tel: +49 7253 33931
Fax: +49 7253 33981
E-mail: [email protected]
Shoes, taps, clothes
Steven’s Europe agency
Niels Oelkrug
Nellinger Str. 88
73760 Ostfildern
Germany
Fax: +49 7158 600074
E-mail:[email protected]
www.taps.de
Steven's Worldwide Inc.
49 Franklin Road
P.O. Box 112
Mercer, PA 16137
USA
Fax: +1 412 662 2050
Haigh Versand
(Western and Square Dance clothes)
Postfach 1250
63514 Rodenbach
Germany
Tel: +49 6184 51262
Fax: +49 6184 54859
Fleetwood Promotions
Naomi Fleetwood-Pyle
1036 N. O`Brien ST.
Seymour, Indiana 47274
USA
Tel: +1 812 524 0392
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Carl’s Clogging Supplies
Carl Blanton
525 Poverty Lane
Salem, SC 29676-2414
USA
Tel. / Fax: +1 684 944 8125
E-mai: [email protected]
Rosa`s Squaredance & Westenwear Shop
Rosa Schoennagel
Ellberbeker Moordamm 4
22457 Hamburg
Germany
Tel: +49 40 550 7476
Fax: +49 40 558 3404
Fiddle & Feet
Natalie Westerdale
Goebenstr. 9
65195 Wiesbaden
Germany
Tel.: +49 611 443544
Magazines, journals
EAASDC Bulletin
Subscriptions and address stickers
Katharina Thurau
Lortzingstr. 2
63179 Obertshausen
Germany
Tel: +49 6104/41422
Fax: + 496104/499364
E-mail: [email protected]
Clog-Shoe
Carmen Baehr
Gräfinghausen
27211 Bassum
Germany
Tel: +49 4249/228003
E-mail: [email protected]
The Double Toe Times
c/o Jeff Driggs
P.O. Box 1352
St. Albans, WV 25177-1352
USA
www.clogdancing.com
electronic newsletter
Step in Time
C/o Ethel Willmesmeier
410 Highland Mist Circle
Housten, TX 77015-2010
USA
chapter 16.6
/
3
ECTA Handbook
August 11
19.6.1
Cue Sheet Collection
In ECTA we have a collection of many cue sheets, that includes all songs, which
were taught at ECTA events in the last years.
These cue sheets are managed and kept by Brigitte Lanatowitz.
If you pick a song from the repertoire lists and need the corresponding cue sheet, just
fill in the form below or send an e-mail to Brigitte.
In addition to the songs from the repertoire lists you can find many more titles in her
collection. Just ask her!
In return Brigitte will be pleased to get cue sheets from you, too.
ECTA Clogging Council
Brigitte Lanatowitz
Plackenstr. 16 A
28857 Syke
Tel. +49 4242-2556
E-mail: [email protected]
I need a copy of the following Cue Sheets:
..........................................................
..........................................................
..........................................................
Name/Name:
Address/Adresse:
......................................................
......................................................
......................................................
……………………………………….
Date/Datum:
........................
Please enclose a stamped envelope with your address.
.
chapter 16.6
/
4
ECTA Handbook
August 11
19.7
ECTA Clogging Step Lists
(August 08)
To establish a congruent terminology which helps our dancers and instructors to
get around also beyond their own clubs, we have built up the ECTA Step Lists
described below.
1.
INTRODUCTION......................................................................................................... 2
1.1.
1.2.
1.3.
Verbal descriptions of the Clogging levels ........................................................................................3
General notation of the steps ..............................................................................................................5
General abbreviations ..........................................................................................................................5
2.
BASIC LEVEL............................................................................................................. 6
2.1.
2.2.
Basic movements .................................................................................................................................6
Basic Steps............................................................................................................................................6
3.
EASY INTERMEDIATE LEVEL (EZ-INT) ................................................................... 9
3.1. Easy Intermediate movements ............................................................................................................9
3.2. Easy Intermediate steps.......................................................................................................................9
3.2.1.
Main list (EZ-INT)................................................................................................................................9
3.2.2.
Extended list (EZ-INT) ......................................................................................................................11
4.
INTERMEDIATE LEVEL (INT).................................................................................. 13
4.1. Intermediate movements....................................................................................................................13
4.2. Intermediate steps ..............................................................................................................................13
4.2.1.
Main list (INT) ...................................................................................................................................13
4.2.2.
Extended list (INT) ............................................................................................................................15
5.
HIGH INTERMEDIATE LEVEL (HIGH INT).............................................................. 18
5.1.
5.2.
High Intermediate movements...........................................................................................................18
High Intermediate steps .....................................................................................................................18
6.
ADVANCED LEVEL (ADV) ...................................................................................... 19
6.1.
6.2.
Advanced movements........................................................................................................................19
Advanced steps ..................................................................................................................................19
7.
COMMONLY USED COMBINATIONS..................................................................... 20
8.
VINE LIST ................................................................................................................. 21
9.
ALPHABETICAL STEP INDEX ................................................................................ 22
chapter 16.7 / 1
ECTA Handbook
August 11
1. Introduction
Clogging in ECTA is divided into different levels of difficulty:
-
Basic
Easy
Easy-Intermediate
Intermediate
High-Intermediate
Advanced
-
B
EZ
EZ-INT
INT
High INT
ADV
The steps contained in the Basic list are the basis for a clogging class for beginners and
should be mastered for the graduation.
The Easy level does not have its own step list. The prerequisite for participating in an
Easy level workshop is mastering the Basic level.
The steps that will be instructed are the ones from the Easy-Intermediate list, however,
the workshops should be taught in a way so that even newly graduated dancers can
manage to dance the workshop. That means that an Easy workshop should contain a
maximum of 2-3 new steps which should be taught and practiced slowly and in great
detail.
The prerequisite for an Easy-Intermediate level workshop is to have a good grasp of the
Basic level, too; however, the instructor can assume that the dancers already have more
experience.
In order to participate in workshops of the remaining levels (INT and up), a good
knowledge of the main list steps of the previous level is assumed.
The extended list contains definitions for many of the frequently used steps of the level
in question. In contrast to the main list, which can be regarded as the fixed foundation of
a level, the extended list can be altered as needed and, as the name suggests, be
extended with frequently used steps. It is also intended as an aid for choreographers and
teachers how to write down a step and to determine its level.
On the following pages, the single levels will be described more detailed.
chapter 16.7 / 2
ECTA Handbook
August 11
1.1. Verbal descriptions of the Clogging levels
Guidelines for the classification of steps and choreographies
In general
-
-
-
Bear in mind: (based on the well-known clogging proverb)
“If you can do it with the left foot, you can learn to do it with the right foot! “
(Nevertheless many dancers have problems doing steps they already learned on one
foot with the other foot and need practice. That should be considered for workshops.)
Turns and arm movements make steps and choreographies harder and pose an
additional challenge for the dancers
Arm movements usually take a lot of concentration and coordination from many
dancers. Leaving them out while learning the step can make it easier. Arm
movements without accompanying steps cannot really be left out so they should be
appropriate for the level of the choreography
The tempo also plays a significant role for the level of a choreography
Steps from a higher level tend to be inappropriate / should be avoided
Undefined steps can be classified based on the recommendations made here and the
already defined steps
Many undefined steps, a concentration of a number of “new” steps in a row without
“easy” steps interrupting them, maybe combined with a fast tempo and/or a
complicated sequence can push the level of a choreography significantly
Basic
-
Intro-/Class -Level
Permanent up- and down-movement by bending the knees with the up- and downbeats of the music.
Accentuation of the down-beat with the heel of the supporting leg (heel to keep the
beat = “Timekeeper”)
Double step as the characteristic step that defines clogging
Appropriate tempo for double steps: ~ 60 bpm
Target tempo at the end of the class for all basic steps: ~100 bpm
Shuffles (Drag und Slide) should be done with both feet only
!-, "- and full turns should not be a problem at the end of the class
Turning in the same direction while changing feet (e.g. basic kicks turn each left !)
can be hard for some dancers and should be practiced
Keep it simple – keep it fun!!!
Easy (EZ)
-
The easy level is deliberately geared toward new dancers having completed their
class and mastered the basic level – workshops should be appropriate for freshly
graduated dancers!
Easy steps, built on the basic program, there is no dedicated step list (uses the easyintermediate list), a maximum of 2-3 new steps per workshop
Accentuation of the downbeat with the heel, no slide
No “double movements” (DT/DR; BA/H) except UP/H (“Timekeeper”-H)
chapter 16.7 / 3
ECTA Handbook
August 11
-
Multiple new movements in one new step should be avoided or in other words there
should be only one new movement from the easy-intermediate level per step. Steps
with new movements should be no longer than 4 beats.
8-beat combinations should start with a double step or step
Before/after a step with a new movement should be an easy step
In steps containing new movements, turns should only be used cautiously
!-turns should be practiced during the workshop, spontaneous changes of direction
in turns should be avoided.
A new step may contain either a slide or a drag on just one leg which is practiced
during the workshop
Easy Intermediate Level (EZ-INT)
-
A double toe on its own (without the step) can be used, e.g. DT(b) H, DT (xif) H or DT
UP/H.
No “double movements” (DT/DR; BA/H) except UP/H (“Timekeeper”-H)
A new step can contain a number of new movements from the easy-intermediate
level.
Intermediate Level (INT)
-
Simple double movements (e.g. BA/H – “Split”) can be used
Complex 8 beat steps can be used
Unusual timing and syncopation is allowed in moderation
A good tempo is around 120 bpm
Accentuation of the downbeat can be taught with a slide instead of the heel
Choreographies with concentrations of complex intermediate steps and/or “undefined”
steps without interruptions through easier steps are better suited for the high
intermediate level
High Intermediate Level (High INT)
-
Choreographies with concentrations of complex intermediate steps and/or “undefined”
steps without interruptions through easier steps are better suited for the high
intermediate level
The accentuation of the downbeat develops into a permanent shuffle movement (DRSL), the beat is kept with a slide instead of a heel
Double movements such as DT/DR can be used
Steps with quarter beats can be used in moderation
Advanced (ADV)
-
Steps with quarter beats are frequently used
Steps from Buck, Canadian, Flatfooting and similar can be used in combination
Complex rhythms such as triplets can be used (e.g. cramprolls)
Everything goes!
chapter 16.7 / 4
ECTA Handbook
August 11
1.2. General notation of the steps
1st line
2nd line
3rd line
Movements and directional designators
Active foot: L or R or both
Beats (timing)
In this list, the second line is doubled to include the other foot. Depending on the active
foot, only the appropriate line is used in the cue sheet.
For the movements, as a rule, use as few letters as possible, but as many as necessary
to describe a movement.
1.3. General abbreviations
Directional designators
b, ib
bw
xib
back, in back
backwards
across in back
f, if
fwd
xif
front, in front
forward (move forward with the step)
across in front
ots
unx
rpl
turn ***,
full or 360°
move
p
w
out to (the) side
uncross
replace
turn (*** = ! , ", #, 1/1)
full turn
move
pause
weight
Foot designators
L, l
R, r
LR, lr, both, bt
left foot
right foot
both feet
Timing
e
&
a
1–8
/
+
marks a ! beat in the music
marks the upbeat (" beat)
marks a # beat
numbers the down beats (full beats)
separator between two movements that have to be executed
simultaneously
marks a 1/6 beat (two movements have to be executed between
upbeat and downbeat.)
chapter 16.7 / 5
ECTA Handbook
August 11
2. Basic Level
2.1. Basic movements
Brush, Double Toe, Drag, Heel, Rock, Slide, Step and Toe are the eight Traditional Basic
Movements, which were adopted by the National Clogging and Hoedown Council in the
USA in 1978. Together with Kick, Stomp and Up there are eleven basic movements to
describe the Basic Level in ECTA.
BR
DT
Brush
Double Toe
D
Double Toe
DR
H
KK
R
SL
S
STO
T
UP
Drag
Heel
Kick
Rock
Slide
Step
Stomp
Toe
Up
The ball of the foot strikes (touches) the floor once
Quick forward and back swing of the leg, the toe touches the floor
twice in half a beat (no change of weight)
When used in the combination “Double Toe Step”, D is commonly
used to abbreviate the Double Toe
Pulling back the foot, the heel leaves the floor
Heel touches the floor
Kick movement / Leg is stretching out
Rocking movement on the ball of the foot, weight shift
Forward slide on the ball on the foot, heel is put down
Step using the flat foot (with change of weight)
Accentuated step
Touch of the floor with the toe (with change of weight)
Upward movement of the leg, the knee bends
2.2. Basic Steps
Basic
DS
L
R
&1
RS
RL
LR
&2
Basic Brush
or Brush Up
DS
L
R
&1
BR UP/H
R R L
L L R
&
2
Basic Kick
DS
L
R
&1
KK UP/H
R R L
L L R
&
2
Cowboy
DS
L
R
&1
DS
R
L
&2
DS
L
R
&3
Double Basic
DS
L
R
&1
DS
R
L
&2
RS
LR
RL
&3
BR UP/H DS(xif)
R R L R
L L R L
&
4 &5
RS
LR
RL
&6
RS
LR
RL
&7
RS move fwd on beat 1-3,
LR move back on beat 6-8
RL
&8
chapter 16.7 / 6
ECTA Handbook
August 11
Double Step
or Double Toe Step
DS
L
R
&1
Fancy Double
DS
L
R
&1
DS
R
L
&2
RS
LR
RL
&3
RS
LR
RL
&4
Push Back
DS
L
R
&1
RS
RL
LR
&2
RS
RL
LR
&3
RS
RL
LR
&4
move bw
Push Forward
DS
L
R
&1
RS
RL
LR
&2
RS
RL
LR
&3
RS
RL
LR
&4
move fwd
Push Off
DS
L
R
&1
RS
RL
LR
&2
RS
RL
LR
&3
RS
RL
LR
&4
move L
DS
L
R
&1
RS
RL
LR
&2
RS
RL
LR
&3
RS
RL
LR
&4
turn *** L
Push Turn
Rock Step
RS
LR
RL
&1
Rocking Chair
DS
L
R
&1
Shuffle
DR SL
both
& 1
Stomp Double
STO
L
R
1
Toe-Heel
T
L
R
&
BR UP/H DS
R R L R
L L R L
&
2 &3
DS
R
L
&2
DS
L
R
&3
move R
turn *** R
RS
LR
RL
&4
RS
RL
LR
&4
H
L
R
1
chapter 16.7 / 7
ECTA Handbook
August 11
Triple
DS
L
R
&1
DS
R
L
&2
DS
L
R
&3
RS
RL
LR
&4
Triple Brush
DS
L
R
&1
DS
R
L
&2
DS
L
R
&3
BR UP/H
R R L
L L R
&
4
Triple Kick
DS
L
R
&1
DS
R
L
&2
DS
L
R
&3
KK UP/H
R R L
L L R
&
4
Vine 8
or Vine Eight
DS
L
R
&1
DS(xif)
R
L
&2
DS
L
R
&3
DS(xib)
R
L
&4
DS
L
R
&5
DS(xif)
R
L
&6
DS
L
R
&7
RS
RL
LR
&8
chapter 16.7 / 8
ECTA Handbook
August 11
3. Easy Intermediate level (EZ-INT)
3.1. Easy Intermediate movements
BA
Ball
Touch of the floor with the ball of the foot including change of weight
(a „Step“ on the ball of the foot)
HOP
JMP
LOOP
PVT
SLR
FLP
Hop
Jump
Loop
Pivot
Slur
Flap
STA
TCH
Stamp
Touch
A hop (landing on the same foot as before)
Jumping from foot onto the other or onto both feet
Circular movement of the free foot behind the weight carrying leg
Turn on the ball or heel in the indicated direction
Slurring movement with the toe across the floor (no change of weight)
The ball is brought down to hit the floor (the weight is transferred from
the heel only to the whole foot)
A flatfooted touch (no change of weight)
Touching the floor with the toe or ball (no change of weight)
SK
Skuff
The heel strikes (touches) the floor once
3.2. Easy Intermediate steps
3.2.1. Main list (EZ-INT)
Basketball Turn
S(if) PVT (*** R) S
L
R
R
PVT (*** L) L
1
2
Charleston
DS TCH(if) H T(ib)
L
R
L R
R
L
R L
&1 &
2 &
Cotton Kick
KK UP(xif)/H KK UP(unx)/H DS
L L
R L L
R L
R R
L R R
L R
&
1 &
2 &3
Drag Step
DS
L
R
&1
DR
L
R
&
Fancy Run
DS
L
R
&1
DS(xif)
R
L
&2
H
R
L
3
RS
LR
RL
&4
RS
RL
LR
&4
S(xif)
R
L
2
BA(ots)
L
R
&
BA(xib)
R
L
3
BA(ots)
L
R
&
S
R
L
4
chapter 16.7 / 9
ECTA Handbook
August 11
Front Basic
DS
L
R
&1
R(if)
R
L
&
Grandpa
DS TCH(if) H TCH(ots) H TCH(ib) H
L
R
L R
L R
L
R
L
R L
R L
R
&1 &
2 &
3 &
4
Heel Walk
DS
L
R
&1
Jazz Box
S
L
R
1
Karate
DS
L
R
&1
Mountain Basic
STO
L
R
1
Outhouse
DS TCH(ots) H TCH(xif) H TCH(ots) H
L
R
L R
L R
L
R
L
R L
R L
R
&1 &
2 &
3 &
4
Pump Touch
DS
L
R
&1
KK UP/H TCH(xif) UP/H TCH(if) UP/H
R R L R
R L R
R L
L L R L
L R L
L R
&
2
&
3
&
4
Samantha
DS
L
R
&1
DS(xif)
R
L
&2
Slur Brush
DS SLR S(xib)
L
R R
R
L L
&1 & 2
DS
L
R
&3
Soccer
DS
L
R
&1
RS
LR
RL
&4
DS
R
L
&2
S
L
R
2
H(w)
L
R
&
S(xif)
R
L
2
H(w)
R
L
3
S(ib)
L
R
3
RS
LR
RL
&4
S(ots)
R
L
4
KK(turn *** L) H
R
L
L (turn *** R) R
&
2
DT UP/H DS
R R L R
L L R L
&
2 &3
DR
R
L
&
DT UP/H DS
R R L R
L L R L
&
2 &3
DS
R
L
&3
KK UP/H
L L R
R R L
&
4
RS
LR
RL
&4
S(ib)
L
R
3
DR
L
R
&
S(ib)
R
L
4
RS
LR
RL
&5
DS
L
R
&6
DS
R
L
&7
RS
LR
RL
&8
BR UP/H
R R L
L L R
&
4
optional:
turn *** L on beat 1-2
turn *** R on beat 1-2
chapter 16.7 / 10
ECTA Handbook
August 11
Spinner
DS
L
R
&1
DS
R
L
&2
R
L
R
&
H(w)(turn *** R)
R
L
(turn *** L)
3
T-Step
DS
L
R
&1
DS
R
L
&2
DS
L
R
&3
Triple Lick
DS
L
R
&1
DT UP/H DT UP/H DT UP/H
R R L R R L R R L
L L R L L R L L R
&
2 &
3 &
4
Turkey
H(ots/w) FLP S(xib)
L
L R
R
R L
1
& 2
DS
R
L
&4
S
L
R
4
DS HOP RS HOP
L
L RL L
R
R LR R
&5 &6 &7 &8
DS
L
R
&3
move fwd or bw on beat 1-5
RS
RL
LR
&4
3.2.2. Extended list (EZ-INT)
Basic Skuff
DS
L
R
&1
SK UP/H
R R L
L L R
&
2
Cross Touch
S(xif) TCH(ots)
L
R
R
L
1
2
Dirty Toe
DS(xif) SLR(fwd) UP/H
L
R
R L
R
L
L R
&1
&
2
Fancy Kick
DS
L
R
&1
Grape Vine
S(ots)
L
R
1
Jack & Jill
DS
L
R
&1
DS
R
L
&2
DS
R
L
&2
RS
LR
RL
&3
KK UP/H
L L R
R R L
&
4
S(xib)
R
L
2
DS
L
R
&3
DS
R
L
&4
DR
R
L
&
S(ots) TCH
L
R
R
L
3
4
S
L
R
5
DR
L
R
&
S
R
L
6
DR
R
L
&
S
L
R
7
DR
L
R
&
S move fwd on beat 1-4,
R move bw on beat 5-8
L
8
chapter 16.7 / 11
ECTA Handbook
August 11
Slur Basic
DS
L
R
&1
SLR
R
L
&
S(xib)
R
L
2
H(w)
R
L
&
S
L
R
3
RS
RL
LR
&4
Travelling Shoes DS
L
R
&1
H(w)
R
L
&
Turning Vine
DS
L
R
&1
DS(xif)
R
L
&2
DS
L
R
&3
DS
R
L
&4
DS
L
R
&1
DS(xif)
R
L
&2
DS
L
R
&3
LOOP
R
L
&
Vine Loop
S
L
R
2
DS
L
R
&3
H(w)
R
L
&
DS
L
R
&5
DS
R
L
&6
S
R
L
4
S
L
R
4
turn *** L on beat 1,
move R on beat 2-4
DS
L
R
&7
RS
RL
LR
&8
full turn R on beat 4-6
full turn L on beat 4-6
optional:
turn *** R on beat 3-4
turn *** L on beat 3-4
chapter 16.7 / 12
ECTA Handbook
August 11
4. Intermediate level (INT)
4.1. Intermediate movements
BO
BRK
Bounce
Break
CLK (H) /
CLK (T)
Click
Bouncing movement (jump) on one or both balls of your feet
A sideway rolling motion onto the edge of the non-weight carrying
foot, the weight stays on the other
Touching together the insides of the heels (or balls of your feet.
4.2. Intermediate steps
4.2.1. Main list (INT)
Ankle Break
Burton Stamp
DT S(xif)/BRK S/BRK S/BRK S/BRK
L L
R R L L R R L
R R
L L R R L L R
&
1
2
3
4
DS STA UP/H STA UP/H STA UP/H
L
R R L R R L R R L
R
L L R L L R L L R
&1 &
2
&
3
&
4
Catawba
DT BO/H(if) BO/H(if) BO/H(if) BO/H(if) BO/H(if) BO/H(if) UP/SL
L L R
L R
R L
R L
L R
R L
L R
R R L
R L
L R
L R
R L
L R
R L
&
1
&
2
&
3
&
4
Double Lick
DS
L
R
&1
DT UP/H DT UP/H RS
R R L R R L RL
L L R L L R LR
&
2 &
3 &4
Drag & Split
DS
L
R
&1
DR
L
R
&
Eric
DS
L
R
&1
DT(b)
R
L
&
Flea Flicker
DT UP/H DS(xib)
L L R L
R R L R
&
1 &2
Hard Step
DT(b)
L
R
&
S(xif)
R
L
2
H
R
L
1
H
L
R
2
R
R
L
&
DS BA/H UP/SL
L R L L R
R L R R L
&3
&
4
H(w)
L
R
3
BR UP/H DS
L L R L
R R L R
&
2 &3
RS
RL
LR
&4
RS
RL
LR
&4
chapter 16.7 / 13
ECTA Handbook
August 11
High Horse
DS
L
R
&1
DT(xif)
R
L
&
Ida Red
DT(b)
L
R
&
Joey
DS
L
R
&1
BA(xib)
R
L
&
Karate Rock
DS
L
R
&1
KK (*** L) H
R
L
L (*** R) R
&
2
Karate Split
DS
L
R
&1
DS
R
L
&2
Maggie
DS BO/H(if) BO/H(if) BO(xib)/BO BO/H(if) UP/SL
L L R
L R
R
L R L
L R
R R L
R L
L
R L R
R L
&1
&
2
3
&
4
McNamara
H(ots)
L
R
1
Only Wanna
DS
L
R
&1
DT(b)
R
L
&
H
L
R
2
Scoot
DS
L
R
&1
SL
L
R
&
SL
L
R
3
Scotty
DS
L
R
&1
DT(xif)
R
L
&
Shave & Haircut
STO
L
R
1
H
R
L
1
H
L
R
2
DT(unx)
R
L
&
H
L
R
3
RS BA/H UP/SL
RL R L L R
LR L R R L
&4
&
5
BR UP/SL DS(xif) BA/H UP/SL
L L R L
R L L R
R R L R
L R R L
&
2
&3
&
4
DS
L
R
&3
RS
RL
LR
&3
BA(ots)
R
L
&
BA(xib)
L
R
3
BA(xib)
R
L
2
DS(xif)
R
L
&2
RS
RL
LR
&3
DS
L
R
&5
DS
R
L
&7
RS
RL
LR
&6
BA(ots)
R
L
&
RS
LR
RL
&8
DS
R
L
&7
KK UP/SL
L L R
R R L
&
8
S
L
R
4
KK UP/H
R R L
L L R
&
4
KK(*** L) H BA/H UP/SL DS
R
L R L L R L
L (*** R) R L R R L R
&
4
&
5
&6
BA
L
R
&
RS
RL
LR
2&
BA(ots)
L
R
2
DS
L
R
&6
BA(ots)
L
R
&
H(ots)
R
L
3
DS
R
L
&7
BA
R
L
&
RS
LR
RL
&8
S(xib)
L
R
4
S(ib) UP/SL
R
L R
L
R L
&
4
RS
RL
LR
&4
H
L
R
2
DT(unx)
R
L
&
H TCH BO STO DS
L R bt R L
R L bt L R
3 & 4
5 &6
DS
R
L
&7
RS
LR
RL
&8
S p S S(xif)
L
R L
R
L R
& 3 & 4
chapter 16.7 / 14
ECTA Handbook
August 11
Simone Hard Step
DT(b)
L
R
&
Utah
DS
L
R
&1
H
R
L
1
BR UP/H TCH(xif)
L L R L
R R L R
&
2 &
H
R
L
3
TCH(xif)
L
R
&
BR(xif) UP/H DS(xif)
R
R L R
L
L R L
&
2 &3
RS
LR
RL
&4
H
R
L
4
RS
LR
RL
&5
TCH(ots)
L
R
&
H
R
L
5
TCH(xif)
L
R
&
BR UP/H DS
L L R L
R R L R
&
6 &7
H
R
L
6
DS
L
R
&7
RS
RL
LR
&8
RS
RL
LR
&8
4.2.2. Extended list (INT)
Alabama
DS
L
R
&1
DT(b)
R
L
&
Appalachia
DS
L
R
&1
DR
L
R
&
Brenda
DS
L
R
&1
H(if)
R
L
&
Cole Step
DS
L
R
&1
SL
L
R
&
Crossover Loop
DS
L
R
&1
DT(xif)
R
L
&
Drag Back
DR
L
R
&
S(ib)
R
L
1
S
R
L
2
RS
RL
LR
2&
H TCH(ib) H BR UP/H
L R
L R R L
R L
R L L R
2 &
3 &
4
S
L
R
&
DR
L
R
3
S
R
L
&
S
L
R
4
H TCH(ib) H DT UP(ots)/H TCH(xif) UP/H STA UP/H
L R
L R R
L R
R L R R L
R L
R L L
R L
L R L L R
2 &
3 &
4 &
5
&
6
SL
L
R
3
RS
RL
LR
&4
H
L
R
2
DR
R
L
&
Drag Step & Loop DS
L
R
&1
DR
L
R
&
Ghostbuster
DS
L
R
&1
DT(xif)
R
L
&
Harley
DS
L
R
&1
DT(xif)
R
L
&
SL
R
L
5
DT(unx)
R
L
&
S(ib)
L
R
2
S(xif)
R
L
2
H
L
R
2
S
R
L
&
DS
R
L
&7
RS
LR
RL
&8
H LOOP S(xib)
L R
R
R L
L
3 &
4
optional:
turn *** R on Loop
turn *** L on Loop
S(ib)
R
L
3
move bw
RS
LR
RL
&4
DS SL/LOOP S(xib)
L L
R
R
R R
L
L
&3
&
4
DT(unx)
R
L
&
H
L
R
2
DR
L
R
&
DS
L
R
&6
H
L
R
3
S
R
L
&
DT(unx)
R
L
&
H
L
R
3
S
L
R
4
S
R
L
&
S
L
R
5
KK UP/H DS
R R L R
L L R L
&
6 &7
R(ots)
R
L
&
S
L
R
4
H(w)
R
L
&
RS
LR
RL
&8
H(w)
L
R
5
optional:
turn *** R on 4-5
turn *** L on 4-5
RS
RL
LR
&6
DS
R
L
&7
RS
LR
RL
&8
chapter 16.7 / 15
ECTA Handbook
August 11
Hippity Hop
DS HOP R(xif)
L
L R
R
R L
&1 &2 &
Hoedowner
DS(xif)
L
R
&1
Ida Wrong
DT(b)
L
R
&
Jump Step
JMP(fwd) DR SL/UP DS
----both--- L R R
----both--- R L L
1
&
2
&3
JW Vine
DS
L
R
&1
DS(xif)
R
L
&2
Lucy Brush
DS
L
R
&1
RS
RL
LR
&2
MJ
DS
L
R
&1
DS(xib)
R
L
&2
Moonshine
DS
L
R
&1
DT(xif)
R
L
&
Mountain Goat
DS
L
R
&1
BA(xif)
R
L
&
Nylenda
DT S/KK p BA(xib)
L L R
R
R R L
L
&
1
2
BA(ots)
L
R
&
BA(ots)
R
L
3
BA(xib)
L
R
&
SL
L
R
4
Nylenda Run
DT S/KK p BA(xib)
L L R
R
R R L
L
&
1
2
BA(ots)
L
R
&
BA(xif)
R
L
3
BA(ots)
L
R
&
SL
L
R
4
H
R
L
1
S HOP R(xib)
L L R
R R L
3 &4 &
KK UP/H DS(xib)
R R L R
L L R L
&
2 &3
R
L
R
&
BR UP/H DS(xif)
L L R L
R R L R
&
2 &3
DS
L
R
&3
S(xib)
R
L
&
R
L
R
&
H
L
R
2
BA(xib)
L
R
2
S(xif)
R
L
4
RS
RL
LR
&4
DS
L
R
&7
RS
RL
LR
&8
KK UP/H KK UP/H DS(xib)
L L R L L R L
R R L R R L R
&
5 &
6 &7
R(ots)
R
L
&
S
L
R
5
DS(xif)
R
L
&6
RS
LR
RL
&7
RS
LR
RL
&5
DS
L
R
&6
DS
R
L
&7
RS
LR
RL
&8
RS
RL
LR
&8
BR UP/H
L L R
R R L
&
8
optional:
turn *** L on beat 4-5
turn *** R on beat 4-5
H TCH(ib) H TCH(ib) H DS
R L
R L
R L
L R
L R
L R
4 &
5 &
6 &7
H(w/ots)
R
L
3
DT(unx)
R
L
&
DS
R
L
&6
RS
LR
RL
&4
SL
R
L
4
BR UP/H T(xif)
R R L R
L L R L
&
3 &
S
L
R
5
H
L
R
3
SLR
L
R
&
DS
R
L
&4
S(ib)
L
R
4
RS
RL
LR
&5
DT(xif)
L
R
&
H
R
L
5
BA(ots)
R
L
&
DS
R
L
&6
DS
L
R
&7
RS
RL
LR
&8
RS
RL
LR
&8
DT(unx)
L
R
&
H
R
L
6
RS
LR
RL
&7
BR UP/H
L L R
R R L
&
8
BA(xif) BA(xib)/H(if) UP/SL
L
R
L
L R
R
L
R
R L
3
&
4
chapter 16.7 / 16
ECTA Handbook
August 11
Operator
STO
L
R
1
DT UP/H DS BA/H UP/SL
R R L R L R R L
L L R L R L L R
&
2 &3
&
4
Pothole
DT
L
R
&
Rock Slur
DS SLR S(ib)
L
R R
R
L L
&1 & 2
Samantha Slide
DS
L
R
&1
Scissors
DT
L
R
&
Side Kicker
DS
L
R
&1
DS(xif)
R
L
&2
Slipping Vine
DS
L
R
&1
SL
L
R
&
Vine Devil
DS
L
R
&1
DS(xif)
R
L
&2
Woody
DS
L
R
&1
RS
RL
LR
&2
DR
L
R
&
Zirconias
DS
L
R
&1
DS
R
L
&2
H(xif)
L
R
&
BA(heels out) CLK(H) UP/H
--------both-------- R L
--------both-------- L R
1
&
2
DS(xif)
R
L
&2
R
L
R
&
SL
R
L
&
S(ots) SLR S(ib)
R
L L
L
R R
3
& 4
S(if)
L
R
3
SL
L
R
&
R
R
L
&
S(if)
R
L
4
S(ots) SLR S(ib)
L
R R
R
L L
5
& 6
RS
LR
RL
&5
DS
L
R
&6
DS
R
L
&7
RS
LR
RL
&7
BR UP/H
L L R
R R L
&
8
RS
LR
RL
&8
BO(ots) BO(xib)/BO(xif) BO(ots) BO(xif)/BO(xib) BO(ots) BA/H SL/UP
both
L
R
both
L
R
both
R L R L
both
R
L
both
R
L
both
L R L R
1
&
2
&
3
&
4
DS JMP(rpl) DS
L
R
L
R
L
R
&3 &4
&5
S(xib)
R
L
2
DS
L
R
&3
DS
L
R
&3
DS(xif)
R
L
&4
DS(xib)
R
L
&4
S(xif)
R
L
3
RS
LR
RL
&4
S(xif)
L
R
3
DR
R
L
&
RS
RL
LR
&4
RS
RL
LR
&6
DS
L
R
&5
DS
L
R
&5
SL
L
R
&
KK UP/H KK UP/H
R R L R R L
L L R L L R
&
7 &
8
S(xib)
R
L
6
DS(xif)
R
L
&6
DS
L
R
&7
RS
RL
LR
&8
BA(ib)
L
R
&
SL
L
R
7
S(xif)
L
R
5
RS
RL
LR
&6
DS
R
L
&7
RS
LR
RL
&8
S(ib)
R
L
&
SL
R
L
5
RS
LR
RL
&6
DS
L
R
&7
RS
RL
LR
&8
RS
RL
LR
&8
chapter 16.7 / 17
ECTA Handbook
August 11
5. High Intermediate level (High INT)
(Under construction)
5.1. High Intermediate movements
HOOK
Hook
free foot is “hooked” behind the weight carrying leg
5.2. High Intermediate steps
Gallop
DS
L
R
&1
Heel Click
DS HOP/CLK(H)
L
L
bt
R
R
bt
&1
&2
Pulley
DS DR/KK SL/UP
L L R L R
R R L R L
&1
&
2
Replace Shuffle
Rhythm
DS
L
R
&1
DS
L
R
&1
H(if) FLP S
R
R L
L
L R
&
a 2
DS(xif)
R
L
&2
DT
R
L
e&
S
R
L
a
S(xif)
R
L
3
H(if) FLP S
R
R L
L
L R
&
a 4
RS
LR
RL
&4
DT(b) HOOK/H DR
R
R
L L
L
L
R R
&
6 &
SL
L
R
7
DR
L
R
&
SL
L
R
8
S
L
R
2
DT/DR UP/SL DR
L R L R R
R L R L L
&
1
&
Slap Back
DT
L
R
&
DR
R
L
&
DR
L
R
&
DS JMP(rpl) DS
L
R
L
R
L
R
&3 &4
&5
Slap & Turn
SL
R
L
1
H(if) FLP S
R
R L
L
L R
&
a 3
S
L
R
2
R(if)
R
L
&
S KK/DR(***R) UP/SL
L R L
R L
R L R (***L) L R
3
&
4
S(xib)
L
R
2
chapter 16.7 / 18
ECTA Handbook
August 11
6. Advanced level (ADV)
(Under construction)
6.1. Advanced movements
SLP
Slap
The ball of the foot strikes (touches) the floor once during a short
backward motion of the foot
6.2. Advanced steps
Canadian
DS
L
R
&1
DT HOP TCH
R
L
R
L
R
L
e& a
2
Cramp Roll
BA
L
R
&
BA
R
L
+
Get It
DS
L
R
&1
SK HOP BR(b) HOP TCH(ib) HOP SK HOP SLP S TCH(ib) HOP
R
L R
L
R
L R
L
R R L
R
L
R L
R
L
R L
R
L L R
L
e
& a
2
e
& a
3
e & a
4
Tap Synco
DS
L
R
&1
DT
R
L
e&
S(xif)
R
L
a
Triplet
DS
L
R
&1
DS
R
L
&2
DT
L
R
&a
H
L
R
+
H
R
L
1
S/DT
L R
R L
3e
S
L
R
2
DT
R
L
e&
S/DT
R L
L R
&a
S(ots)
R
L
a
S
L
R
3
DT
R
L
e&
S(xif)
R
L
a
S
L
R
4
S
L
R
4
chapter 16.7 / 19
ECTA Handbook
August 11
7. Commonly used combinations
Over time, certain combinations of movements have developed their own names. Some
of them are even reflected in names of steps. The description of three of those common
sequences is included in the following paragraphs.
Chug – a combination of Up and Slide. Chug is used as a synonym for the upward
movement of the knee e.g. after a Brush or Kick. In its easy variant it is also danced with
a Heel rather than a Slide. For some steps it is also quite common to put a Drag in front
of it on the & (Examples: Ida Red, Only Wanna).
Chug
UP/SL
L R
R L
1
Run – a combination of four quick steps. Run is danced with Balls or Steps or a
combination of both. Run can also be combined with a turn or cross movements.
(Examples: Fancy Run, Ghostbuster)
Run
BA
L
R
&
BA
R
L
1
BA
L
R
&
BA
R
L
2
Split – Change of weight (jump) to ball and heel. The heel is slightly moved forward. Also
called a Split Slide if combined with a subsequent upward movement of the knee (Chug).
(Examples: Drag & Split, High Horse)
Split [Slide]
BA/H
L R
R L
&
[UP/SL]
R L
L R
1
chapter 16.7 / 20
ECTA Handbook
August 11
8. Vine list
Grape Vine
S(ots)
L
R
1
S(xib)
R
L
2
JW Vine
DS
L
R
&1
DS(xif)
R
L
&2
Slipping Vine
DS
L
R
&1
SL
L
R
&
Turning Vine
DS
L
R
&1
DS(xif)
R
L
&2
DS
L
R
&3
DS
R
L
&4
Vine Devil
DS
L
R
&1
DS(xif)
R
L
&2
DS
L
R
&3
DS(xib)
R
L
&4
DS
L
R
&5
DS(xif)
R
L
&6
BA(ib)
L
R
&
Vine 8
or Vine Eight
DS
L
R
&1
DS(xif)
R
L
&2
DS
L
R
&3
DS(xib)
R
L
&4
DS
L
R
&5
DS(xif)
R
L
&6
DS
L
R
&7
Vine Loop
DS
L
R
&1
DS(xif)
R
L
&2
DS
L
R
&3
LOOP
R
L
&
DS
L
R
&3
S(ots) TCH
L
R
R
L
3
4
S(xib)
R
L
&
S(xib)
R
L
2
DS
L
R
&3
SL
R
L
4
RS
LR
RL
&5
DS(xif)
R
L
&4
DS
L
R
&5
DS
R
L
&6
S
R
L
4
DS
L
R
&6
DS
L
R
&5
DS
L
R
&7
DS
R
L
&7
SL
L
R
&
RS
LR
RL
&8
optional:
turn *** L on beat 4-5
turn *** R on beat 4-5
S(xib)
R
L
6
RS
RL
LR
&8
DS
L
R
&7
RS
RL
LR
&8
full turn R on beat 4-6
full turn L on beat 4-6
SL
L
R
7
RS
RL
LR
&8
RS
RL
LR
&8
optional:
turn *** R on beat 3-4
turn *** L on beat 3-4
chapter 16.7 / 21
ECTA Handbook
August 11
9. Alphabetical step index
Step
Level
Main List / Extended List
Alabama
Ankle Break
Appalachia
Basic
Basic Brush or Brush Up
Basic Kick
Basic Skuff
Basketball Turn
Brenda
Burton Stamp
Canadian
Catawba
Charleston
Cole Step
Cotton Kick
Cowboy
Cramp Roll
Cross Touch
Crossover Loop
Dirty Toe
Double Basic
Double Lick
Double Step or Double Toe Step
Drag & Split
Drag Back
Drag Step
Drag Step & Loop
Eric
Fancy Double
Fancy Kick
Fancy Run
Flea Flicker
Front Basic
Gallop
Get It
Ghostbuster
Grandpa
Grape Vine
Hard Step
Harley
INT
INT
INT
B
B
B
EZ-INT
EZ-INT
INT
INT
ADV
INT
EZ-INT
INT
EZ-INT
B
ADV
EZ-INT
INT
EZ-INT
B
INT
B
INT
INT
EZ-INT
INT
INT
B
EZ-INT
EZ-INT
INT
EZ-INT
High INT
ADV
INT
EZ-INT
EZ-INT
INT
INT
EL
ML
EL
EL
ML
EL
ML
ML
ML
EL
ML
EL
EL
EL
ML
ML
EL
ML
EL
ML
EL
ML
ML
ML
EL
ML
EL
ML
EL
chapter 16.7 / 22
ECTA Handbook
August 11
Step
Level
Heel Click
Heel Walk
High Horse
Hippity Hop
Hoedowner
Ida Red
Ida Wrong
Jack & Jill
Jazz Box
Joey
Jump Step
JW Vine
Karate
Karate Rock
Karate Split
Lucy Brush
Maggie
McNamara
MJ
Moonshine
Mountain Basic
Mountain Goat
Nylenda
Nylenda Run
Only Wanna
Operator
Outhouse
Pothole
Pulley
Pump Touch
Push Back
Push Forward
Push Off
Push Turn
Replace Shuffle
Rhythm
Rock Slur
Rock Step
Rocking Chair
Samantha
Samantha Slide
Scissors
High INT
EZ-INT
INT
INT
INT
INT
INT
EZ-INT
EZ-INT
INT
INT
INT
EZ-INT
INT
INT
INT
INT
INT
INT
INT
EZ-INT
INT
INT
INT
INT
INT
EZ-INT
INT
High INT
EZ-INT
B
B
B
B
High INT
High INT
INT
B
B
EZ-INT
INT
INT
Main List / Extended List
ML
ML
EL
EL
ML
EL
EL
ML
ML
EL
EL
ML
ML
ML
EL
ML
ML
EL
EL
ML
EL
EL
EL
ML
EL
ML
EL
ML
EL
ML
EL
EL
chapter 16.7 / 23
ECTA Handbook
August 11
Step
Level
Main List / Extended List
Scoot
Scotty
Shave & Haircut
Shuffle
Side Kicker
Simone Hard Step
Slap & Turn
Slap Back
Slipping Vine
Slur Basic
Slur Brush
Soccer
Spinner
Stomp Double
Tap Synco
Toe-Heel
Travelling Shoes
Triple
Triple Brush
Triple Kick
Triple Lick
Triplet
T-Step
Turkey
Turning Vine
Utah
Vine 8 or Vine Eight
Vine Devil
Vine Loop
Woody
Zirconias
INT
INT
INT
B
INT
INT
High INT
High INT
INT
EZ-INT
EZ-INT
EZ-INT
EZ-INT
B
ADV
B
EZ-INT
B
B
B
EZ-INT
ADV
EZ-INT
EZ-INT
EZ-INT
INT
B
INT
EZ-INT
INT
INT
ML
ML
ML
EL
ML
EL
EL
ML
ML
ML
EL
ML
ML
ML
EL
ML
EL
EL
EL
EL
chapter 16.7 / 24
ECTA Handbook
August 11
16.8
Clogging Repertoire Lists
Within the ECTA we keep repertoire lists of songs and routines that were taught at ECTA
events.
ECTA instructors should select at least two songs from this repertoire lists each year to
teach them in their group. The reason behind this regulation is to have a certain number of
routines, which every group can dance to cues together on clogging specials.
From time to time these lists are revised and songs are added or dropped by the Clogging
Council. All songs taught on ECTA events between the revisions are called
“Experimentals” and are provisionally collected on a separate list (16.8.6)
The repertoire lists are divided according to the following levels of difficulty:
• Repertoire Songs Beginner / Basic (16.8.1)
• Repertoire Songs Easy / Easy Intermediate (16.8.2)
• Repertoire Songs Intermediate (16.8.3)
• Repertoire Songs High Intermediate / Advanced (16.8.4)
• Favorites (16.8.5)
Brigitte Lanatowitz manages these lists. You can get the cue sheets to the listed songs
from her. More about that can be found under chapter 16.6.3.
16.81
Repertoire - Beginner / Basic Songs
No.
Music
Artist
Level
Choreo
Event
Year
1
9 To 5
Parton, Dolly
Beg.
Schneider, Ulla
02. Clg. Cv.
1998
2
Africa
Laurens, Rose
Basic
Pohlmann, Sandra
04. Clg. Cv.
2000
3
All Shook Up
Presley, Elvis
Basic
King, Josh
01. Clg. Cv.
1997
4
All That She Wants
Ace of Base
Basic
Gottschalk, Anja
11. Clg. Cv.
2007
5
Baby's Got A Hold On Me
Nitty Gritty Dirt Band
Beg.
Schell, Dani
08. Clg. Cv.
2004
6
Banana Coco
Da Costa, Liza
Basic
Wagner, C. ad. Behrens, B.
12. Clg. Cv.
2008
7
Chihuahua
DJ Bobo
Beg.
Behrens, Bianca
10. Clg. Cv.
2006
8
East Bound And Down
Reed, Jerry
Beg.
ta. by Schell, Dani
01. Clg. Cv.
1997
9
Forever And Ever, Amen
Travis, Randy
Basic
unkn. mod. Hannemann, A.
09. Clg. Cv.
2005
10
Lemon Tree
Fools Garden
Basic
Rohrbach, M./ ta.Behrens, B.
07. Clg. Cv.
2003
11
Lollipop
Mika
Basic
Brammer, Michael
11. Clg. Cv.
2007
12
Mr. Sandman
Harris, Emmylou
Basic
Günther, Elli
01. Clg. Cv.
1997
13
One Of Us
A*Teens
Beg.
Ludwig, Heike
08. Clg. Cv.
2004
14
Straight Up
Abdul, Paula
Basic
Wagner, C. / ta. Schell, D.
09. Clg. Cv.
2005
15
We Will Rock You
Queen
Beg.
Günther, Elli
12. Clg. Cv.
2008
chapter 16.8 /
1
ECTA Handbook
August 11
16.8.2
Repertoire - Easy / Easy Intermediate Songs
No. Music
Artist
Level
Choreo
1 Big Girl (You Are Beautiful)
Mika
E. Int.
Haaf, Sandra
Event
Year
12. Clg. Cv.
2008
2 Cecilia
Simon & Garfunkel
Easy
3 Forever And Ever Amen
Travis, Randy
Easy
Ruf, Mia / ad.
Fall Rd. Up
1995
unknown ta Günther, Elli
10. Clg. Cv.
4 Happy People
Mr. President
2006
E. Int.
Kropf, Leo / ad. Ruf, Mia
03. Clg. Cv.
5 Manic Monday
1999
The Bangles
Easy
Moritz, Ramona
12. Clg. Cv.
2008
6 Mr. Rock 'N' Roll
Macdonald, Amy
Easy
Dehner, Angelika
12. Clg. Cv.
2008
7 One Heart
Dion, Celine
E. Int.
Dehner, Angelika
07. Clg. Cv.
2003
8 One To Make Her Happy
Marque
E. Int.
Kromer, Angelika
04. Clg. Cv.
2000
9 Stir It Up
LaBelle, Patti
E. Int.
unknown
01. Clg. Cv.
1997
10 The Dragon
Paddy Goes To Holyhead
E. Int.
Wagner, Claudia
01. Clg. Cv.
1997
11 Top Of The World
Anderson, L./ or Carpenters
Easy
Kromer, Angelika
01. Clg. Cv.
1997
12 Valerie
Ronson, Mark
Easy
Kromer, Angelika
12. Clg. Cv.
2008
13 We Are One People
Aswad
Easy
Brammer, M./ad. Volk, S.
Fall Rd. Up
2003
14 Whenever, Wherever
Shakira
E. Int.
Dehner, Angelika
06. Clg. Cv.
2002
15 You’re The Ticket
Montgomery, John Michael
E. Int.
Volk, Pia & Stefan
03. Clg. Cv.
1999
16.8.3 Repertoire - Intermediate Songs
No. Music
Artist
Level
Choreo
Event
Year
1 Chipz In Black
Chipz
Int.
Dehner, Angelika
10. Clg. Cv.
2006
2 Flashdance (What A Feeling)
DJ Bobo
Int.
Barrett, T. / ad. Volk, S.
Fall Rd. Up
2003
3 Freedom
DJ Bobo
Int.
Volk, Stefan
Winter Jamb.
1995
4 Hey Ho Drunken Sailor
DJ Heiopei
Int.
Kipp, Tina
11. Clg. Cv.
2007
5 I Don't Feel Like Dancing
Scissor Sisters
Int.
Cox, Yvonne
11. Clg. Cv.
2007
6 Ieva's Polka
Loituma
Int.
Dahl, Daphne
12. Clg. Cv.
2008
7 If I Could
Asleep At The Wheel
Int.
Barrett, Tandy
ECTA Conv.
1996
8 Iko Iko
Captain Jack
Int.
Pohlmann, Sandra
05. Clg. Cv.
2001
9 I'll Tell Me Ma
Paddy Goes To Holyhead Int.
Kipp, Tina
Spring Jamb.
2005
10 Leaving Liverpool
Shamrock
Int.
Dahl, Daphne
11. Clg. Cv.
2007
11 Like Ice In The Sunshine
The BossHoss
Int. Form. Kipp, Tina
12 Ooh Aah.....Just A Little Bit
Gina G.
Int.
Volk, Stefan & Pia
13 Wenn nicht jetzt, wann dann
Höhner
Int.
14 Witch Doctor
Cartoons
15 You're The One That I Want
Newton John, Olivia
(Radio Version)
10. Clg. Cv.
2006
Winter Jamb.
1996
Kromer, O. & Günther, E.
12. Clg. Cv.
2008
Int.
Wagner, Claudia
04. Clg. Cv.
2000
Int.
Kromer, Angelika
03. Clg. Cv.
1999
chapter 16.8 /
2
ECTA Handbook
August 11
16.8.4
Repertoire - High Intermediate / Advanced Songs
No. Music
Artist
Level
Choreo
Event
Year
1 1001 (Arabian) Nights
Chipz
H. Int.
Behrens, B. & Balon-Burger M.
12. Clg. Cv.
2008
2 All Star
Smash Mouth
Adv.
McChesney, K./ ta. Gottschalk,A.
3 Bottleneck Bob 2000
Rednex
H. Int.
Volk, Stefan
4 Cartoon Heroes
Aqua
H. Int.
5 Coz I Can
Johnsson, Ana
6 Cry Of The Celts
12. Clg. Cv.
2008
Summer Jamb.
2001
Kipp, Tina
04. Clg. Cv.
2000
Adv.
Wagner, Claudia
10. Clg. Cv.
2006
Hardiman, Ronan
Adv.
Fayne, Barry / ta. Kipp, T.
04. Clg. Cv.
2000
7 La Camisa Negra
Juanes
H. Int.
Schneider, Clarissa
10. Clg. Cv.
2006
8 Makes Me Wonder
Maroon 5
H. Int.
Pearson, Colleen / ad. Kipp, Tina
12. Clg. Cv.
2008
9 Mosquito
Loco Loco
H. Int.
Kipp, Tina
10. Clg. Cv.
2006
10 Paid My Dues
Anastacia
Adv.
Volk, Pia & Stefan
06. Clg. Cv.
2002
11 Poppa Joe
Party Animals
H. Int.
Wagner, Claudia
05. Clg. Cv.
2001
12 The Federals
The Picts
H. Int.
Gruber, Shane / mod. Kipp, T.
Fall Rd. Up
2008
13 This Is The World We Live In
Alcazar
H. Int.
Schell, Dani
08. Clg. Cv.
2004
14 Viva Life On Mars
Williams, Robbie
H. Int.
Kipp, Tina
11. Clg. Cv.
2007
15 With Me
Lonestar
Adv.
Driggs, Jeff
Minilab Darmst.
2002
16.8.5
Repertoire - Favourite Songs
No. Music
Artist
Level
Choreo
1 Bad Moon Rising
CCR
Beg.
Zöller, Monika
Event
2 Battle Of New Orleans
Horton, Johnny
Easy
ta. by Schell, Dani
3 Break My Stride
Blue Lagoon
E. Int.
Pittermann, Sandy
4 Cajun Moon
Skaggs, Ricky
Int.
Gibbs, Jo Ann / Barrett, T.
5 Calling Baton Rouge
Brooks, Garth
Int.
Smith, S. / ad. St. Volk
6 Come And Get Your Love
The Real McCoy
Int.
Driggs, J. / mod. Kromer, A.
7 Dance
Alley, Twister
Int.
Smith, Steve
8 Down At The Twist And Shout
Carpenter, Mary Chapin
Int.
Fleetwood, Naomi
9 Fishin’ In The Dark
Summer Jamb.
1993
adapt.
Nitty Gritty Dirt Band
E. Int.
Brown, Dieter
10 Flashdance
Cara, Irene / G. Moroder
Easy
Barrett, Tandy
11 Get On Your Feet
Estefan, Gloria
Int.
unknown, ta. Wagner, C.
12 Halfway Around The World
A*Teens
Driggs, Jeff / ad. The Mixture
13 High Horse
14 In The Shadows
Nitty Gritty Dirt Band
The Rasmus
H. Int.
Int.
15 Lord Of The Dance
16 Mamma Mia / Mama Mia
Hardiman, Ronan
Int.
Smith, Steve / ad.Lieb, Ann.
Schell, Dani
A*Teens
Int.
Int.
Lantz, D. / ad. Stern, Doris
Driggs, Jeff
17 Mountain Music
Alabama
E. Int.
ta. by Schell, Dani
18 Rocky Top
Gibbs, Terry
Int.
Moreland / Schell / Schutt.bg.
19 That's What I Like About You
Yearwood, Trisha
Easy
Whaley, M. / ta. Günther, E.
20 Upside Down
A*Teens
Int.
Driggs
adapt.
Year
1994
Walldorf
2004
Winter Jamb.
1996
Nashville
1991
03. Clg. Cv.
1999
Cloppenburg
2001
Frankenstein
2003
US Nat. Sq.Cv.
1998
Walldorf
2000
Cloppenburg
2001
chapter 16.8 /
3
ECTA Handbook
August 11
16.8.6
Experimentals (2008- 2011)
No. Music
Artist
Level
Fall Rd. Up
2008
H. Int.
Choreo
Moosdorf, A. / ta.
Kromer, A.
Schneider - Wirsching,
Clarissa
1 1973
Blunt, James
Int.
2 A Night Like This
Emmerald, Caro
3 Alejandro
Lady Gaga
4 Alkohol
15. Clg. Cv.
2011
Basic
Brammer, Michael
15. Clg. Cv.
2011
Grönemeyer, Herbert
Easy
Brammer, Michael
Spring Jamb.
2009
5 All Summer Long
Kid Rock
Int.
Dahl, Daphne
Fall Rd. Up
2008
6 Amazing
Seal
Int.
12. Clg. Cv.
2008
7 Bacco Perbacco
Zucchero
Int.
13. Clg. Cv.
2009
8 Banana Coco
da Costa, Liza
Shupe, Ryan &
Rubberband
Basic
15. Clg. Cv.
2011
Adv.
Pittermann, Sandy
Schneider-Wirsching,
Clarissa
Wagner, C. / mod.
v.Brouwershaven, N.
King, Josh / mod.
Rohrbach, Martin
10 Best Years Of Our Lives
Baha Men
Int.
Behrens, Bianca
11 Billy B Bad
Black Horse & The Cherry
12 Tree
Jones, George
Basic
KT Tunstall
Adv.
13 Bonanza
Clogcue RR 881007
14 Celebration
Madonna
15 Cha Cha auf'm Dach
9 Banjo Boy
Event
Year
14. Clg. Cv.
2010
Spring Jamb.
2009
Rohrbach, Martin
13. Clg. Cv.
2009
14. Clg. Cv.
2010
Int.
Lanatowitz, Gunnar
Burns, Charlie / ad.
Günther, Elli
Spring Jamb.
2011
H. Int.
Schell, Dani
Fall Rd. Up
2009
Wise Guys
Int.
Brammer, Michael
12. Clg. Cv.
2008
16 Change
Merriweather, Daniel
Int.
Wagner, Claudia
14. Clg. Cv.
2010
17 Consider Me Gone
McEntire, Reba
Int.
Jung, Lara-Mareike
Spring Jamb.
2011
18 Contrified Soul
Drive, Emerson
Adv.
14. Clg. Cv.
2010
19 Cowboy & Indianer
Henning, Olaf
E. Int.
Rohrbach, Martin
Martinetz, Gunda & Koll,
Sabine
12. Clg. Cv.
2008
20 Damelo
Juanes
H. Int.
Jung, Lara-Mareike
Spring Jamb.
2011
21 Dance Tonight
McCartney, Paul
Easy
Pohlmann, Sandra
Spring Jamb.
2011
22 Denial
Sugarbabes
E. Int.
13. Clg. Cv.
2009
23 Dirty Girl
Clarke, Terri
Int.
Pittermann, Sandy
Webb, Stan / ad.
Behrens, Bianca
Fall Rd. Up
2009
24 Do The Conga
Do You Know? - The Ping
25 Pong Song
Flinn / Morris
Easy
Thoß, Cortina
14. Clg. Cv.
2010
Iglesias, Enrique
Basic
Hannemann, Andrea
12. Clg. Cv.
2008
26 Doctor Jones
Aqua
Int.
14. Clg. Cv.
2010
27 East Bound And Down
Reed, Jerry
Easy
Gottschalk, Anja
Barrett, Tandy / mod.
Günther, Elli
Spring Jamb.
2011
28 Fallin' For You
Caillat, Colbie
Int.
Dahl, Daphne
Fall Rd. Up
2009
29 Famous People
Paisley, Brad
Easy
Jung, Lara-Mareike
Spring Jamb.
2011
30 Feel The Rush
Shaggy feat. Trix & Flix
E. Int.
Ludwig, Heike
Spring Jamb.
2009
31 Fireflies
Owl City
Easy
Behrens, Bianca
14. Clg. Cv.
2010
32 Follow Me
The Baseballs
Easy
Heimann, Sandra
15. Clg. Cv.
2011
33 Gangstertown
Chipz
Int.
Moritz, Ramona
13. Clg. Cv.
2009
34 Give It 2 Me
Madonna
H. Int.
Behrens, Bianca
13. Clg. Cv.
2009
35 Grenade
Mars, Bruno
Easy
Becker, Michael
15. Clg. Cv.
2011
36 Haven't Met You Yet
Bublè, Michael
Int.
14. Clg. Cv.
2010
37 He Don't Love Me
Human Nature
H. Int.
Cox, Yvonne
Hope, Stephen /ad.
Brammer, Niels
Fall Rd. Up
2010
38 Heavy Rotation
Anastacia
H. Int.
Shinoski, Missy
ECTA 50 J.
2009
39 Hey, Soul Sister
Train
Int.
Pohlmann, Sandra
Spring Jamb.
2011
40 Hit The Road Jack
Charles, Ray
Basic
15. Clg. Cv.
2011
41 Hit You With The Real Thing
Westlife
Int.
Kromer, Angelika
Huddy, Irmgard / ad/ta.
Kipp, Tina
Spring Jamb.
2010
42 Home To Louisiana
Tayler, Ann
Easy
Ciupke, Monika
14. Clg. Cv.
2010
43 Hot 'N' Cold
Perry, Katy
E. Int.
Schell, Dani
ECTA 50 J.
2009
44 How Long
The Eagles
Int.
Shinoski, Missy
ECTA 50 J.
2009
chapter 16.8 /
4
ECTA Handbook
August 11
45 I Do
Caillat, Colbie
Basic
46 I Feel Lucky
I Just Can't Wait To Be King 47 Soundtr.
Carpenter, Mary Chapin
Int.
John, Elton & Rice, Tim
E. Int.
Schneider - Wirsching,
Clarissa
Fleetwood, N. / ta.
Wagner, C.
Groh, Martina / ta
Günther, Elli
48 I Just Wanna Live
Good Charlotte
Beg.
Wagner, Claudia
49 I Need A Dollar
H. Int.
50 I Thought I Lost You
Blacc, Aloe
Cyrus, Miley & Travolta,
John
51 If A Song Could Get Me You
Larsen, Marit
52 If You're Going Through Hell
Atkins, Rodney
53 I'll Be There For You
The Rembrands
54 I'll Believe You When
15. Clg. Cv.
2011
12. Clg. Cv.
2008
13. Clg. Cv.
2009
13. Clg. Cv.
2009
Kipp, Tina
Spring Jamb.
2011
Int.
Kipp, Tina
ECTA 50 J.
2009
E. Int.
Fall Rd. Up
2009
Int.
Haaf, Sandra
Shinoski, Missy / ad + ta
Dahl, D.
14. Clg. Cv.
2010
Easy
Pohlmann, Sandra
13. Clg. Cv.
2009
Matchbox Twenty
H. Int.
Pohlmann, Sandra
12. Clg. Cv.
2008
55 I'm A Believer
Smash Mouth
Basic
Flühr, Bernd
12. Clg. Cv.
2008
56 I'm Yours
Mraz, Jason
Basic
Brammer, Michael
13. Clg. Cv.
2009
57 In My Arms
Minogue, Kylie
E. Int.
12. Clg. Cv.
2008
58 It's Ok !
Itsy Bitsy Teenie Weenie
59 Yellow Polka
Atomic Kitten
H. Int.
Hannemann, Andrea
Balon-Burger, M. & Y.
/ta. Behrens, B.
15. Clg. Cv.
2011
Hyland, Brian
E. Int.
Kromer, Angelika
15. Clg. Cv.
2011
60 Jeden Samstag
Wise Guys
Easy
Pohlmann, Sandra
15. Clg. Cv.
2011
61 Just Dance
Lady Gaga
E. Int.
Ludwig, Heike
Fall Rd. Up
2009
62 Ladies Love Country Boys
Adkins, Trace
Int.
Brammer, Michael
13. Clg. Cv.
2009
63 Lasse redn
Die Ärzte
Int.
Lanatowitz, Gunnar
13. Clg. Cv.
2009
64 Last Of The American Girls
Green Day
Int.
Lanatowitz, Gunnar
15. Clg. Cv.
2011
65 Lay Your Love On Me
BWO
Int.
Cox, Yvonne
13. Clg. Cv.
2009
66 Like Me
Easy
2009
15. Clg. Cv.
2011
68 Lord Of The Dance
Five Alive 'O
Beg.
Klein, Karola
Lieb, Annette / rev.
Günther, Elli
Wagner, C./ta Schell,
Dani
13. Clg. Cv.
67 Lookin' Out My Back Door
Girlicious
Creedence Clearwater
Revival
69 Loreley
Blackmore's Night
E. Int.
Hannemann, Andrea
13. Clg. Cv.
14. Clg. Cv.
Spring Jamb.
2009
2010
2011
70 Love Is Free
Crow, Sheryl
E. Int.
13. Clg. Cv.
2009
71 Lovin' Each Day
Keating, Ronan
H. Int.
Kühne, Sonja
Hedger & Cutler /ad
Wagner/ta Behrens
72 Mercy
Duffy
Basic
73 Monsta
Culcha Candela
74 New Soul
Naim, Yael
75 No More Rain
E. Int.
Spring Jamb.
2009
12. Clg. Cv.
2008
Int.
Schneider, Clarissa
Brammer, Mich. & Nils /
Heinemann, S.
14. Clg. Cv.
2010
Basic
Brammer, Michael
12. Clg. Cv.
2008
Minogue, Kylie
Int.
Spring Jamb.
2008
76 Not Fair
Allen, Lily
E, Int.
Spring Jamb.
2011
77 Not Like That
Tisdale, Ashlay
E. Int.
Günther, Elli
Koll, Sabine & Martinetz,
Gunda
Hoschka, R.& J./ ta.
Brammer
Fall Rd. Up
2008
78 Oceanside Again
Sons Of Maxwell
Int.
Pohlmann, Sandra
15. Clg. Cv.
2011
79 One In A Million
Bosson
Basic
Kromer, Angelika
12. Clg. Cv.
2008
80 One Night In Bangkok
Head, Murray
H. Int.
Spring Jamb.
2011
81 Ooh
Scissor Sisters
Int.
Pohlmann, Sandra
McGrath, David /ad.
Brammer, M.
Fall Rd. Up
2010
82 Party Time (You'll Be Mine)
Estefan, Gloria
E. Int.
Wagner, Claudia
15. Clg. Cv.
2011
83 Pencil Full Of Lead
Nutini, Paulo
Int.
Cox, Yvonne
14. Clg. Cv.
2010
84 Play My Darling Play
Katzenjammer
Beg.
Kipp, Tina
14. Clg. Cv.
2010
85 Please Don't Leave Me
Pink
Beg.
Dahl, Daphne
Spring Jamb.
2010
86 Poker Face
Lady Gaga
H. Int.
Kipp, Tina
13. Clg. Cv.
2009
87 Que Viva La Vida (Chiquitan)
Perez, Belle
E. Int.
Ciupke, Monika
13. Clg. Cv.
2009
88 Relax (Take It Easy)
Mika
Int.
Dahl, Daphne
Fall Rd. Up
2008
89 Revolution
Heinzmann, Stefanie
E. Int.
Moritz, Ramona
15. Clg. Cv.
2011
90 Rock Me Amadeus
Falco
Int.
15. Clg. Cv.
2011
91 Rolling In The Deep
Adele
Int.
Hornke, Carolina
Heimann, Sandra &
Brammer, M.
15. Clg. Cv.
2011
chapter 16.8 /
5
ECTA Handbook
August 11
92 Rumadai
Arsenium
Int.
Ludwig, Heike
Spring Jamb.
2009
93 Run Runaway
Slade
Easy
Flühr, Bernd
14. Clg. Cv.
2010
94 Running Bear
Preston, Johnny
E. Int.
Thoß, Cortina
12. Clg. Cv.
2008
95 Satellite
Meyer-Landrut, Lena
Int.
Moritz, Ramona
14. Clg. Cv.
2010
96 Satellite
Save A Horse (Ride A
97 Cowboy)
She Don't Know She's
98 Beautiful
Meyer-Landrut, Lena
Beg.
Kromer, Angelika
14. Clg. Cv.
2010
Big & Rich
E. Int.
Haaf, Sandra
14. Clg. Cv.
2010
Kershaw, Sammy
E. Int.
Dahl, Daphne
Fall Rd. Up
2010
99 Sober
Pink
Easy
Brammer, Michael
13. Clg. Cv.
2009
100 Something Kinda Ooooh
Girls Aloud
Int.
Cox, Yvonne
13. Clg. Cv.
2009
101 Song Of The South
Alabama
Adv.
Dahl, Daphne
13. Clg. Cv.
2009
102 Straight To You
Skaggs, Ricky
Basic
Shinoski, Missy
ECTA 50 J..
2009
103 Summer Dreaming
Yanai, Kate
Beg.
14. Clg. Cv.
2010
104 Sun Do Shine
Campbell, Glen
Easy
12. Clg. Cv.
2008
105 Superstar
Jamelia
Int.
Spring Jamb.
2009
106 Sweat (A La La La La Long)
Marashi, M. & Medlock, M.
Basic
Schell, Dani
Treadwell, J./ mod. Flühr,
B.
Logar, Mary (Australien)
ad Brammer
Flühr, Bernd / ta.
Brammer, Michael
15. Clg. Cv.
2011
107 Sweet Pea
Mann, Manfred
Int.
Cox, Yvonne
12. Clg. Cv.
2008
108 Swing
Adkins, Trace
Int.
13. Clg. Cv.
2009
109 Swing With Me
Simpson, Jessica
Int.
Kipp, Tina
Orthner, Kerri (AUS) / ad.
Moritz, R.
110 Tanzen
Rockstroh
E. Int.
ICIS Teilnehmer 2010
111 That's The Way (I Like It)
2529
Adv.
112 Thats The Way My Heart Goes Serneholt, Marie
E. Int.
113 The Black Pearl
Scotty
H. Int.
114 The Boy Does Nothing
Dixon, Alesha
Int.
115 The Federals
The Picts
Adv.
116 The Look
Roxette
117 The Voice Of Freedom
DJ Bobo
118 The Wizard
15. Clg. Cv.
2011
Spring Jamb.
2011
Rohrbach, Martin
12. Clg. Cv.
2008
Moritz, Ramona
Kipp, Tina/ Ludwig, H./
Buchner, M.
13. Clg. Cv.
2009
14. Clg. Cv.
2010
Fall Rd. Up
2009
13. Clg. Cv.
2009
E. Int.
Cox, Yvonne
Gruber, S. /ta Jung,
Lara-M.
van Brouwershaven,
Niels
14. Clg. Cv.
2010
Easy
Ludwig, Heike
14. Clg. Cv.
2010
Right Said Fred
Int.
Kipp, Tina
Fall Rd. Up
2010
119 The Words "I Love You"
De Burgh, Chris
E. Int.
Dahl, Daphne
13. Clg. Cv.
2009
120 Thinking Of Me
Murs, Olly
E. Int.
15. Clg. Cv.
2011
121 Tik Tok
Ke$ha
H. Int.
14. Clg. Cv.
2010
122 Try, Try, Try
Wake Me Up Before You Go
123 Go
Squire, Michael
Beg.
Cox, Yvonne
Schneider-Wirsching,
Clarissa
Brammer, Michael &
Heimann, S.
Fall Rd. Up
2010
Wham
Easy
Guenther, Elli
14. Clg. Cv.
2010
124 Wavin' Flag
Klein, Karo
14. Clg. Cv.
2010
125 We Go Together
K'naan
Basic
Travolta, J.& Newton-John,
c
Basic
Wagner, Claudia
15. Clg. Cv.
2011
126 We No Speak Americano
Yolanda & Cool D Cup
Int.
127 We Weren't Born To Follow
Bon Jovi
E. Int.
Cox, Yvonne
Kromer, O.& Moosdorf,
A. /ta.Kromer, A.
15. Clg. Cv.
Spring Jamb.
14. Clg. Cv.
2011
2010
2010
128 What Made You Say That
Twain, Shania
E. Int.
Pohlmann, Sandra
Spring Jamb.
2009
129 What's Up
4 Non Blondes
Basic
Pohlmann, Sandra
14. Clg. Cv.
2010
130 Who Let The Frog Out
Crazy Frog
H. Int.
Kipp, Tina
15. Clg. Cv.
2011
131 Will It Go Round In Circles
Brown, Orlando
Adv.
Rohrbach, Martin
Fall Rd. Up
2009
132 Yellow Boomerang
Middle Of The Road
Beg.
Günther, Elli
13. Clg. Cv.
2009
133 Yes
Clayton, Merry
Int.
Pohlmann, Sandra
Spring Jamb.
2009
134 You And Me
Milow
Basic
15. Clg. Cv.
2011
135 You Came
Wilde, Kim
E. Int.
Kipp, Tina
ICIS Song 2007 / ta.
Kromer, A.
Spring Jamb.
2008
136 Your Back Yard
Cummings, Burton
Easy
Ciupke, Monika
15. Clg. Cv.
2011
chapter 16.8 /
6
ECTA Handbook
August 11
16.10
Beginner Class
If you consider doing a class for beginners the following tips may be helpful for you,
which are based on the experiences of other instructors.
It would be good if your dancers learned the ECTA Basic Level steps in their class
since, not only at ECTA events, they are generally presumed for Easy & Easy
Intermediate Workshops.
If you’re interested in handouts for your class you may consider the „Clog Dancer’s
Beginner Handbook“ published by the American teacher, instructor and choreograph
Jeff Driggs.
16.10.1
Tips for a Beginner Class
A total of 10 evenings with 2 hours per week is regarded as the absolute minimum.
If your lesson is less than 2 hours (e.g. 1! hours) or if the break between the
lessons is longer (e.g. classes only every two weeks), you should plan more time for
revisions and a longer class period. It also depends upon the members of your class.
It is better to plan rather more sessions for the class.
You can also schedule an Open House prior to the beginning of the class, where no
Double Toes are taught. This is highly recommendable, since many people have
problems with body coordination. By omitting the Double Toes they are lead into
clogging with a gentle hand.
Possible order:
1st evening:
• Introduction of all participants
• Steps: Step, RS, Kick, Toe/Heel
• If it lasts for 2 hours, you can teach the Double Toe for the last 30 minutes
• Use simple combinations for the first song, in order to give the dancers a
feeling of success (Motivation)
• "Cute Ending": Circle with all participants, Thank you.
2nd evening:
• Introduction, Revision of steps
• Double Toes
• Basics
• Teach all figures of the first evening with Double Toe (Caution: Basic Kick!)
• Triple
• New Basic-Song
chapter 16.10 / 1
ECTA Handbook
August 11
3rd evening:
• Introduction, Revision of steps
• Double Toes (pay attention to a correct execution)
• Variations: Triple Kick, Push Off L, R, forward, back, Turn
• If time permits: Shuffles
4th evening:
• Revision
• Shuffles
• Basic Brush (=Brush Up)
• Rocking Chair
• (If time permits: Cowboy)
• Add a new song
5th evening:
• Intensive revision of all steps
• Cowboy
• Fancy Double
• Add a new song
6th evening:
• Complete revision of all steps and combinations
• Increase speed
• Vine 8 (at first with Steps, then with Double Steps)
7th evening:
• Revision
• Double Basic
• Stomp Doubles
• Perhaps a new song
8th evening:
• Repeat all steps, combinations and all songs
9th evening:
• Revision
• Cue new songs with "old" steps/combinations
10th evening:
• Graduation
• Have your dancers clog to all the songs they learnt
chapter 16.10 / 2
ECTA Handbook
August 11
Each class is different, and each group has its own dynamic. Some classes learn
very fast, others need more time. Give the participants the chance to find their own
pace. By watching the "medium dancers" you can find out how well the group can
follow. There are some dancers who are "a hopeless case", but when the slow
learners have big problems or if there is a big group of slow learners, you should
consider reducing your speed (teaching speed and speed of music) and/or adapting
your teaching method. Don't be afraid to ask your instructor colleagues for advice you can always learn something new.
... Do you know what they are doing? ...
Every instructor has to see if the dancers can follow easily (or not). There are various
possibilities:
• You look over your shoulder (but you may not see all dancers when the
group is rather big).
• You dance facing your group and as mirror image (start with the opposite
foot and do opposite footwork).
• You arrange for a helping angel and tell him/her about your plans, so that
she/he can dance while you can see what your class is doing.
The last possibility is the worst, because then the class members feel that they are
being watched, and especially weaker dancers feel insecure. But this is still better
than not knowing if the class can perform a new step or not.
General hints for a smooth class:
• Instructor functions as a role model:
- be on time
- clothing (light, clean shoes on a dark floor and vice versa)
- colours contrasting with the walls/curtain of the hall
• Badges/ name tags (this can easily be delegated to a dancer)
• Have an attendance list with telephone numbers (e.g. last-minute changes)
• Practice at home:
- the steps and the sequence
- how to use the microphone
- how to put up the technical equipment
- how to set the volume
(there is a big difference if people dance WITH or WITHOUT taps)
• Always tell your dancers:
- which foot is free, often show them
- repeat the new names of steps, maybe translate (easier to remember)
- count the beats: before and while dancing
- steps are done on the downbeat
• No Smoking: smoking should not be allowed in the dance hall
chapter 16.10 / 3
ECTA Handbook
August 11
• Beverages: offer sodas at reasonable prices
• Check with you dancers: during the break, ask each dancer if they could
follow easily or if they wish to repeat a step
• “Smile“: show your positive attitude by the way you act
• Try to avoid the forming of cliques in your club.
Music
Suitable for clogging are all pieces of music, where you can clearly hear the beat.
Choose slow music.
Good for practice are for example:
"Ralph's Practice Record" - Ralph Pierce
Bad Moon Rising
- Creedence Clearwater Revival
We wish you a successful class!
16.10.2
Song / Step-Table
The following table can help you find songs of your own repertoire, which include the
steps you want to work with.
The lists are only an example and not complete!
Basic Steps
chapter 16.10 / 4
ECTA Handbook
August 11
Easy Intermediate Steps
Intermediate Steps
chapter 16.10 / 5
ECTA Handbook
August 11
16.9
Cue-Sheets
Below, you will find the general structure of a cue sheet.
The Master Cue Sheet (16.9.2) is meant to be an orientation on what information is
useful to have on a cue sheet.
16.9.1 Special Hints
Wherever possible, we should refer to the ECTA Step Lists to create a terminology,
which is as uniform as possible. If the cue sheet is supposed to be published to a
general public it is useful to write all comments/remarks in English, so that dancers
from all countries, will have a chance to understand the cue sheet.
If you teach a routine, which you did not choreograph yourself, it is helpful to also put
your name and address on the cue sheet (taught by:) to allow further inquiries,
especially if you made changes to the original choreography (adapted by:).
chapter 16.9 / 1
ECTA Handbook
August 11
16.9.2 Master Cue Sheet
Title
Level
Time
xxx BPM
Music:
Choreo:
Artist, CD, Label
name, address, e-Mail/phone
adapted by.../taught by... (incl. address)
taught at... (event)
Sequence:
A B Bridge C Break B* Break Ending
Wait 16 beats
Part A:
2 Basic
L & R
DS RS
L RL
&1 &2
Triple
DS DS DS RS
L R L RL
&1 &2 &3 &4
move forward
Rocking Chair
R
DS BR UP/H DS RS
R L L R L RL
&1 &
2 &3 &4
turn 1/2 R on BR UP
Repeat
all above
(opposite footwork & direction) to face front again.
Part B:
Eric
DS DT(b) H R H(w) RS
L R
L R L
RL
&1 &
2 & 3
&4
Triple
R
DS DS DS RS
R L R LR
&1 &2 &3 &4
McNamara
H(ots) BA BA(xib) BA(ots) H(ots) BA S(xib)
L
L R
L
R
R L
1
& 2
&
3
& 4
Repeat
all above
2 Joey
L & R
(opposite footwork),
then add:
DS BA(xib) BA(ots) BA(ots) BA(xib) BA(ots) S
L R
L
R
L
R
L
&1 &
2
&
3
&
4
Bridge:
Double Basic
DS DS RS
L R LR
&1 &2 &3
continued next page
page 1/2
chapter 16.9 / 2
ECTA Handbook
August 11
Title
page 2/2
A B Bridge C Break B* Break Ending
Sequence:
Part C:
High Horse
DS DT(xif) H DT(unx) H RS BA/H UP/SL DS DS RS
L R
L R
L RL R L L R L R LR
&1 &
2 &
3 &4
&
5
&6 &7 &8
Cowboy
DS DS DS BR UP/H DS RS RS RS
L R L R R L R LR LR LR
&1 &2 &3 &
4 &5 &6 &7 &8
Repeat
all above
as written
turn 1/2 L on BR UP
move fwd on RS’s
to face front again.
Break:
Fancy Run
DS DS(xif) BA(ots) BA(xib) BA(ots) S
L R
L
R
L
R
&1 &2
&
3
&
4
Mountain Basic
STO DT UP/H DS RS
L
R R L R LR
1
&
2 &3 &4
Repeat
all above
Part B*:
3 times
as written
turn 1/4 L on Stomp
to face front again.
Dance Part B as written, but leave out the 2 Joey.
Ending:
2 Karate
DS KK(turn 1/2 L) H DS KK UP/H
L R
L R L L R
&1 &
2 &3 &
4
Stomp
STO
L
1
and raise both arms
chapter 16.9 / 3
ECTA Handbook
August 11
16.11 Further training / Active Instructor Test
16.11.1
General Remarks
ECTA regularly offers training events (e.g. the ECTA Convention) and seminars on
selected topics for its members. Currently, a complete training program is being
developed. Further information is available under the chapter on the EEP (ECTA
Education Program) in the general section of the Handbook.
In order to gain active membership in ECTA, a number of prerequisites have to be met
and a practical exam (Active Clogging Instructor Test) has to be passed. The details
on contents and staging of the exam are detailed in 16.11.2. The application form for
the exam can be found in 16.11.3.
16.11.2
Active Clogging Instructor Test
These are the general conditions an applicant has to meet according to the ECTA-CCRules and Regulations.
Applicants have to:
• have cued regularly for at least 1 year
• have taught a beginner class
• have already attended a “Basic seminar for Clogging Instructors“ or the
following three seminars from the EEP curriculum: Teaching 1, Cuesheets 1,
Programming.
• select a song from the ECTA repertoire for their exam and teach parts of it or
the whole song to a floor of graduated cloggers
• be able to cue 5 additional dances from their own repertoire
• send the application form (see 16.11.3) to the Clogging Coordinator at least
3 months prior to the desired examination date (Jamboree, ECTA- or Clog
Convention)
• send the selected cue sheets (see 3 and 4) including the corresponding form
(see 16.11.3) to the chairperson of the critique committee at least 1 month
prior to the examination date
Please make sure to adhere to the deadlines, otherwise you will not be admitted
to take the test, since a room for the test and the examination board need to be
organized!
chapter 16.11 / 1
ECTA Handbook
August 11
General Rules:
• Public examination: every graduated dancer can participate
• The candidate can bring along his/her own dancers but has to be prepared
for participating dancers of varying clogging levels
• Normally, dancers should be graduated and therefore have mastered the
steps of the ECTA Basic list. But the instructor should always get his/her own
impression of the skills on the dance floor.
• Only certain parts of the song selected from the ECTA repertoire have to be
taught.
• One song from his/her own repertoire has to be cued (selected by the
committee form the applicants handed in pre-choice)
• No video taping of any kind is allowed during the test.
General expectations from the candidate:
he/she should:
• be able to handle a microphone
• be able to use the music equipment or alternatively look for someone to
introduce him/her to the equipment in time
• introduce him-/herself briefly (in English or even better bilingual)
• welcome the dancers
• continuously check if the dancers can follow his/her instructions
• motivate the dancers by using a friendly and positive manner of speaking and
explaining
• thank the dancers afterwards
• be aware of his/her role as a leader
In accordance with the ECTA regulations, the following skills will be tested:
1. Cueing
• Routine cued by heart (English cues and English explanations)
• sound and tempo check: are voice and music appropriate/loud enough for
the given conditions (number of dancers, room, music equipment)
• cues should be clear and given in time (number of repetitions, name and
possibly direction of movement of the steps, turns, identifying free foot after
complex step combinations, a clear starting command, asking the dancers if
voice is loud enough)
• knowledge and use of appropriate ECTA terms for step combinations (e.g.
Chain = Push Off)
chapter 16.11 / 2
ECTA Handbook
August 11
2. Teaching
• correct, slow and clear demonstration of steps (The submitted cue sheet will
be used for comparison. Deviations have to be explained or can otherwise
result in deduction of points). Paying attention to own slides, heels, crossing
feet or buck steps, explanation and demonstration have to match.
• correct explanation of steps (following the cue sheet), use of ECTA terms
• splitting up complex step combinations in appropriate single steps (if possible
in accordance with the ECTA Basic program)
• regular checks on learning progress (e.g. by observing, mirror image dancing
, a quick check on turns, asking for problems; at what point are the steps
danced to music )
• explanation of timing for certain steps when necessary (the committee points
this out if it isn’t done -> deduction of points)
Examination board
Three members of the critique committee form the examination board and assess the
candidate using the checklist below.
After the practical examination, the candidate and the examination board get together
to assess the test.
chapter 16.11 / 3
ECTA Handbook
August 11
Active Clogging Instructor Checklist
A
Teaching Skills
points to assess
remarks
improving suggestions
score
Can demonstrate steps correctly
taught in accordance with the cuesheet?
(Slides, Balls)
Explains steps correctly, break down in ECTA
Movements and dance it slowly
step breakdown (ECTA terminology)
shown slowly
repeatingly
motivating wording
Checks if dancers can follow his/her
instructions
looking, asking, dancing as mirror-image
practiced with music
step-transition taken into account
practices all turns
Explains the timing of a step
beats counted through or emphasized by wording
Total Score Part A: ______________ (Minimum Score: 12)
B
Cueing Skills
points to assess
remarks
improving suggestions
score
Knows the routine
by heart? sequence correct?
Volume of voice is appropriate for music
Sound-check
Cues can be understood
English
clear pronunciation
voice monotonous / motivating?
Cues are given on time
in time / to early / to late?
quantity, turning, free foot?
to the beat of the music?
starting cue distinct?
Can convert printed steps into ECTA Basics
Total Score Part B: ______________ (Minimum Score: 15)
How to score: On each main item above scores either 1,2,3,4 or 5
5=
4=
3=
2=
1=
Excellent (everything is perfect, no mistakes)
Good (a few minor mistakes)
Average (needs work but can be danced to, has done just the minimum required)
Unsatisfactory (has not learned item well enough)
Poor (needs a lot of work)
chapter 16.11 / 4
ECTA Handbook
August 11
16.11.3
Registration form for the test as “Active Clogging Instructor”
First name/ Name:
Address:
Zip code, town, country:
Phone/Fax:
E-mail:
..............................................................................
..............................................................................
..............................................................................
..............................................................................
..............................................................................
I would like to take the test at the:...........................................................................(event)
I have been clogging since:
....................
club :............................................
I have been cueing regularly since: .....……….…
club:.............................................
My instructor was:
...................................................................................................………
Level danced: .........................................................................................……………………..
Level taught: ..............................................................................………………………………
I have already taught a beginner class :. Yes / No
(mandatory)
(if yes, graduation date:..........................)
I teach in English:
regularly / sometimes / rarely / never
I received the ECTA Basic Step list:
Yes / No
I received the ECTA Easy / Easy Intermediate Step List
Yes / No
I received the ECTA Intermediate Step List
Yes / No
I received the ECTA Repertoire List
Yes / No
I attended the following seminars:
1) Basic seminar for clogging instructors (mandatory)
date :
held by:
2) Teaching 1
3) Programming
4) Cuesheets 1
date :
date :
date :
held by:
held by:
held by:
[Participation in 1) or in 2), 3) and 4) is mandatory before the test!]
Voluntary Information on your club:
Dance place
day:
Dance level:
number of dancers:
instructor:
Some voluntary extra information about yourself so we get to know you a bit better:
Age:
Occupation :
How and where did you start clogging?
Date : ...................................
Signature : ...............................................
.Please return to the Clogging Coordinator.
chapter 16.11 / 5
ECTA Handbook
August 11
Cue Sheets for the test for active membership
Cue Sheets für den “active membership” Test
First name / name:
Vorname / Name:
.............................................................................
Street / Straße:
Zip code, town, country:
PLZ/Ort/Land:
………………………………………………………..
Phone / Tel./Fax:
E-mail:
………………………………………………………..
………………………………………………………..
………………………………………………………..
Choreo from the ECTA-Repertoire that I will prepare for the test /
Choreo aus dem ECTA-Repertoire, die ich für den Test vorbereite:
……………………………………………………………………………………..
Songs out of my repertoire that I’m going to cue at the test /
Lieder, die ich aus meinem Repertoire am Test cuen werde:
1. ...............................................................................................................
2. ...............................................................................................................
3. ...............................................................................................................
4. ...............................................................................................................
5. ...............................................................................................................
.......................................................................
(date and signature, Datum und Unterschrift)
Please enclose your cue sheets and send them to the chairman of the critique committee
(Michael Brammer), at the latest 4 weeks before the test! If you have the cue sheets in
electronic format (file), please send them via e-mail to [email protected].
Bitte füge Deine Cue Sheets als Anlage bei und sende sie spätestens 4 Wochen vor dem
Test an den Vorsitzenden des Prüfungskomitees (Michael Brammer). Wenn Du die Cue
Sheets in elektronischer Form hast (Datei), schicke sie bitte per e-mail an
[email protected].
chapter 16.11 / 6
ECTA Handbook
August 11
Registration form for the mandatory Basic seminar
Anmeldebogen für das Grundlagen-Pflichtseminar
Please return to / Bitte schicken an:
Sandra Pohlmann
ECTA Clogging Coordinator
Goethestr. 5
28832 Achim
Tel.: 04202 - 638089
E-Mail: [email protected]
Seminar registration form / Anmeldebogen für das Seminar
Yes, I want to attend the next basic seminar at the
Ja, ich möchte am nächsten Grundlagenseminar bei der
......................................................................... (Event / Veranstaltung) teilnehmen.
I understand that this seminar is required before I can take the test to become an
active member of ECTA as a clogging instructor.
Ich habe verstanden, dass die Teilnahme an diesem Seminar
Zulassungsvoraussetzung für die Prüfung zum aktiven ECTA Mitglied als Clogging
Instructor ist.
The seminar is free of charge.
Die Teilnahme an diesem Seminar ist kostenlos.
.......................................................................
(date and signature, Datum und Unterschrift)
chapter 16.11 / 7
ECTA Handbook
August 11
16.12 Clothing
The Clogging Council was asked to discuss the topic clothing and decided after an
inquiry among the dancers, that there should be no uniform clogging attire. But now
the Clogging Council has developed a clogging dress code to improve the
appearance to the general public. This dress code should not be a rule, but used as
a guideline. We would also like to give you a general overview on what you could
consider regarding your outfit, concerning shows, club- or class evenings or as an
instructor on stage.
Clogging Dress Code
Clubs who run dances are encouraged to specify “festive”, “smart-casual” or “casual”
attire for their individual events or even for single session. A policy of tolerance
should be supported. Fun and friendship should not be lost, regardless of the
selected dress code.
The dress code consists of three levels. Please note, a dressier level is always
appropriate.
Regardless of the code that is desired for a particular dance, the attire should always
be in good taste.
Festive Clogging Attire
! This category is designed for a joint evening program of the different sections
at a Jamboree.
! It adds to the visual enjoyment of participants and spectators.
! It can also provide a connection to the common history of North American folk
dances.
It includes
• All kinds of not too short skirts (minimal length: a couple of inches above the
knee)
• Slacks and dress jeans for gents and ladies
• Blouses, lady-shirts and dress or polo shirts
• T-Shirts do not fall into this category
Smart-casual Clogging Attire
! This category is designed for the Saturday evening program at the Clog
Convention or the day program at joint events.
! Due to our dancing style’s being a sport after all in this level it is appropriate to
wear more comfortable clothes than in the „festive“ attire
chapter 16.12 / 1
ECTA Handbook
August 11
In addition to the „festive attire“, this category includes:
• Decent long training trousers for ladies and gents
• Pantskirts for the ladies
• Decent t-shirts (covering shoulders)
• Uniform club-outfits
Casual Clogging Attire:
! This category is designed for all special dances and the day program at the
Clog Conventions.
! There may be times when travelling, weather and other conditions would
discourage dancers from following either festive or smart-casual dress codes.
In that case, those dances/sessions/festivals should be advertised as “casual”
attires.
In addition to the other categories, it is allowed to wear
• Short trousers (no Hot-Pants)
General Remarks
Since you tend to sweat when you are clogging, your cloths should be made of skinfriendly materials (cotton for example). Another important point is to choose
comfortable clothing that does not limit you in your movements (for many steps/
figures you need some space to move).
In generally your cloths should be clean and polished shoes complete the proper
appearance!
At a Club-/Class Evening
Additionally to the above-mentioned points, the following should be considered:
• wearing badges (necessary at the beginning of a class and for guests)
• personal habits - interests of the group
• adapted to the room and the surroundings
During a Show
Here the role model function of every instructor is even more important.
You can't insist on the dancers following a special dress code if you’re not doing it.
In any case the whole group should decided together what to wear during a show.
When dressed alike - how?
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For example:
men long trousers and a shirt
women skirt (in an justifiable length) or
“skorts” (a short trouser, looking like a skirt in front) and a blouse
In principle you should coordinate the colours.
But it is rarely possible to reach 100% agreement and the cost issue is very
important, too. Thus you could all wear the same T-shirts or maybe you are part of a
bigger club so that you can ask for financial support.
Also some minor details are very important with every performance. What kind of
nylon stockings? What about a badge and where to place it? …
It could help to take some pictures previously to the event so you can discuss them
regarding the outfit. Or you can ask somebody who does not participate in the
performance to take a look and give you a feedback.
Of course you need to think of it even more closely if the dance has a theme or you
do a special show.
And last, another tough issue: skirt length.
Since the attention of the audience is drawn to our legs when we are clogging, the
legs should not be covered with a long skirt. As rule of thumb the skirt should go to
the knee (3 fingers or one hand over the knees). The “length” of the skirt depends
however strongly on the opinion of your group members.
As an Instructor on stage
In addition to the points mentioned above, there is a resolution of the Clogging
Council from the summer of 1999. According to this on ECTA/EAASDC-events we
are asked to stick to the following dresscode to represent the Clogging Council to
non-cloggers.
for men:
men long trousers and a shirt (no long sleeves required)
for women:
skirt (in an justifiable length), trousers or
“skorts” (a short trouser, looking like a skirt in front) and a blouse
By all means the view on stage requires a clean and proper appearance (together
with the badge).
Another recommendation is to take a closer look at the stage. For example, if there is
a dark curtain in the background it would be a good idea to wear brighter colours.
But after all, the most important thing is to feel comfortable.
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16.13
Related Dance Styles
16.13.1
Celtic Dances
Besides clogging there is presently another dance style, called “Celtic dance”, which
is becoming more and more popular.
Celtic dance is a dance style of its own. These dances are the traditional folk dances
of Ireland, for which more and more people show interest because of Lord of the
Dance, Riverdance, etc. .
Presently there are 2 instructors in ECTA who are teaching Celtic dance: Tina Kipp in
Emden and Clarissa (Rissy) Schneider-Wirsching in Mannheim.
There are 3 different kinds of dancing types in Celtic dances:
• Solo Dance in Soft- and Hard shoes
Music: Soft-shoe = Jig and Reel, Hard-shoe = Jig, Reel and Hornpipe
• Ceilis in Soft - or walking-shoes
Music: Jig, Reel and Hornpipe
• Set Dances in walking-shoes
Music: Jig, Reel, Hornpipe and Polka
Ceilis are the easiest to learn and are very suitable for involving people right away.
Set dance is similar to square dance where the 4 pairs have to be able to dance from
each position.
Solo dance is the most exhausting one, however, most dancers who would like to
learn “Irish” ask for this type. A special posture is necessary and almost all the steps
are danced on the ball of the foot, which requires a lot of practice and stamina.
For soft-shoe dance it is sufficient to use light gymnastic shoes, jazz-dance shoes or
similar.
For hard-shoe dance you will need so-called Hard-shoes or Hornpipe-shoes. Make
sure that the shoes fit your foot very well, are not too tight or rub your skin.
Alternatively, for example at an Open House /a free introductory session, shoes with
ordinary taps are sufficient. Clogging shoes are not appropriate.
Unlike in clogging there is no solid basic programme or uniform instruction material
available yet.
chapter 16.13 / 1