Heelwork to Music in the UK


25 FEBRUARY 2017.


1st. Cathy Bates and Ruskath Lyrical Image performing to Theme from the Godfather.  Score 23.20

A slower paced round for the most part, but that arose partly from the need to fit the choreography into the space available.  A clear choreographic theme throughout, with the moves respecting the dynamic and phraseology of the music.  Transitions between heelwork positions and the maintenance of the heelwork positions was achieved throughout on verbal signals only, often with distracting or contradictory arm movements, which add to the style and difficulty of the round.

2nd. Di Morgan and Hawkstor Out of the Blue for Darkquest performing to Marigold by Gary Carpenter and Slovak Radio SO.  Score 21.7

A good quality round with a clear story line, with handler and dog cultivating their pot of marigolds with loving care and attention – the dog even watering the planted seeds.  Good stretches of accurate heelwork, again, with no dependence on hand signals to change or maintain heelwork positions.  Good mix of paces – even though the handler was only 2 weeks away from her first hip replacement!!  The props were well integrated into the routine and were relevant, as were the freestyle moves that were used.  Well performed by the handler who has been polishing her acting skills.

3rd. Louise Ince and Decoymans Piper Edward performing to Don’t be Stupid by Shania Twain.  Score 21

Brilliant costume choice for this routine.  The choreography is clear and well presented, using all the available space and suiting this busy little dog.  Some excellent fast paced forward heelwork, and a really good stretch of sideways movement in the reverse heelwork positions.  In general, a good mix of positions, paces and directions.  Hand signals minimised and not intrusive.  Some minor lapses of concentration and drifting in position.

4th. Sarah Smith and Forever Just Fen performing to Way Back Home by Rod Stewart.  Score 18.65

There was a clear choreographic theme evident and the space available in the ring was used well.  However, the freestyle moves were not very helpful in interpreting the music.  Obvious hand signals were used to maintain heelwork positions and for many of the transitions.

Jan Debnam

Head Judge

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