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Ice dance

Ice dance (sometimes referred to as ice dancing) is a discipline of figure skating that historically draws from ballroom dancing. It joined the World Figure Skating Championships in 1952, and became a Winter Olympic Games medal sport in 1976. According to the International Skating Union (ISU), the governing body of figure skating, an ice dance team consists of one woman and one man.

Ice dance, like pair skating, has its roots in the "combined skating" developed in the 19th century by skating clubs and organizations and in recreational social skating. Couples and friends would skate waltzes, marches, and other social dances. The first steps in ice dance were similar to those used in ballroom dancing. In the late 1800s, American Jackson Haines, known as "the Father of Figure Skating", brought his style of skating, which included waltz steps and social dances, to Europe. By the end of the 19th century, waltzing competitions on the ice became popular throughout the world. By the early 1900s, ice dance was popular around the world and was primarily a recreational sport, although during the 1920s, local skating clubs in Britain and the U.S. conducted informal dance contests. Recreational skating became more popular during the 1930s in England.

The first national competitions occurred in England, Canada, the U.S., and Austria during the 1930s. The first international ice dance competition took place as a special event at the World Championships in 1950 in London. British ice dance teams dominated the sport throughout the 1950s and 1960s, then Soviet teams up until the 1990s. Ice dance was formally added to the 1952 World Figure Skating Championships; it became an Olympic sport in 1976. In the 1980s and 1990s, there was an attempt by ice dancers, their coaches, and choreographers to move ice dance away from its ballroom origins to more theatrical performances. The ISU pushed back by tightening rules and definitions of ice dance to emphasize its connection to ballroom dancing. In the late 1990s and early 2000s, ice dance lost much of its integrity as a sport after a series of judging scandals, which also affected the other figure skating disciplines. There were calls to suspend the sport for a year to deal with the dispute, which seemed to affect ice dance teams from North America the most. Teams from North America began to dominate the sport starting in the early 2000s.

Before the 2010–11 figure skating season, there were three segments in ice dance competitions: the compulsory dance (CD), the original dance (OD), and the free dance (FD). In 2010, the ISU voted to change the competition format by eliminating the CD and the OD and adding the new short dance (SD) segment to the competition schedule. In 2018, the ISU voted to rename the short dance to the rhythm dance (RD).

Ice dance has required elements that competitors must perform and that make up a well-balanced ice dance program. They include the dance lift, the dance spin, the step sequence, twizzles, and choreographic elements. These must be performed in specific ways, as described in published communications by the ISU, unless otherwise specified. Each year the ISU publishes a list specifying the points that can be deducted from performance scores for various reasons, including falls, interruptions, and violations of the rules concerning time, music, and clothing.

Beginnings

Ice dance, like pair skating, has its roots in the "combined skating" developed in the 19th century by skating clubs and organizations and in recreational social skating. Couples and friends would skate waltzes, marches, and other social dances together. According to writer Ellyn Kestnbaum, ice dance began with late 19th-century attempts by the Viennese and British to create ballroom-style performances on ice skates. However, figure skating historian James Hines argues that ice dance had its beginnings in hand-in-hand skating, a short-lived but popular discipline of figure skating in England in the 1890s; many of the positions used in modern ice dance can be traced back to hand-in-hand skating. The first steps in ice dance were similar to those used in ballroom dancing, so unlike modern ice dance, skaters tended to keep both feet on the ice most of the time, without the "long and flowing edges associated with graceful figure skating".

In the late 1800s, American Jackson Haines, known as "the Father of Figure Skating", brought his style of skating to Europe. He taught people in Vienna how to dance on the ice, both singly and with partners. Capitalizing on the popularity of the waltz in Vienna, Haines introduced the American waltz, a simple four-step sequence, each step lasting one beat of music, repeated as the partners moved in a circular pattern. By the 1880s, it and the Jackson Haines waltz, a variation of the American waltz, were among the most popular ice dances. Other popular ice dance steps included the mazurka, a version of the Jackson Haines waltz developed in Sweden, and the three-step waltz, which Hines considers "the direct predecessor of ice dancing in the modern sense".

By the end of the 19th century, the three-step waltz, called the English waltz in Europe, became the standard for waltzing competitions. It was first skated in Paris in 1894; Hines states that it was responsible for the popularity of ice dance in Europe. The three-step waltz was easy and could be done by less skilled skaters, although more experienced skaters added variations to make it more difficult. Two other steps, the killian and the ten-step, survived into the 20th century. The ten-step, which became the fourteen-step, was first skated by Franz Schöller in 1889. Also in the 1890s, combined and hand-in-hand skating moved skating away from basic figures to the continuous movement of ice dancers around an ice rink. Hines insists that the popularity of skating waltzes, which depended upon the speed and flow across the ice of couples in dance positions and not just on holding hands with a partner, ended the popularity of hand-in-hand skating. Hines writes that Vienna was "the dancing capital of Europe, both on and off skates" during the 19th century; by the end of the century, waltzing competitions became popular throughout the world. The killian, first skated in 1909 by Austrian Karl Schreiter, was the last ice dance invented before World War I still being done as of the 21st century.

Early years

By the early 1900s, ice dance was popular around the world and was primarily a recreational sport, although during the 1920s, local clubs in Britain and the U.S. conducted informal dance contests in the ten-step, the fourteen-step, and the killian, which were the only three dances used in competition until the 1930s. Recreational skating became more popular during the 1930s in England, and new and more difficult set-pattern dances, which later were used in compulsory dances during competitions, were developed. According to Hines, the development of new ice dances was necessary to expand upon the three dances already developed; three British teams in the 1930s—Erik van der Wyden and Eva Keats, Reginald Wilkie and Daphne B. Wallis, and Robert Dench and Rosemarie Stewart—created one-fourth of the dances used in International Skating Union (ISU) competitions by 2006. In 1933, the Westminster Skating Club conducted a competition encouraging the creation of new dances. Beginning in the mid-1930s, national organizations began to introduce skating proficiency tests in set-pattern dances, improve the judging of dance tests, and oversee competitions. The first national competitions occurred in England in 1934, Canada in 1935, the U.S. in 1936, and Austria in 1937. These competitions included one or more compulsory dances, the original dance, and the free dance. By the late 1930s, ice dancers swelled memberships in skating clubs throughout the world, and in Hines' words "became the backbone of skating clubs".

The ISU began to develop rules, standards, and international tests for ice dance in the 1950s. The first international ice dance competition occurred as a special event during the 1950 World Figure Skating Championships in London; Lois Waring and Michael McGean of the U.S. won the event, much to the embarrassment of the British, who considered themselves the best ice dancers in the world. A second event was planned the following year, at the 1951 World Championships in Milan; Jean Westwood and Lawrence Demmy of Great Britain came in first place. Ice dance, with the CD and FD segments, was formally added to the World Championships in 1952. Westwood and Demmy won that year, and went on to dominate ice dance, winning the next four World Championships as well. British teams won every world ice dance title through 1960. Eva Romanova and Pavel Roman of Czechoslovakia were the first non-British ice dancers to win a world title, in 1962.

1970s to 1990s
Ice dance became an Olympic sport in 1976; Lyudmila Pakhomova and Alexandr Gorshkov from the Soviet Union were the first gold medalists. The Soviets dominated ice dance during most of the 1970s, as they did in pair skating. They won every Worlds and Olympic title between 1970 and 1978, and won medals at every competition between 1976 and 1982. In 1984, British dancers Jayne Torvill and Christopher Dean, who Hines calls "the greatest ice dancers in the history of the sport", briefly interrupted Soviet domination of ice dance by winning a gold medal at the Olympic Games in Sarajevo. Their free dance to Ravel's Boléro has been called "probably the most well known single program in the history of ice dance". Hines asserts that Torvill and Dean, with their innovative choreography, dramatically altered "established concepts of ice dancing".

During the 1970s, there was a movement in ice dance away from its ballroom roots to a more theatrical style. The top Soviet teams were the first to emphasize the dramatic aspects of ice dance, as well as the first to choreograph their programs around a central theme. They also incorporated elements of ballet techniques, especially "the classic ballet pas de deux of the high-art instance of a man and woman dancing together". They performed as predictable characters, included body positions that were no longer rooted in traditional ballroom holds, and used music with less predictable rhythms.

The ISU pushed back during the 1980s and 1990s by tightening rules and definitions of ice dance to emphasize its connection to ballroom dancing, especially in the free dance. The restrictions introduced during this period were designed to emphasize skating skills rather than the theatrical and dramatic aspects of ice dance. Kestnbaum argues that there was a conflict in the ice dance community between social dance, represented by the British, the Canadians, and the Americans, and theatrical dance represented by the Russians. Initially the historic and traditional cultural school of ice dance prevailed, but in 1998 the ISU reduced penalties for violations and relaxed rules on technical content, in what Hines describes as a "major step forward" in recognizing the move towards more theatrical skating in ice dance.

At the 1998 Olympics, while ice dance was struggling to retain its integrity and legitimacy as a sport, writer Jere Longman reported that ice dance was "mired in controversies", including bloc voting by the judges that favored European dance teams. There were even calls to suspend the sport for a year to deal with the dispute, which seemed to impact ice dance teams from North America the most. A series of judging scandals in the late 1990s and early 2000s, affecting most figure skating disciplines, culminated in a controversy at the 2002 Olympics.

21st century
The European dominance of ice dance was interrupted at the 2010 Winter Olympics in Vancouver by Canadians Tessa Virtue and Scott Moir and Americans Meryl Davis and Charlie White. The Canadian ice dance team won the first Olympic ice dance gold medal for North America, and the Americans won the silver. Russians Oksana Domnina and Maxim Shabalin won bronze, but it was the first time Europeans had not won a gold medal in the history of ice dance at the Olympics.

The U.S. began to dominate international competitions in ice dance; at the 2014 Olympics in Sochi, Davis and White won the Olympic gold medal. In 2018, at the Olympics in Pyeongchang, Virtue and Moir became the most decorated figure skaters in Olympic history after winning the gold medal there. In 2022, Gabriella Papadakis and Guillaume Cizeron of France won the Olympic gold medal; they went on to win the gold medal at the World championships a few months later, ending the North American domination on ice dance. Papadakis and Cizeron broke the world record at both events.

According to Caroline Silby, a consultant with U.S. Figure Skating, ice dance teams and pair skaters have the added challenge of strengthening partnerships and ensuring that teams stay together for several years; unresolved conflict between partners can often cause the early break-up of a team. Silby further asserts that the early demise or break-up of a team is often caused by consistent and unresolved conflict between partners. Both ice dancers and pairs skaters face challenges that make conflict resolution and communication difficult: fewer available boys for girls to partner with; different priorities regarding commitment and scheduling; differences in partners' ages and developmental stages; differences in family situations; the common necessity of one or both partners moving to train at a new facility; and different skill levels when the partnership is formed. Silby estimates that the lack of effective communication within dance and pairs teams is associated with a six-fold increase in the risk of ending their partnerships. Teams with strong skills in communication and conflict resolution, however, tend to produce more successful medalists at national championship events.

History
Before the 2010–2011 figure skating season, there were three segments in ice dance competitions: the compulsory dance (CD), the original dance (OD), and the free dance (FD). In 2010, after many years of pressure from the International Olympic Committee (IOC) to restructure competitive ice dance to follow the other figure skating disciplines, the ISU voted to change the competition format by eliminating the CD and the OD and adding the new short dance segment to the competition schedule. According to the then-president of the ISU, Ottavio Cinquanta, the changes were also made because "the compulsory dances were not very attractive for spectators and television". This new ice dance competition format was first included in the 2010–2011 season, incorporating just two segments: the short dance (renamed the rhythm dance, or RD in 2018) and the free dance.

Rhythm dance
The RD is the first segment performed in all junior and senior ice dance competitions. As of 2022, senior skaters no longer had to include a pattern dance; instead they were judged for performing a choreographic rhythm section, which was evaluated as a choreographic element. The RD must also include a short six-second lift, a set of twizzles, and a step sequence.

The rhythms and themes of the RD are determined by the ISU prior to the start of each new season. The RD should be "developed through skating skill and quality", instead of through "non-skating actions such as sliding on one knee" or through the use of toe steps (which should only be used to reflect the dance's character and the music's nuances and underlining rhythm). The RD must have a duration of two minutes and fifty seconds.

The first RD in international competitions was performed by U.S. junior ice dancers Anastasia Cannuscio and Colin McManus, at the 2010 Junior Grand Prix Courchevel. American ice dancers Madison Chock and Evan Bates hold the highest RD score of 93.91, which they achieved at the 2023 World Team Trophy.

Free dance
The free dance (FD) takes place after the rhythm dance in all junior and senior ice dance competitions. The ISU defines the FD as "the skating by the couple of a creative dance program blending dance steps and movements expressing the character/rhythm(s) of the dance music chosen by the couple". The FD must have combinations of new or known dance steps and movements, as well as required elements. The program must "utilize the full ice surface," and be well-balanced. It must contain required combinations of elements (spins, lifts, steps, and movements), and choreography that express both the characters of the competitors and the music chosen by them. It must also display the skaters' "excellent skating technique" and creativity in expression, concept, and arrangement. The FD's choreography must reflect the music's accents, nuances, and dance character, and the ice dancers must "skate primarily in time to the rhythmic beat of the music and not to the melody alone". For senior ice dancers, the FD must have a duration of four minutes; for juniors, 3.5 minutes.

Madison Chock and Evan Bates hold the highest FD score of 138.41 points, which they achieved at the 2023 World Team Trophy.

Compulsory dance
Before 2010, the compulsory dance (CD) was the first segment performed in ice dance competitions. The teams performed the same pattern around two circuits of the rink, one team after another, using the same step sequences and the same standardized tempo chosen by the ISU before the beginning of each season. The CD has been compared with compulsory figures; competitors were "judged for their mastery of fundamental elements". Early in ice dance history, the CD contributed 60% of the total score.

The 2010 World Championships was the last event to include a CD (the Golden Waltz); Federica Faiella and Massimo Scali from Italy were the last ice dance team to perform a CD in international competition.

Original dance
The OD or OSP (Original Set Pattern) was first added to ice dance competitions in 1967 (1983 in WC and 1984 in Olympics). It was called the "original set pattern dance" until 1990, when it became known simply as the "original dance". The OD remained the second competition segment (sandwiched between the CD and the free dance) until the end of the 2009–2010 season. Ice dancers were able to create their own routines, but they had to use a set rhythm and type of music which, like the compulsory dances, changed every season and was selected by the ISU in advance. The timing and interpretation of the rhythm were considered to be the most important aspects of the routine, and were worth the highest proportion of the OD score. The routine had a two-minute time limit and the OD accounted for 30% of the overall competition score.

Canadian ice dancers Tessa Virtue and Scott Moir hold the highest OD score of 70.27 points, achieved at the 2010 World Championships.

Competition elements
The ISU announces the list of required elements in the rhythm dance and free dance, and each element's specific requirements, each year. The following elements may be included: the dance lift, the dance spin, the step sequence, turn sequences (which include twizzles and one-foot turn sequences), and choreographic elements.
 * Dance lift: "a movement in which one of the partners is elevated with active and/or passive assistance of the other partner to any permitted height, sustained there and set down on the ice". The ISU permits any rotation, position, and changes of position during a dance lift. Dance lifts are delineated from pair lifts to ensure that ice dance and pair skating remain separate disciplines. After the judging system changed from the 6.0 system to the ISU Judging System, dance lifts became more "athletic, dramatic and exciting".
 * Dance spin: "a spin skated by the Couple together in any hold". It is "performed on the spot around a common axis on one foot with or without change(s) of foot by one or both partners".
 * Step sequence: "a series of prescribed or un-prescribed steps, turns and movements".
 * Turn sequences: a set of twizzles and a one foot turns sequence, or "Specified Turns performed on one foot by each partner simultaneously, in Hold or separately".
 * Choreographic elements: "a listed or unlisted movement or series of movement(s) as specified" by the ISU.

Rules and regulations
Skaters must execute the prescribed elements at least once; any extra or unprescribed elements will not be counted in their score. In 1974, the ISU published the first judges' handbook describing what judges needed to look for during ice dance competitions. Violations in ice dance include falls and interruptions, time, music, and clothing.

Falls and interruptions
According to ice dancer and commentator Tanith White, unlike in other disciplines wherein skaters can make up for their falls in other elements, falls in ice dance usually mean that the team will not win. White argues that falls are rare in ice dance, and since falls constitute interruptions, they tend to have large deductions because the mood of their program's theme is broken. The ISU defines a fall as the "loss of control by a Skater with the result that the majority of his/her own body weight is on the ice supported by any other part of the body other than the blades; e.g. hand(s), knee(s), back, buttock(s) or any part of the arm". The ISU defines an interruption as "the period of time starting immediately when the Competitor stops performing the program or is ordered to do so by the Referee, whichever is earlier, and ending when the Competitor resumes his performance". A study conducted during a U.S. national competition including 58 ice dancers recorded an average of 0.97 injuries per athlete.

In ice dance, teams can lose one point for every fall by one partner, and two points if both partners fall. If there is an interruption while performing their program, ice dancers can lose one point if it lasts more than ten seconds but not over twenty seconds. They can lose two points if the interruption lasts twenty seconds but not over thirty seconds, and three points if it lasts thirty seconds but not more than forty seconds. They can lose five points if the interruption lasts three or more minutes. Teams can also lose points if a fall or interruption occurs during the beginning of an elevating moment in a dance lift, or as the man begins to lift the woman. They can lose an additional five points if the interruption is caused by an "adverse condition" up to three minutes before the start of their program.

Time
Judges penalize ice dancers one point up to every five seconds for ending their pattern dances too early or too late. Dancers can also be penalized one point for up to every five seconds "in excess of [the] permitted time after the last prescribed step" (their final movement and/or pose) in their pattern dances. If they start their programs between one and thirty seconds late, they can lose one point. They can complete these programs within plus or minus ten seconds of the required times; if they cannot, judges can deduct points for finishing their program up to five seconds too early or too late. If they begin skating any element after their required time (plus the required ten seconds they have to begin), they earn no points for those elements. If the program's duration is "thirty (30) seconds or more under the required time range, no marks will be awarded".

If a team performs a dance lift that exceeds the permitted duration, judges can deduct one point. White argues that deductions in ice dance, in the absence of a fall or interruption, are most often due to "extended lifts", or lifts that last too long.

Music
All programs in each discipline of figure skating must be skated to music. The ISU has allowed vocals in the music used in ice dance since the 1997–1998 season, most likely because of the difficulty in finding suitable music without words for certain genres.

Violations against the music requirements have a two-point deduction, and violations against the dance tempo requirements have a one-point deduction. If the quality or tempo of the music the team uses in their program is deficient, or if there is a stop or interruption in their music, for any reason, they must stop skating when they become aware of the problem "or at the acoustic signal of the Referee", whichever occurs first. If any problems with the music happens within 20 seconds after they have begun their program, the team can choose to either restart their program or to continue from the point where they have stopped performing. If they decide to continue from the point where they stopped, they are continued to be judged at that point onward, as well as their performance up to that point. If any of the mentioned problems occurs over 20 seconds after the start of their program, the team can resume their program from the point of the interruption or at the point immediately before an element, if the interruption occurred at the entrance to or during the element. The element must be deleted from the team's score and the team can repeat the deleted element when they resume their program. No deductions are made for interruptions caused by music deficiencies.

The ISU provides the following definitions of musical terms used in the scoring of ice dance:

 * Beat – "A note defining the regular recurring divisions of a piece of music."
 * Tempo – "The speed of music in Beats or Measures per minute."
 * Rhythm – "The regularly repeated pattern of accented and unaccented Beats which gives the music its character."
 * Measure (Bar) – "A unit of music which is defined by the periodic recurrence of the accent. Such units are of equal number of Beats."
 * Strong Beat – "The first Beat of the Measure or group of two Measures supporting the skating count of the Rhythm."
 * Weak Beat – "For Rhythms with a skating count on two Measures, the first Beat of the second Measure."

Clothing
The clothing worn by ice dancers at all international competitions must be "modest, dignified and appropriate for athletic competition—not garish or theatrical in design". Rules about clothing tend to be more strict in ice dance; Juliet Newcomer from U.S. Figure Skating has speculated limits in the kind of costumes ice dancers chose were pushed farther during the 1990s and early 2000s than in the other disciplines, resulting in stricter rules. Clothing can, however, reflect the character of ice dancers' chosen music. Their costumes must not "give the effect of excessive nudity inappropriate for the discipline".

All men must wear trousers. Female ice dancers must wear skirts or trousers. Accessories and props on the costumes of both dancers are not allowed. The decorations on costumes must be "non-detachable"; judges can deduct one point per program if part of the competitors' costumes or decorations fall on the ice. If there is a costume or prop violation, the judges can deduct one point per program. Judges penalize ice dance teams with a deduction to their scores if these guidelines are not followed, although exceptions to these clothing and costume restrictions may be announced by the ISU. Costume deductions, however, are rare. According to Newcomer, by the time skaters get to a national or world championship, they have received enough feedback about their costumes and are no longer willing to risk losing points.

title: Ice dance


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THE PRESIDENT: Thank you very much. Mr. Speaker, Vice President Cheney, members of Congress, distinguished guests, fellow citizens: As we gather tonight, our nation is at war, our economy is in recession, and the civilized world faces unprecedented dangers. Yet the state of our Union has never been stronger. (Applause.)

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Our nation will continue to be steadfast and patient and persistent in the pursuit of two great objectives. First, we will shut down terrorist camps, disrupt terrorist plans, and bring terrorists to justice. And, second, we must prevent the terrorists and regimes who seek chemical, biological or nuclear weapons from threatening the United States and the world. (Applause.)

Our military has put the terror training camps of Afghanistan out of business, yet camps still exist in at least a dozen countries. A terrorist underworld -- including groups like Hamas, Hezbollah, Islamic Jihad, Jaish-i-Mohammed -- operates in remote jungles and deserts, and hides in the centers of large cities.

While the most visible military action is in Afghanistan, America is acting elsewhere. We now have troops in the Philippines, helping to train that country's armed forces to go after terrorist cells that have executed an American, and still hold hostages. Our soldiers, working with the Bosnian government, seized terrorists who were plotting to bomb our embassy. Our Navy is patrolling the coast of Africa to block the shipment of weapons and the establishment of terrorist camps in Somalia.

My hope is that all nations will heed our call, and eliminate the terrorist parasites who threaten their countries and our own. Many nations are acting forcefully. Pakistan is now cracking down on terror, and I admire the strong leadership of President Musharraf. (Applause.)

But some governments will be timid in the face of terror. And make no mistake about it: If they do not act, America will. (Applause.)

Our second goal is to prevent regimes that sponsor terror from threatening America or our friends and allies with weapons of mass destruction. Some of these regimes have been pretty quiet since September the 11th. But we know their true nature. North Korea is a regime arming with missiles and weapons of mass destruction, while starving its citizens.

Iran aggressively pursues these weapons and exports terror, while an unelected few repress the Iranian people's hope for freedom.

Iraq continues to flaunt its hostility toward America and to support terror. The Iraqi regime has plotted to develop anthrax, and nerve gas, and nuclear weapons for over a decade. This is a regime that has already used poison gas to murder thousands of its own citizens -- leaving the bodies of mothers huddled over their dead children. This is a regime that agreed to international inspections -- then kicked out the inspectors. This is a regime that has something to hide from the civilized world.

States like these, and their terrorist allies, constitute an axis of evil, arming to threaten the peace of the world. By seeking weapons of mass destruction, these regimes pose a grave and growing danger. They could provide these arms to terrorists, giving them the means to match their hatred. They could attack our allies or attempt to blackmail the United States. In any of these cases, the price of indifference would be catastrophic.

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Our war on terror is well begun, but it is only begun. This campaign may not be finished on our watch -- yet it must be and it will be waged on our watch.

We can't stop short. If we stop now -- leaving terror camps intact and terror states unchecked -- our sense of security would be false and temporary. History has called America and our allies to action, and it is both our responsibility and our privilege to fight freedom's fight. (Applause.)

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It costs a lot to fight this war. We have spent more than a billion dollars a month -- over $30 million a day -- and we must be prepared for future operations. Afghanistan proved that expensive precision weapons defeat the enemy and spare innocent lives, and we need more of them. We need to replace aging aircraft and make our military more agile, to put our troops anywhere in the world quickly and safely. Our men and women in uniform deserve the best weapons, the best equipment, the best training -- and they also deserve another pay raise. (Applause.)

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The next priority of my budget is to do everything possible to protect our citizens and strengthen our nation against the ongoing threat of another attack. Time and distance from the events of September the 11th will not make us safer unless we act on its lessons. America is no longer protected by vast oceans. We are protected from attack only by vigorous action abroad, and increased vigilance at home.

My budget nearly doubles funding for a sustained strategy of homeland security], focused on four key areas: bioterrorism, emergency response, airport and border security, and improved intelligence. We will develop vaccines to fight anthrax and other deadly diseases. We'll increase funding to help states and communities train and equip our heroic police and firefighters. (Applause.) We will improve intelligence collection and sharing, expand patrols at our borders, strengthen the security of air travel, and use technology to track the arrivals and departures of visitors to the United States. (Applause.)

Homeland security will make America not only stronger, but, in many ways, better. Knowledge gained from bioterrorism research will improve public health. Stronger police and fire departments will mean safer neighborhoods. Stricter border enforcement will help combat illegal drugs. (Applause.) And as government works to better secure our homeland, America will continue to depend on the eyes and ears of alert citizens.

A few days before Christmas, an airline flight attendant spotted a passenger lighting a match. The crew and passengers quickly subdued the man, who had been trained by al Qaeda and was armed with explosives. The people on that plane were alert and, as a result, likely saved nearly 200 lives. And tonight we welcome and thank flight attendants Hermis Moutardier and Christina Jones. (Applause.)

Once we have funded our national security and our homeland security, the final great priority of my budget is economic security for the American people. (Applause.) To achieve these great national objectives -- to win the war, protect the homeland, and revitalize our economy -- our budget will run a deficit that will be small and short-term, so long as Congress restrains spending and acts in a fiscally responsible manner. (Applause.) We have clear priorities and we must act at home with the same purpose and resolve we have shown overseas: We'll prevail in the war, and we will defeat this recession. (Applause.)

Americans who have lost their jobs need our help and I support extending unemployment benefits and direct assistance for health care coverage. (Applause.) Yet, American workers want more than unemployment checks -- they want a steady paycheck. (Applause.) When America works, America prospers, so my economic security plan can be summed up in one word:  jobs. (Applause.)

Good jobs begin with good schools, and here we've made a fine start. (Applause.) Republicans and Democrats worked together to achieve historic education reform so that no child is left behind. I was proud to work with members of both parties: Chairman George Miller.  (Applause.)  Senator Judd Gregg.  (Applause.)  And I was so proud of our work, I even had nice things to say about my friend, Ted Kennedy. (Laughter and applause.)  I know the folks at the Crawford coffee shop couldn't believe I'd say such a thing -- (laughter) -- but our work on this bill shows what is possible if we set aside posturing and focus on results.  (Applause.)

There is more to do. We need to prepare our children to read and succeed in school with improved Head Start and early childhood development programs. (Applause.) We must upgrade our teacher colleges and teacher training and launch a major recruiting drive with a great goal for America:  a quality teacher in every classroom. (Applause.)

Good jobs also depend on reliable and affordable energy. This Congress must act to encourage conservation, promote technology, build infrastructure, and it must act to increase energy production at home so America is less dependent on foreign oil. (Applause.)

Good jobs depend on expanded trade. Selling into new markets creates new jobs, so I ask Congress to finally approve trade promotion authority. (Applause.) On these two key issues, trade and energy, the House of Representatives has acted to create jobs, and I urge the Senate to pass this legislation. (Applause.)

Good jobs depend on sound tax policy. (Applause.) Last year, some in this hall thought my tax relief plan was too small; some thought it was too big. (Applause.) But when the checks arrived in the mail, most Americans thought tax relief was just about right. (Applause.) Congress listened to the people and responded by reducing tax rates, doubling the child credit, and ending the death tax. For the sake of long-term growth and to help Americans plan for the future, let's make these tax cuts permanent. (Applause.)

The way out of this recession, the way to create jobs, is to grow the economy by encouraging investment in factories and equipment, and by speeding up tax relief so people have more money to spend. For the sake of American workers, let's pass a stimulus package. (Applause.)

Good jobs must be the aim of welfare reform. As we reauthorize these important reforms, we must always remember the goal is to reduce dependency on government and offer every American the dignity of a job. (Applause.)

Americans know economic security can vanish in an instant without health security. I ask Congress to join me this year to enact a patients' bill of rights -- (applause) -- to give uninsured workers credits to help buy health coverage -- (applause) -- to approve an historic increase in the spending for veterans' health -- (applause) -- and to give seniors a sound and modern Medicare system that includes coverage for prescription drugs. (Applause.)

A good job should lead to security in retirement. I ask Congress to enact new safeguards for 401K and pension plans. (Applause.) Employees who have worked hard and saved all their lives should not have to risk losing everything if their company fails. (Applause.) Through stricter accounting standards and tougher disclosure requirements, corporate America must be made more accountable to employees and shareholders and held to the highest standards of conduct. (Applause.) see Enron

Retirement security also depends upon keeping the commitments of Social Security, and we will. We must make Social Security financially stable and allow personal retirement accounts for younger workers who choose them. (Applause.)

Members, you and I will work together in the months ahead on other issues: productive farm policy -- (applause) -- a cleaner environment -- (applause) -- broader home ownership, especially among minorities -- (applause) -- and ways to encourage the good work of charities and faith-based groups. (Applause.) I ask you to join me on these important domestic issues in the same spirit of cooperation we've applied to our war against terrorism. (Applause.)

During these last few months, I've been humbled and privileged to see the true character of this country in a time of testing. Our enemies believed America was weak and materialistic, that we would splinter in fear and selfishness. They were as wrong as they are evil. (Applause.)

The American people have responded magnificently, with courage and compassion, strength and resolve. As I have met the heroes, hugged the families, and looked into the tired faces of rescuers, I have stood in awe of the American people.

And I hope you will join me -- I hope you will join me in expressing thanks to one American for the strength and calm and comfort she brings to our nation in crisis, our First Lady, Laura Bush. (Applause.)

None of us would ever wish the evil that was done on September the 11th. Yet after America was attacked, it was as if our entire country looked into a mirror and saw our better selves. We were reminded that we are citizens, with obligations to each other, to our country, and to history. We began to think less of the goods we can accumulate, and more about the good we can do.

For too long our culture has said, "If it feels good, do it." Now America is embracing a new ethic and a new creed: "Let's roll." (Applause.) In the sacrifice of soldiers, the fierce brotherhood of firefighters, and the bravery and generosity of ordinary citizens, we have glimpsed what a new culture of responsibility could look like. We want to be a nation that serves goals larger than self. We've been offered a unique opportunity, and we must not let this moment pass. (Applause.)

My call tonight is for every American to commit at least two years -- 4,000 hours over the rest of your lifetime -- to the service of your neighbors and your nation. (Applause.) Many are already serving, and I thank you. If you aren't sure how to help, I've got a good place to start. To sustain and extend the best that has emerged in America, I invite you to join the new USA Freedom Corps. The Freedom Corps will focus on three areas of need: responding in case of crisis at home; rebuilding our communities; and extending American compassion throughout the world.

One purpose of the USA Freedom Corps will be homeland security. America needs retired doctors and nurses who can be mobilized in major emergencies; volunteers to help police and fire departments; transportation and utility workers well-trained in spotting danger.

Our country also needs citizens working to rebuild our communities. We need mentors to love children, especially children whose parents are in prison. And we need more talented teachers in troubled schools. USA Freedom Corps will expand and improve the good efforts of AmeriCorps and Senior Corps to recruit more than 200,000 new volunteers.

And America needs citizens to extend the compassion of our country to every part of the world. So we will renew the promise of the Peace Corps, double its volunteers over the next five years -- (applause) -- and ask it to join a new effort to encourage development and education and opportunity in the Islamic world. (Applause.)

This time of adversity offers a unique moment of opportunity -- a moment we must seize to change our culture. Through the gathering momentum of millions of acts of service and decency and kindness, I know we can overcome evil with greater good. (Applause.) And we have a great opportunity during this time of war to lead the world toward the values that will bring lasting peace.

All fathers and mothers, in all societies, want their children to be educated, and live free from poverty and violence. No people on Earth yearn to be oppressed, or aspire to servitude, or eagerly await the midnight knock of the secret police.

If anyone doubts this, let them look to Afghanistan, where the Islamic "street" greeted the fall of tyranny with song and celebration. Let the skeptics look to Islam's own rich history, with its centuries of learning, and tolerance and progress. America will lead by defending liberty and justice because they are right and true and unchanging for all people everywhere. (Applause.)

No nation owns these aspirations, and no nation is exempt from them. We have no intention of imposing our culture. But America will always stand firm for the non-negotiable demands of human dignity: the rule of law; limits on the power of the state; respect for women; private property; free speech; equal justice; and religious tolerance. (Applause.)

America will take the side of brave men and women who advocate these values around the world, including the Islamic world, because we have a greater objective than eliminating threats and containing resentment. We seek a just and peaceful world beyond the war on terror.

In this moment of opportunity, a common danger is erasing old rivalries. America is working with Russia and China and India, in ways we have never before, to achieve peace and prosperity. In every region, free markets and free trade and free societies are proving their power to lift lives. Together with friends and allies from Europe to Asia, and Africa to Latin America, we will demonstrate that the forces of terror cannot stop the momentum of freedom. (Applause.)

The last time I spoke here, I expressed the hope that life would return to normal. In some ways, it has. In others, it never will. Those of us who have lived through these challenging times have been changed by them. We've come to know truths that we will never question: evil is real, and it must be opposed. (Applause.) Beyond all differences of race or creed, we are one country, mourning together and facing danger together. Deep in the American character, there is honor, and it is stronger than cynicism. And many have discovered again that even in tragedy -- especially in tragedy -- God is near. (Applause.)

In a single instant, we realized that this will be a decisive decade in the history of liberty, that we've been called to a unique role in human events. Rarely has the world faced a choice more clear or consequential.

Our enemies send other people's children on missions of suicide and murder. They embrace tyranny and death as a cause and a creed. We stand for a different choice, made long ago, on the day of our founding. We affirm it again today. We choose freedom and the dignity of every life. (Applause.)

Steadfast in our purpose, we now press on. We have known freedom's price. We have shown freedom's power. And in this great conflict, my fellow Americans, we will see freedom's victory.

Thank you all. May God bless. (Applause.)

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