kolmogorov-is-sad

[kolmogorov-is-sad]

The Swan. Harmony under the starry sky.

Translator’s note: Today is Yuzuru Hanyu’s 26th birthday. To celebrate the date, wonderful Yulena gave us this technical and emotional analysis of the Notte Stellata, that I would like to share.  Yuzuru has become an inspiration and has brought hope to so many people. And in the times of adversities, I cannot think of a better program to keep in heart than Notte Stellata. 

Notte Stellata (”Starry night”), a program choreographed by David Wilson, is one of the best exhibitions of Yuzuru Hanyu. A song by Italian trio Il Volo set to the music of Saint-Saëns’ The Swan and of the same name became an unexpected gift to Yuzuru.

In April of 2016 renowned Russian coach Tatiana Tarasova told Yuzuru: “I have a song for you, a song I would like to see you skate to very much”. And she gave him a recording.

“I was very happy that coach Tarasova reached out to me. I admired the rivalry between Plushenko and Yagudin that made me desire to get serious with figure skating and to become Olympic champion. That’s why I was truly happy to receive music directly from the coach of the sportsman that once stood at the very top of the victory podium in Salt Lake City.” (c)

Yuzuru has already turned to the swan theme in his short program White Legend. With this beautiful program set to the music from Tchaikovsky’s ballet Swan Lake arranged by famous Japanese violinist Ikuko Kawaii, Yuzuru competed in 2010-2011 season. In the first part of the autobiography Aoi Honoo (Blue Flame) Yuzuru shared that the melody of the White Legend is sorrowful but despite that it gives a feeling of setting wings free and brings strength to fight the adversities. After the Great East Japan Earthquake, this program for him became connected to the restoration after the disaster, that is why Yuzuru chose that program for the first charity show in Kobe (in April of 2011) and as the exhibition program of the season as well as the exhibition in Olympic Sochi.

Japanese papers named that program 星降る夜 (“The Night of the Falling Stars”)

Yuzuru’s recollections of the first days after the tragedy spent in the evacuation center come to mind. All the lights were cut off the night following the earthquake, and the sky full of stars could be seen above. 

Even though both programs share the same theme, Notte Stellata shows us a different Swan, delicate and fragile. A symbol of light, love and hope. 

This symbolism can be seen in the pattern on the rink and in the skating elements, in the choreography’s delicately reflecting the lyricism and gentleness of the music, and the dynamic accents of the vocals. 

The composition of the program consists of several key elements that come together with the music to bring laconicism but also sophistication to the choreography. Prolonged lobe on the left foot, multirotational twizzles, Ina Bauer, hydroblade, spread eagles with the change of edges and sit twizzles are scattered across the program as if they were pearls on the thread of the melody. Those elements create unique harmony between the music and the movements.

Composition-wise, there are two main ways in which choreography is used to highlight those central elements: execution of the elements at the peak of the melodic phrases and the execution of the elements as accents to the rhythmic patterns of the music.

This new Swan image is also shown through the shining white costume with deep-cut neckline both at the front and at the back, that might represent the purity, delicacy and fragility of the beautiful creature.

Starry night on the forest lake. A swan glides across the water...

The program starts with a soft intro and laconic choreography highlighting the tranquility and serenity of the music. There is some choreography posing into back inside three-turn, followed by a couple of running steps and a prolonged forward-outside lobe on the left foot.

The LFO lobe last through the last two parts of the melody. This lobe and the right arm softly going down at the end speak of tranquility.

The vocals come in to three variations of the half-lunges, gentle and ceaseless movements of the body and hands in harmony with the soft intonation of the melody.

Guarda che lago che luna c’è.

The image of a beautiful bird is created with the vocabular made of delicate movements of the body, the head and the arms, even with the simplicity of the basic running steps.

The main element of this part is the multirotational RFI twizzle at the peak of the musical phrase, that brilliantly highlights the prolonged vocals.

In the next part, choreographic accent is put on the expressiveness of the body and arms. There is a mazurka jump at the change of the musical phrases into a lunge and a knee slide with soft “enveloping” arm motion.

The elegant pose in the lunge with the lowered head and the smooth line of the outreached arms with the loose wrists evoke the image of a bird spreading the wings. 

What a pity that this��lunge lasts just a second!

Arms wrapping and enveloping the body in the knee slide highlight the tenderness of the melody and the softness of the vocals. Yuzuru melts into the music, his expressiveness incredible. 

At the end of the phrase there are two crossed chassés, followed at the beginning of the new phrase by a waltz three (вальсовая тройка) on the left foot into a rittberger three turn (BO three turn with the free leg in front of the main one) set right to the music.

Then, at the culmination of the melody, Yuzuru executes his signature Ina Bauer, the key element of this part of the program. Arms spread softly become the main feature of the element, their movement lasting through all the long vocal part. Those arms speak in the very language of the music. 

Beautiful bird sets the wings free and then folds them again gently at the end.

The next phrase of the music is accompanied by a series of similar choreographic elements that highlight the rhythmic structure. After a LFO three turn with prolonged exit lobe set to the vocals, Yuzuru executes four side half-lunges together with delicate arm movements of a beautiful swan. 

Despite choreographic simplicity, you can watch and re-watch this part forever. 

Then comes a combination spin set carefully to the music. Once again arm movements draw the attention during the spin with their nuanced musical interpretation:

a feather-like swing of the right wrist and rounded soft lines in the camel spin; 

arms being spread open smoothly in the sit spin;

soft movement of the left hand before the Biellmann;

both arms being gracefully spread after the Biellmann at the spin exit, accompanied by the tender sound of the cello.

Difficult variation of the Biellmann at the culmination rightfully becomes the highlight of this spin.

Exiting the spin, Yuzuru does some choreographic posing at the beginning of the new musical phrase, a three turn, a slide on both feet with accentuated arms movements, and a waltz three turn, and then dives into a gorgeous hydroblade at the peak of the melody.

And once again during the prolonged vocal part there is the right arm’s expressive movement of a wing being softly spread open. Incredibly subtle motion of the same hand’s wrist becomes a choreographic touch at the end of the musical phrase.

Flight of the beautiful swan.

At the beginning of the next part the structure of the musical phrasing is highlighted by three inside spread eagles.

Guarda che notte stellata!

Yuzuru wonderfully expresses the music with the intensity and the duration of the spread eagles that fit the rhythmic pattern. Every element is accompanied by one arm softly moving up to the high notes.

Then there come a Jackson, a LFI bracket, a crossed step and a double back outside choctaw into a half-flip. And then a signature half-sit twizzle into inside Bauer with both arms elegantly going up.

This skating transition reflects the growing intensity of the music. The intricacy of the arms and body movements expresses the nuances of the phrase and adds complexity and volume to the choreography.

Then there are a waltz three turn on the right foot and three crossovers in preparation to the culmination of the phrase - a gorgeous choreographic combination of the delayed and triple axels.

The delayed axel and the following triple axel out of the twizzles and into the twizzles excellently highlight the change of the musical intonations, they are performed in complete harmony with the soft and lyrical vocals. Both the take-offs and the landings of the jumps in unison with the lines: Guarda che notte stellata! L'amore per noi...

Incredible composition and performance.

There is a half lutz after the twizzles at the triple axel exit and into some turning steps. 

Yuzuru’s body and arms language expresses tender motives of the final musical phrase with the words of choreographic accents. 

A half-sit slide creates another bird image.

The swan folds his wings.

Beautiful final spin perfromed to the music fading away, and to the deafening applause of the audience, makes the perfect ending of the program:

an incredible camel spin with accentuated change of variations as the musical parts change; 

a sit spin in the difficult variation “leg behind”, the rounded shape of the arm position resembling wings.

In the deeply touching final pose, Yuzuru’s arms and eyes are turned to the sky above. To starry sky of his.

“This is not just about being harmony with the music by one hundred percent and about emphasizing with it, not just about the most difficult elements that fit every single note this is some completely incredible unity of the human soul and the music. I have seen something like that only twice in my whole life, and not on the ice, but in the ballet: when Maia Plisetskaya danced to "The Dying Swan“ under the accompaniment of Mstislav Rostropovich, and in the New York dance studio where Diana Vishnyova danced with Valery Gergiev as conductor. Yuzuru Hanyu’s skating is a phenomenon of that same scale.” Tatiana Tarasova

On the 7th of December Yuzuru celebrates his 26th birthday. 

I would like to with him all the very best and bright that there is on the whole Earth. Most of all - to be in great health. Then there will be power to fulfill all of the plans. Fly high, beautiful and strong Swan! Those wings behind your back will carry you lightly and freely. Fly towards your dream that will definitely come true.

At the Continues With Wings show Yuzuru once said to the audience: “Your eyes are like the stars to me”. The source of that light are all the incredible emotions that Yuzuru’s skating brings us, his skating where the technical mastery intermingles with art.

Yuzuru Hanyu is the brightest star on the figure skating horizon.

[kolmogorov-is-sad]

ALENA KOSTORNAIA. Adiós  Nonino

This is translation of this wonderful technical analysis of Alena Kostornaia’s 2017/2018 season SP program, Adiós Nonino.

The program was done under the +3 GOE judging system and so the bullets used in the GOE analysis are those from according communication. 

STRUCTURE OF THE PROGRAM INSIDE THE MUSIC

With regard to distinctive changes of ton and tempo, Dos cadencias sobre "Adiós Nonino" can be divided into 3 parts. The plot of the program can be built in accordance to this three-acts structure as well.

The 1st part: playful, tempting introduction, it’s exposition of the plot with frequent changes in tempo and rhyme of the music;

The 2nd part: calm yet intriguing development of the plot;

The 3rd part: increase of volume and tempo – culmination and conclusion. 

Elements of the program fall as follows: the 1st part is up to the step sequence, the 2nd part consists of the step sequence itself and the 3rd part - of the jumping passes.

Alena Kostornaia’s 2017 Short Program Structure:

PART 1. TRANSITIONS + TECHNICAL ELEMENTS (JUMPS, STEP SEQUENCE, SPINS)

“Oh, that glance!” During the whole program the skater seems to be engaged in a dialogue with every spectacular in particular, captivating and enticing in the program.

The program starts with spectacular posing and choreographic combination at the end of which Alena executes a toe step backwards and counter clock-wise turn. Then follows broad step – crossover – chassé (LBI-RBO) – counter with the free leg out (RBO-RFO) –  chassé (RFO-LFI) – toe hop with ccw turn and landing on crossed-leg position – choreographic pose with direction backward:

Then: lobe RBI – crossover – original jump of one cw turn LBI-RBI – turn to enter the spin (RBI-LFO).

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FSSp4 - flying entry sit spin, lvl 4. Base value = 3.0

*transitions between the positions don’t count for the number of rotations in those positions.

During the jump 1 ¼ rotations are executed.

First difficult variation of basic position is taken on the second turn after the landing: sit sideways (SS). There are 11 rotations in this position. Then with a change of edge from inside to outside and an increase in speed comes transition into difficult variation “sit behind” (SB) – minimum 4 fixed rotations. At the exit from the spin the skater makes two more rotations.

Features for the level 4 of difficulty. Level 4 requires at least four fulfilled criteria of difficulty. For this spin counted feature are:

 1) Difficult entrance into a spin variation with the jump;  2) Clear increase of speed in sit spin;  3) Difficult variation – sit sideways (SS);  4) Difficult variation – sit behind (SB).

Thus level 4 of difficulty.

GOE, FSSp4 

Final evaluation for any technical element consists of the base value + grade of execution (GOE). For good execution judges award the element grades from +1 to +3. For this spin, +1 corresponds to 0.5 additional points for to base value, +3 – to 1.5 points.

Positive spins GOE criteria: 

Good spin and acceleration during the spin - fulfilled.  The speed of the first position of the spin is more then 2 ¼ rotations per second, that is higher speed than that of the most ladies’ skaters in the world.

Ability to center the spin quickly - fulfilled. Deviation from the original position is rather small during all the rotations.

Balanced rotations in all positions - fulfilled.

Clearly more than required number of revolutions - at the discretion of the judges.  There are 11 rotations done in the first position instead of the necessary 8.

Originality (for example, the variation of non-basic position) - fulfilled.  In the first position (SS) there is an original difficult arm position: right hand is wrapped under the leg.

Good control throughout all phases - fulfilled.

Good, strong position (including height and position in the air/landing of the flying entry) - fulfilled.  Particularly, the flying entry jump is executed with good height and during it the skater takes the position of the sit spin, stretching her leg parallel to the ice. All the other positions are executed flawlessly ass well.

Element matches the musical structure - fulfilled.  The flying entry landing coincides with a clear musical accent, then there is a small pause followed by piano adagio - slow quiet part, i.e. the element is meant to highlight the musical phrase and the change of the flow of the program.

GOE is +3 with bullets to spare. Multipled by 0.5 coefficient final GOE = 1.5.

Final pointes awarded for the spin: BV + GOE = 3 + 1.5 = 4.5

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Then transitions: Inside Ina Bauer (RFI-LBI) – bracket RFI-RBO with left leg stretched out and beautiful choreographic pose:

- crossed step (RBO-LBI) – toe hop (half-turn cw) – three turn (RFO-RBI) – crossover – mohawk (RBI-LFI) - lunge on the right leg – double three turn (RFI-RBO) with free leg stretched out – arabesque spiral – cross – Alyona’s special spiral (left leg stretched up and to the side, hands locked behind the back, and left hand holds left leg) – change into a Kerrigan spiral:

Then: counter (RBO-RFO) -  chassé (RFO-LFI) – Bauer (LFI-RBI) – three turn (RBI-RFO) – crossed step (RFO-LFI) with “beckoning” gesture of left hand – lobe (LFI)

CCoSp4 - combination spin with a change of foot, lvl 4. Base value = 3.5

There are 3 rotations executed in the fixed first basic position (camel spin). Then there is difficult variation: camel spin sideways (CS). It has three rotations. Then: at least 4 rotations in a difficult upright position “upright sideways” (US). At the exit of the position there are two rotations.

There is change of foot (from right to left) and a change of edge (inside to outside).

In the difficult position of the sit spin “forward” (SF) there are 3 rotations. The, comes a rare variation of non-basic position (NBP): in upright position the skater bends the body to 90 degrees and positions her bent right hand on the front of the left hip, arms stretched up in a lock over the back. There are 3 rotations in that position. There are 2 rotations at the exit of the spin. So the skater executed all three necessary basic positions in the spin (camel, sit and upright) allowing for the full base value of the element.

Features for the level 4 of difficulty. Level 4 requires at least four fulfilled criteria of difficulty. For a spin with change of foot the maximum nuber of features that can be acquired on either is two.

Features counted on the right foot:

1) Difficult variation – camel sideways (CS) 2) Difficult variation - upright sideways (US)

On the left foot:

3) Difficult variation – sit forward (SF) 4) Non-basic position (NBP)

GOE, CCoSp4.

Good spin and/or acceleration during the spin - fulfilled. The speed is high and there is clear increase in rotational speed as well.

Ability to center the spin quickly - at the discretion of the judges. The centering in every position except for the upright spin is quick and stable. In the upright position there is slight visible travelling.

Balanced rotations in all positions – fulfilled.

Clearly more than required number of revolutions – not fulfilled.

Good, strong position - at the discretion of the judges. Every position except for the upright one are executed perfectly. In the upright spin (I-Spin) supporting leg is not straightened enough.

Originality (for example, the variation of non-basic position) - fulfilled. In the “camel sideways” position the free arm is stretched out in a beautiful gesture. Non-basic position (after the change of foot) is very rarely seen.

Good control throughout all phases - fulfilled.

Element matches the musical structure - fulfilled.  The spin is set to the ending musical phrase of the first part of Adios Nonino. The entry to the element is proceeded by the apparent accent and followed by the melody’s clear increase in speed matching the increase of rotational speed of the skater in the spin. At the end of the musical phrase there is a pause when Alena changes foot, and then comes insignificant increase in speed. The exit of the spin coincides with a smooth transition to the next part of Adios Nonino.

5 definite bullets + 2 at the discretion of the judges (some counted in favour of the skater) = +3 GOE = 1.5 points

Final points: 3.5 + 1.5 = 5

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StSq3 - step sequence, lvl 3.  Base value = 3.3

Difficult steps and turns are numerated. 

Chassé (RFI-LFO) 1. rocker (LFO-LBO) ccw crossover 2. rocker(RBI-RFI) cw 3. counter (RFI-RBI) cw crossed chassé 4. counter (RBI-RFI) ccw 5. series of twizzles RFI ccw 6. loop RBO ccw transition into lunge on the right foot through the toe step

chassé RFI-LFO 7. choctaw (LFO-RBI) cw three turn (RBI-RFO) cw chassé RFO-LFI jump of half-rotation (LFI - LBO) cw turn LBO - RFO 8. series of twizzles RFO cw change of edge RBI-RBO choreographic element: toe picks of the left skating boot beats time in the accent cross-roll RBO-LBO 9. counter (LBO-LFO) ccw 10. series of twizzles LFO ccw 11. loop (LFO) ccw lobe LFO  toe pick push of the  right leg going into mohawk LFI-RBI cw three turn (RBI-RFO) cw with free leg out crossed step RFO-LFI broad step LFI-RFI 12. bracket RFI-RBO cw  crossed step RBO-LBI change of edge LBI-LBO 13. choctaw LBO-RFI cw  toe hop RFI-LBO cw (half-turn)  change of edge LBO-LBI turn LBI-RFO crossed step RFO-LFI 14. bracket LFI-LBO ccw crossed step LBO-RBI lobe RBI change of edge  RBI-RBO half-turn hop ccw with with change to the left foot toes toe step forward crossover 15. loop LBI ccw chassé  LBI-RBO three turn RBO-RFI ccw inside Ina Bauer RFI-LBI crossover chassé RBI-LBO cross-roll LBO-RBO 16. counter RBO-RFO cw three turn RBO-RFI cw

Table of difficult steps and turns of the step sequence:

Level of difficulty of the step sequence is determined by the according number of features of difficulty. One feature brings level 1; level 4 thus needs 4 features out of 4. Those are:

1. Complexity. It includes 11 different steps and turns. Each of the types is counted no more than twice, 5 types must be executed in both directions: clock-wise and counter clock-wise. Not counted.

There are more than enough different difficult steps and turns in Alena’s step sequence. Yet as we can see from the table above only four of the types are executed in both directions. In this case it is apparently a miscalculation of the choreographer. It would have been enough for one loop to be clock-wise for the level 4. The skater is capable of performing one (and has done those in different programs). And yet for some reason there are whole three loops counter clock-wise. Or there could have been 1 choctaw counter clock-wise instead of two clock-wise, something like that wouldn’t be a problem for a skater like Alena Kostornaia.

 2. Rotations in either direction (left and right) with full body rotation covering at least 1/3 of the pattern in total for each rotational direction. Counted.

The skater executes much more than 1/3 of the pattern with full body rotations, both clock-wise or counter clock-wise. Additional steps without rotations take a very small amount of time and coverage.

3. Use of body movements for at least 1/3 of the pattern: counted.

“Use of body movements” means the visible use for a combined total of at least 1/3 of the pattern of the step sequence any movements of the arms, and/or head and/or torso and/or hips and/or legs that have an effect on the balance of the main body core. “[To] have an effect on the balance of the main body core» can also be understood as “influencing the balance of the body in the whole and the balance on the skate”.

All that absolutely applies to Alena’s step sequence: almost every step is accompanied by somplex choreography executed on a high level.

4. Two different combinations of 3 difficult turns on different feet executed with a clear rhythm within the sequence. Only the first combination attempted on each foot can be counted – fulfilled.

Combination on the right foot consists of steps and turns 4-6. Combination on the left foot consists of steps and turns 9-11. Both are executed with clear rhyme.

Thus there are 3 features counted resulting in 3 level of difficulty. 

GOE, StSq

There are at least six bullets out of 8 needed for +3 GOE, each two counts towards +1.

Good energy and execution – fulfilled. The step sequence is executed with all the necessary energy and presentation. The quality of the execution is very high, for example, contrary to the most other competitors the skater does a lot of turns on the prolonged lobes that are valued and correspond to the classic postulates of the figure skating.

Good speed or acceleration during sequence - fulfilled.   The speed is essential for a rhyme like that. During the step sequence there are parts with clear acceleration, for example, the first series of twizzles or the part at the end.

Use of various steps during the sequence – fulfilled. See the table, all the different types of difficult turns and steps are used more than once, as well as all other types of steps.

Deep clean edges (including entry and exit of all turns) – at the discretion of the judges. Alena Kostornaia completes many steps and turn not just with deep but with very deep edges as the one can see in the best ice dancing couples. The absolute majority of the steps are executed cleanly. Though if one would nitpick, one might find an imperfect three turn and the last counter with a flat edge before the direction change.

Good control and commitment of the whole body maintaining accuracy of steps -  fulfilled. The skater has excellent skating technique that implies good knee work and nice position of the body, arms, etc. At the same time. There are almost no “empty” steps in accordance to the choreography. Every turn is accompanied with active body work, with movements fit to the choreography and esthetically pleasing.

Creativity and originality - fulfilled. The step sequence is not ordinary in aspects of steps and turns distribution, unusual elements, supporting choreography. There are decorating movements as well as transitions such as Ina Bauer and various hops. Hands and arms position during the twizzles is quite unusual and beautifully executed as well.

Effortless throughout - fulfilled.

Element enhances the musical structure - fulfilled. As noted above, the step sequence is well inserted in the music. In the composition of Dos cadencias sobre "Adiós Nonino" there is a “calm” part. That is the one the step sequence is set to. At the same time many difficult turns and steps fit musical accents, that is clear right from the start.

Thus, the skater hits at least 7 bullets and receives a GOE of +3 = 1.5 points.

Final points for the element: 3.3 + 1.5 = 4.8

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Then transitions:

choreographic pose on two feet with extended arms gesture – crossover – turn RBI-LFO – three turn LFO-LBI – 2 crossovers – chasse RBI-LBO – change of edge LBO-LBI – turn LBI-RFO – crossed step RFO-LFI – broad step LFI-RFI – three turn RFI-RBO – change of edge  RBO-RBI – turn RBI-LFO – crossed step LFO-RFI – choctaw RFI-LBO – counter LBO-LFO – three turn LFO-LBI into flip.

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JUMPS ANALYSIS. METHODS EXPLANAITION.

Pre-rotation is lack of rotation on the take-off, i.e. the part of the rotation that is executed by skater on the ice before fully taking off into air. Almost every jump has inherent pre-rotation, even though some Lutz executions can have pre-rotation very close to 0°. Pre-rotation should be limited within 180°, yet the rule [that requires forward (or backwards for the Axel jump) take-off to be downgraded] is rarely used in practice as it is only allowed to review jumps for pre-rotation with real time speed.

Under-rotation is the lack of rotation on the landing, the part of rotation executed on the ice before the skater finishes full number of rotation of the jump. Under-rotation should be under 90° [for the jump to be considered rotated].

Height of the jumps [in this article] is calculated with the formula:

where g is gravitational acceleration, t - time spent in the air. 

For the calculation of the time a video of 60 fps of SBS channel was used. Unfortunatelly, the quality of the video is not perfect, but allows to calculate the time and height with help of the number of frames in which the skater was up in the air. The same video was used to determine pre- and under-rotations.

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3F+3T combination jump (triple flip + triple toe loop) Base value = 10.56

Executed in the second half of the program. 

Triple flip:

Pre-rotation ≈ 90°, under-rotation ≈ 60°, in the air ≈ 930°, more than 2.5 rotations | Height ≈ 41,7 сm

Triple toe loop: 

Prerotation ≈ 140°, under-rotation ≈ 30°, in the air ≈ 910°, more than 2.5 rotations | Height = 41.7 cm

GOE, 3F+3T

Unexpected / creative / difficult entry - fulfilled. Before the three turn of the take-off the skater does two difficult steps without break (choctaw – counter).

Clear recognizable steps/free skating movements immediately preceding element – fulfilled. Crossed step – choctaw - counter.

Varied position in the air / delay in rotation – fulfilled. Toe loop is executed with “rippon” variation (both hands locked over the head).

Good height and distance - fulfilled. Distance is great and height is solid. Most ladies have height less than 40 sm, especially in the second toe loop (of the combination).

Good extension on landing / creative exit – fulfilled. The bullet is more than fulfilled. The extension is there (the free leg is outstretched and no lower than the waist). Creative exit is also there (change of edge and a three turn on the landing foot at the exit).

Good flow from entry to exit including jump combinations / sequences – fulfilled. The combination is executed in one tempo: great speed coming in without a hitch, lack of any pause between the jumps, no stop after the second jump, long lobe of the exit.

Effortless throughout – fulfilled. There is no movement pointing out excessive efforts during the execution of the combo such as too big lean of the body, “fighting” on the landing, etc. The combination is executed with the help of speed on the entry and properly used picking technique of the jumps.

Element matched to the musical structure  - fulfilled. The moment of toe loop take-off coincides with clear accent. The culmination comes with the exit. The accents are also highlighted with arms movements.

So it is one of rare cases when all the GOE bullets can be counted, +3 with bullets to spare! For triples that means +2.1 pointes.

Final points for 3F+3T combination in the second half:  10.56 + 2.1 = 12.66

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Then transitions: at the exit from the toe loop and exetuted on the landing foot: change of edge (RBO-RBI) – three turn (RBI-RFO) Then: crossed step (RFO-LFI) – basic stroking – Waltz jump – change of edge RBO-RBI – turn RBI-LFO – crossed step LFO-RFI – counter RFI-RBI – chasse RBI-LBO – cross-roll LBO-RBO – change of edge RBO-RBI – 3 crossovers – mohawk RBI-LFI – broad step LFI-RFI – mohawk RFI-LBI – Split jump:

– counter RFI-RBI – Walley – choctaw RBO-LFI – changes of edge LFI-LFO-LFI  – mohawk LFI-RBI – change to the left foot

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3Lz jump (triple Lutz) Base value = 6.6

Executed in the second half of the program.

Pre-rotation ≈ 90°, under-rotation ≈ 45°, in the air ≈ 945°, more than 2.5 rotations | Height ≈ 44.1 сm

GOE, 3Lz

Unexpected / creative / difficult entry - fulfilled. One of the most difficult Lutz jump entry ever: with combination of jumps, difficult turn (rocker) and two mohawks.

Clear recognizable steps/free skating movements immediately preceding element – fulfilled.

Varied position in the air / delay in rotation –  fulfilled. The Lutz is executed with “rippon” variation (both hands held beautifully over the head

Good height and distance - fulfilled. The Lutz is even higher than the flip and the toe loop.

Good extension on landing / creative exit – fulfilled. The bullet is more than fulfilled. The extension is there (the free leg is outstretched and no lower than the waist). Creative exit is also there ( (three turn going into Bauer).

Good flow from entry to exit including jump combinations / sequences – fulfilled. The Lutz is executed in one tempo: great speed coming in without a hitch, minimal time spent in preparation for the jump, no stop after the second jump and long lobe of the exit.

Effortless throughout – fulfilled. There is no movement pointing out excessive efforts during the execution of the combo such as too big lean of the body, “fighting” on the landing, etc. The combination is executed with the help of speed on the entry and properly used picking on the jump.

Element matched to the musical structure  - fulfilled. The skater takes position (arabesque) at the exit right on the cleat musical accent. Bauer also fits piano part.

Once again, a jump that fulfills every bullet! That is +3 GOE of positive criteria.

Negative criteria: Every element has negative GOE criteria alongside with positive ones. In this jump, a case for unclear edge instead of clear outside can be made. Unfortunately, there is no ideal (frontal) view neither in the real time footage nor in the reviews in slow-mo. Though, at the Russian National 3 months earlier [than JWC 2018] the skater ha executed a Lutz from outside edge: 

But at the Junior world championships the judges had the right to apply -1 GOE deduction (and not more as the mistake wasn’t serious [* his statements comes from consideration that the jump shouldn’t have been given enclear edge (!) call by the technical panel]).

Thus: GOE +2 = 1.4 points  

Final points for the 3Lz in the second half should be:  6.6 + 1.4 = 8

———————————————————————————————————————————— Then transitions: landing in the right foot – RBO. On the same foot right on the exit: three turn RBO-RFI going into Bauer RFI-LBI. Turn RBI-LFO – Waltz jump – mazurka jump – toe step R – lobe LFO – crossed step LFO-RFI – broad step RFI-LFI – mohawk LFI-RBI – 2 crossovers – otherworldly Ina Bauer:

2A jump (double Axel) Base value = 3.63

Executed in the second half of the program.

Pre-rotation ≈ 60°, under-rotation ≈ 0°, in the air ≈ 840°, i.e. 2 1/3 rotations | Height ≈ 41.7 сm

GOE, 2A

Unexpected / creative / difficult entry - fulfilled. Difficult entry from Ina Bauer with amaizing and elegant deep layback.

Clear recognizable steps/free skating movements immediately preceding element – not  fulfilled.

Varied position in the air / delay in rotation – not  fulfilled.

Good height and distance - fulfilled. Another jump with amazing distance. Very good height for lady’s double Axel (that aften have about 35 cm or less)

Good extension on landing / creative exit – fulfilled. The bullet is more than fulfilled. The extension is there (the free leg is outstretched and no lower than the waist). Creative exit is also there (three turn going into a series of twizzles).

Good flow from entry to exit including jump combinations / sequences – fulfilled. The double Axel is executed in one tempo: great speed coming in without a hitch, minimal time spent in preparation for the jump, no stop after the second jump and long lobe of the exit.

Effortless throughout – fulfilled. There is no movement pointing out excessive efforts during the execution of the combo such as too big lean of the body, “fighting” on the landing, etc. The combination is executed with the help of speed on the entry and properly used picking motion of the jumps.

Element matched to the musical structure  - fulfilled. The jump is perfectly integrated in the music, slowing and xalming down during beautiful entry and suddenly exploding right on the exit. Landing coincides with the start of music culmination: it os followed by distinctive encrease in speed and the skater also speeds up in response on the series of twizzles. And all of this is performed on one foot!

6 bullets give us +3 GOE = 1.5 points (for double Axel)

Final points for 2A in the second half:  3.63 + 1.5 = 5.13 

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Then transitions: Landing on the right foot RBO. On the same foot right after the jump: three turn RBO-RFI – series of twizzls RFI – choctaw RBO-LFI – bunny hop – rocker LFO-LBO – counter LBO-LFO – windmill.

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LSp4 Spin - layback spin, lvl 4. Base value = 2.7

There are 5 rotations in sideways position of the layback spin, 3 out of which are done with unusual arms position. In the next difficult variation of upright layback (UL) there are at least 4 rotations done. The spin ends with at least 5 full rotations in upright Biellmann (difficult variation of upright spin, UB)

Features for the level 4 of difficulty. The level 4 requires at least four fulfilled criteria of difficulty for this spin counted feature are:

1.  Difficult entrance into a spin (rocker-counter-windmill on one foot) 2.  Clear change of edge in sit (only from backward inside to forward outside), camel, Layback and Biellmann position. 3.  One clear change of position backwards-sideways or reverse, at least 2 rev. in each position (sideways into backwards). 4.  Biellmann position after Layback spin (SP – after 8 revolutions in layback spin) (counted as there are at least 9 rotations completed in Biellmann position)

GOE, LSp4

Positive spins GOE criteria:

Good spin and acceleration during the spin - fulfilled. Both are present. The speed is rather high.

Ability to center the spin quickly - fulfilled. Not only the first but every position is centered quickly and sustained throughout all rotations. There is small deviation during positions change. 

Balanced rotations in all positions - fulfilled.

Clearly more than required number of revolutions - not fulfilled.

Originality (for example, the variation of non-basic position) - fulfilled. Arms position in the first two positions is rarely seen.

Good control throughout all phases - fulfilled.

Good, strong position (including height and position in the air/landing of the flying entry) - fulfilled.

Element matches the musical structure - fulfilled.  Magnificent execution becomes a culmination to the whole music, it is clearly highlighted with beats and accents. Right at the final accent the skater makes a hand gesture at the end of the spin.

7 bullets checked off = +3 GOE = +1.5 points.

Final pointes awarded for the spin: BV + GOE = 2.7 + 1.5 = 3.2

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The program ends with choreographic combination of a series of turns with victorious, elegant and spectecular final pose facing the audience:

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CONCLUSION. FINAL TECHNICAL SCORE 

After the analysis the final technical score becomes 44.29 points. That is 2.75 points more than real score received in the competition [JWC 2018]. There are two reasons for this difference: 1. Average GOE for the Lutz in the protocols equals +1 while we came to the conclusion that GOE of +2 would be more appropriate.  2. Unanimous +3 GOEs by all judges are historically rarely awarded at competitions and are never awarded at junior level. There is already only one +1 present in the protocol with all other GOEs being +2/+3, quite an exceptional thing. 

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ABOUT THE PROGRAM

Choreographer: Daniil Gleikhengauz Music: Dos cadencias sobre "Adiós Nonino" Performed by Pablo Ziegler, possibly one of hte most famous pianists of the nuevo tango genre.

The name of the musical piece literary means “Two cadences to “Goodbye, Nonino””. “Adiós Nonino” is one of the most famous tangos on the world by Astor Piazzolla. This piece starts with easily recognizable melody played by him on the bandeneon (a type of square concertina). Alena’s music doesn’t have this melody, but mostly consists of piano versions of intro’s or endings of famousd tangos, for example this one.

WHY IS IT DIFFICULT TO SKATE TO THIS MUSIC Dos cadencias sobre "Adiós Nonino" doesn’t have a single rhythmic pattern or tempo. Piano solo can be compared to improvisation. Rhyme and tempo are changing all the time as well as mood of the musical theme. The skater and the choreographer need to fit difficult phrases and hit accents, possess an ability to change abruptly or smoothly in the canvas of the program.

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Translator’s notes:

1. The original article gives credit to the famous Yulena for technical consultations. The formula used for calculations of height is the one used in this blog by Pashka Ternov.  2. Some parts of the article were omitted in the translation, particularly those concerning general information about transitions and technical terminology used (cw, RBO, difficult steps and turns types, etc) as well as general introduction. The information about the music was moved from the start to the end for the sake of coherency and to highlight the technical part of the article. 3. As always, if you have a question about the text and its content, please, contact me first of all, there is always a possibility of mistake in translation. If you have suggestions about the quality of translation, you are welcomed. Thank you!

[kolmogorov-is-sad]

Otoñal by Raúl di Blasio. Ice watercolor of Yuzuru Hanyu.

Yuzuru Hanyu’s 2018/2019 season SP analysis by Yulena translation. Source: pt1, pt2.

“The origins of my skating come from Russia. For that reason, I want very much to deliver a strong performance here. Both tomorrow’s and today’s programs have a connection to Russia. [Tatiana] Tarasova helped to choreograph the original “Otoñal” program. I am very grateful to the person who created the choreography and watched me standing, and also [Natalia] Bestemianova and [Igor] Bobrin, who had helped me with choreography for the “Romeo and Juliet” program. I am overwhelmed with emotions just because such people have awarded me with standing ovation. I saw Tarasova as I approached the jump, and Bobrin was in the guest seat of the arena clapping on his feet. Thank you very much” © 

                                                 –  interview after the SP at Rostelecom Cup 2018

Musical arrangement of the 2018/2019 season’s short program for two-time Olympic champion Yuzuru Hanyu is one of the piano piece by Raúl Di Blasio. Both of his programs this season go back to his origins and the starting point of Yuzuru’s career, to his childhood dreams. They are also an immense tribute to the skaters he’s considered his idols since his early days - Johnny Weir and Evgeni Plushenko.

According to Yuzuru’s own words Johnny Weir’s “Otoñal” is one of the programs that left the greatest impressions on him in his skating life. 

“The arm positions during spins, the softness of expressions, the way to pick up nuances and move to music, landing positions and so on, it was the music of the programme that led me to perform with attention to each of these details.”   

 –  Public practice in Toronto,  30.08.2018

Having seen Johnny’s performance as a child Yuzuru listened to this music while imitating his idol and dreamed of creating his own program.

“I was stunned by his neutral androgynous beauty that he as a man could present, that was his main charm. At that time, I couldn’t see and evaluate jumps by GOE right away, but the smoothness on the landings, beautiful positions on the exits, precision of jumps placement to the music – all that was made meticulously. First of all the landing. And that smoothness. Of course, all those things captured my attention. I clearly remember how I wanted to jump and skate just like that.”

  –  Public practice in Toronto, 30.08.2018

The choreographer for the new short program once again was Jeffrey Buttle. From Brian Orsers’ book “Team Brian”:  

"Yuzuru has incredible creative chemistry with Jeffrey Buttle and Shae-Lynn Bourne. You may say that it eould be hard for him to work with anyone other than those two. Yuzuru has his own jump entries that fit the way he moves, and comfortable timing of choreography is very important for him. Even his quads flow out of steps, he keeps an image of the perfect form in terms if speed, that step and curve angle in his head. He needs a choreographer who could share his attention to details, so unique for the skater of his level.” 

When Jeffrey learnt the name of the composition he first of all ask about Yuzuru’s associations with the music. He answered: “Something like reflection.” “Otoñal” means “autumnal” in Spanish.  Autumn as a memory from the past and reflection on the passing time, dreams and origins. That was the chosen theme for the choreography of the program, from the starting to final poses.

“And for him, Autumn is sort of a time of the year for reflection and about looking back. Almost a time of nostalgia? And I think it was so appropriate given what he accomplished and everything that happened last year. Choreography itself begins with… for me when I think of nostalgia, I think of looking through an old family photo album, so the very first movement is him opening that album.”

         –  Jeffrey Buttle, interview after Public practice in Toronto 30.08.2018 

The main idea of the composition lies in the travel in time and calling (обращении к ) to the personal story in figure skating. In the starting pose according to the Jeffrey’s idea Yuzuru opens the album with memories of the past. And so the skating choreography, musical and compositional structures of the program, distribution of the elements all go back to the origins and show great respect to the people that had influenced Yuzuru’s path.

The content of the program includes two quad jumps, one executed in the combinayion wioth the triple toe loop and a triple axel: 4S, 3A // 4T+3T, FCSp, CSSp, StSq, CCoSp.

The choreographic structure (composition) of the program was evolving during the first three competitions of the season.  

 1. The structure of the program has been changed that stood out as uncommon and unusuala and uncharacteristic for Yuzuru positioning of all the jumping passes back-to-back in the single block. That was a decision taken by Yuzuru and Jeffrey together because that distribution would allow to incorporate jumping and not-jumping elements (step sequence and spins) most harmonically in the musical structure. The jumps from the entry to the exit are executed one after another (bam-bam-bam ©), then comes a soft musical transition to two spins and the emotional explosion of the step sequence at the end of the program. “[...] Stillness versus the tempestuousness of the steps.” ©

In the first half of the program with gentle subtle music the jumps are done effortlessly softly and smoothly, when the emotions are expressed with the second half via the spins and sequence.

Originally the center element of the program – 4T+3T combination – was planned in the first half. But “it is all meaningless unless it allows to win.” © So after the very first competition of the season (ACI 2018) sports competitiveness and desire to win took over, and the combination was moved to the second half of the program.

This change brought corrections to the original choreography and composition: the entry to the 4S became more complex, the transition between two spins and sequence changed, and new skating transitions were added between the 3A and the 4T+3T entry. Before the Rostelecom Cup 2018 the entry to the triple axel also changed and new transitions between triple axel and combo were added once again.

Despite the move of the combo to the second half the jumping passes remained in one block that the most intricate skating choreography in between the elements and on the entries/exits mode possible. The notorious strategy of Yuzuru is based on the idea that the jumps are one of the performance parts. If they are done perfectly the program gains better fluidity and continuity of the movement from one element to another, and seems complete. More than that, Yuzuru is set to present the program in such a manner that the sound of the take-off and the landing themselves would enhance the выразительность of the quite musical intonations. 

“Also, the sound — shu! —of the edge when taking off, the sound — pa! — of the landing. I want to make [this program] such that even these sounds can be felt, as a part of the expression.”

                                       –   interview for Figure Skating Life vol 15 (10.10.2018) 

  2. Positions of the jumps and spins changed in the pattern of the program, with the latter becoming more multidimentional. The quad salchow (together with the trajectory of the entry) have been moved to the right part of the rink. Compared to the previous short program (Chopin Ballade №1) the triple axel and the combination placement changed. Th eboloved axel now is executed on the trajectory along the long board of the judging panel with additional chic, the combo went from right to the left side from the judges’ perspective. The camel spin went to the left side, the sit spin with the change of foot – very close to the left short board, and the final spin – to the center of the ice rink.

  3. Due to the placement changes after the ACI there also came the changes in the structure of the step sequence, it became shorted by 4s and the complicated steps and turns counting to the levels of difficulty became more “packed” together.

   4. Some of the difficult variations of the basic positions in the sit spin and the combination spin counting to the levels of the corresponding spins were changed. With that the variations are not just executed to earn the levels but also to choreographically enhance the interpretation of the music with precise and flashy accents with hands movements. The distinguishing qualities of Yuzuru’s programs is the prevailing skating choreography as the principal mean of interpretation; the continuous flow with various connecting elements and steps contributes to the wholeness and creates multiple dimension to the composition. This is accompanied with the special choreography of diverse upper body and arm movements. And the unity of both the skating transitions and the space choreography throughout the program makes the unity of the music and the skater’s performance stand out. It expresses the intonations and reflects the changes oh the tempo and the nuances of the phrasing. .

With the changes of the composition after the first competition came the changes of the arrangement of the music.

Right after the ACI 2018 Yuzu contacted sound producer Keiji Yano asking him to make corrections to Otoñal for the purpose of moving the combo. It is a known story that Yano-san has rearranged the track for SEIMEI more than 30 times following Yuzuru’s requests. This time he also confessed: “His orders were precise as usual. This time too, [his instructions] were detailed, as always. It was a test of my skills.” At the beginning of October Yuzuru received the new arrangement and started to training according to it.

Musical structure of the program and its collaboration with the composition:

Intro

(from the starting pose to the beginning of the combo entry (transitions – entry – 4S - exit – transitions – entry – 3A – exit – transitions). 

The program starts with some low piano harmonies turning into gentle and quite intonations at the beginning of the new phrase. This transition is choreographically translated with Ina Bauer and highlighted by the smooth lines and movements of the skater. This part is based upon two melodic phrases (like nostalgia and look back into the past).

Development 

(transitions – entry – 4T+3T – exit – FCSp – transitions – CSSp) 

Transition between two musical parts is highlighted with a series of twizzles. The combo entry coincides with separated abrupt low accords. Emotional tone and intensity grow stronger throughout the whole entry and reach the highest point at the moment of combination with both jumps landed on the beats. The transition from exit to the camel spin separates the two musical phrases. The new one has a contrast of intonations. And the momentary transition evokes images of the grim autumn sky with simmering clouds suddenly broken by a ray of sunshine, of nature coming alive under this warm light. But surely “everyone will see something different” ©. The phrase ends with another set of low accords at the transition to the sit spin with change of foot.

Culmination 

(StSq - CCoSp) 

This is the most passionate and emotional musical part with strings introduction  at the beginning of the StSq. The dynamism of the music increases and results in more energy and expanded scope of the movements during the step sequence execution. At the end of the sequence the strings die out and the final combination spin is set to the piano part that has a smooth transition to the ending pose and concludes the program in a beautiful way. All three music parts are intricately tied with the choreographic structure and create an integral image of the program, in which the music is not born by the fingertips on the piano keys but comes to life with the blades touch on the ice. Each musical phrase is accompanied with amazingly arranged choreographic accents. 

The elements and skating transitions connection to the musical phrases comes as follows:

The starting pose with elegant turn of head to the side of extended arm as the call to the past and reminiscence of the bygone days. 

The begining of the program consists of melody in five low separeted harmonies with piano accords. There is a turn on the first accord and a movement of both arms on the second harmony in the posing.

A LFO waltz three turn with accentuated lobe of the exit and a crossed step RBI/LBO on the beat (third accord), direction change forward, running step, chasse LFI/RFO and direction change right on the note (forth accord), lingering and accentuated crossover and two more crossovers on the final fifth harmony. Delicate and slightly reversed choreography of this part is connected to the laconism of the musical phrase. Then Yuzuru softly stands in the Ina Bauer (with elegant arms movement) that unites the first part to the second and also marks the beginning the solo 4S entry: accentuated waltz three turn LFO at the start of the phrase – backward power three turn RBO – inside spread eagle – RBO backward power three turn – 4S.

The element in the while fit the music phrase and in its length: a difficult entry to the jump, an exit after the landing and skating transitions right after are all executed in three measures of the musical phrase. The first measure starts with the entry steps and ends with soft and almost silent landing; the exit into counter - Ina Bauer for the second measure; skating transitions after the exit of the jump fit the third and final measure. Holding closer to the notes ©

The difficult exit from the landing lobe to the RBO counter (such exit from the quadruple jump in the only one in the field of men singles) with smooth transition into the inside Ina Bauer. Then comes direction change forward, LFO three-turn, LBI/RBI broad step with both arms movement on accent at the end of the measure. Softness of the piano sounds during transition to the Bauer is choreographically enhanced with graceful turn of the head and arms going down smoothly.

The accentuated crossover (with prolonged exit lobe), crossover, RBI/LBO chasse and to the fading sounds of the music Yuzuru goes into the outside spread eagle. This long SE set is executed with emphasis on the soft movement up of the head and the right arm that highlight the laconism and gentleness of barely audible sound on the verge of two musical phrases.

“He can make the most pregnant pause nothing moment be so memorable [...]”                                       

                                                          –   David Wilson, Japan TImes 21.08.2018

The beginning of the new musical phrase is marked with elegant change of edge in the spread eagle with arms softly going up on the note. The following skating transitions, difficult entry to the triple axel, the jump itself and the difficult entry are all in harmony with the musical structure: LBI/RBO chasse and accentuated RBO choctaw, change of foot, RFO/RFI change of edge, RFI swing mohawk, accentuated LBI/RBO chasse with right arm soft moving as if touching the piano keys and a crossover at the end of the measure. 

The entry to the 3A fits the second measure of the phrase: RBO choctaw – RBO/LBI crossed step – LBI/LBO change of edge – LBO/RBI crossed step – LBO counter at the end. The jump has a difficult exit on the lobe of exit – RBO twizzle – RFI three-turn – mini-Bauer – that fits the extension of the musical rhyme. Holding closer to the notes ©

His triple axel is not just a jump. It’s art. An element perfectly integrated in the choreographic pattern of the program and presented as organic ending of the skating on the entry and natural premise to the skating on the exit. It is remarkable that the skating transition after the landing is executed in two motions with inartificial pause (on the three-turn between a twizzle and a Bauer) at the end of the phrase to the fading music. Such an absolute harmony in movements is hard to put into words. It is complete fusion with the music, when the rhyme of the steps and turns on the entry/exit and the jump itself matche the music beats.

“Hanyu’s triple axel is a jump of an outstanding beauty with natural and effortless timing.” ©  Elvis Stojko

The exit of the triple axel precedes a transition of steps and turns musically inserted in the additional measure: crossover, LBO choctaw, accentuated RFI bracket, RBO/RBI change of edge, RBI/LBI broad step going into posing, crossover. Smoothness of this transition execution set to the final musical phrase of the first part demonstrates excellent interplay of movements and blade and the music.

The second part starts with musical phrase of changing intonation that is choreographically expressed with a series of twizzles and skating transition: crossover with accentuates arm movements – LBO choctaw - crossover -Jackson (composition step). Musical tone changes with increase in intensity and accentuated piano accords coming in at the start of combination jump entry, the change marked with arms movement. Skating transitions on the entry are following the increasing dynamics and executed in accordance with such. The combination itself takes a special place in the composition of the program; it highlights the intonations of the phrase precisely. Holding closer to the notes. ©

Direction change forward – LFO three-turn with great flow and body and free leg move on the exit – inside besti squat –  crossover with direction change forward – LFO counter - LBO/RBI crossed step – direction change forward – LFO three-turn – 4T+3T.

“He studied all the phases of the jumps in every detail and does them in one breath.” ©  Kurt Browning

This combination was executed [at Rostelecom Cup 2018] just ten meters away from me and was truly impressive, both light and powerful, fitting the general mood of the program. Yuzuru flied by the boards in a whirlwind and practically slammed a spread eagle on the exit in to the ice as if in a statement: “I’m Yuzuru Hanyu, I’m strong, I’m confident, and I crave for victory.”

A direction change forward and a FCSp entry are executed to the change of musical intonation at the start of the new phrase. This new musical theme is choreographically presented with a block of two spins and a skating transition in between. This is the most graceful and the airiest part of the program especially contrasting with the combination jump. Light and elegant touch of color in the music watercolors…

Features of difficulty of the spin:

Difficult entry (arabian)

Difficult camel variation (upper);

Difficult variation of the sideway camel spin (catchfoot) «ring»;

8 turns without a change of position («ring»)

The difficult variation of the basic position execution is perfect.

The spin is wonderfully fit the musical structure of the program: –  the Arabian jump on the entry highlights the change of phrases and intonations; –  the landing of the Arabian is placed right on the start of the beginning of the new phrase; –  the change to the difficult variation of the camel spin “ring”  at the start of the second mesure and the execution of the variation in two measures; –  exit from the spin highlight the start of the next measure.

Intricate hands gestures in the difficult variation positions throughout the spin enhance the musical accents: –  arms being raising and fists clenched at the end with subsequent arms movement down with palms unclenched to the accent at the end of the measure; –  undulating soft up and down movement of the left arm in the “ring” position with hand reaching out at last right to the accent; –  almost indistinguishable gentle movement of the left hand then elegantly going down that highlights the beginning of the next measure.   

The end of this measure has very musical exit out of the spin with smooth and soft movements of both arms and head. Skating transition before the sit spin with change of foot fits in the next measure: exquisite bracket step going into lightest toe steps with direction change and half-dropped arms – as if running through the piano keys © This stunningly musical and delicate transition between the spins is one of my personal favorite moments of the program.

The sit spin with change of foot (CSSp) execution enhances the change of mood and highlights built-up of the emotional intensity as the culmination draws closer. Features of difficulty:

difficult entry  - “windmill” (illusion spin);

jump in the spin without change of foot (flying sit spin);

change of foot (from right to left);

difficult variation of the sit spin (sit sideways);

difficult variation (sit behind).

The maximum number of features of difficulty the sit with change of foot can receive for spinning on one foot equals two. This condition is fulfilled: two positions are executed on the right foot and another two – on the left. Thus the spin receives level 4. The spin is excellently inserted in the musical canvas of the program, the execution growing more dynamic in accordance with the music changing: –  difficult entry to the spin is executed right on the start of the piano passage accompanied with low piano accords at the end of the second part; –  “spinning” into the basic sit position on the passage; –  accentuated jump in the spin and the change of foot;

Melodic accents in the spin come with arms and hands movements in difficult variations of the basic positions and precise choreographic features: –  touch of both hands to the face in the basic sit spin position on the note; –  accentuated right hand touch to the cheek in the difficult body position of the “sit sideways” variation that influences the balance; –  right hand movement on the resounding low accord during the difficult variation “sit backwards”.

Yuzuru completely controlled all the space of the Megasport Arena. And the audience seemed to feel that as one, and responded with thunderous applause on the last two positions of the spin. Yuzuru wasn’t skating the program, he was telling his story. It seemed that music was emerging from the blades meeting the ice and his hands moving softly, as Yuzuru dissolved in the performance. During the program mood changed from quiet melancholy of the first half to passions raging on the combination jumps and then to the overwhelming happiness of the step sequence. How proudly did Yuzuru toss his head bursting into the sequence with a radiant smile! He skated like there was no tomorrow, giving his all to this performance, and involuntary tears came streaming down my cheeks. Ow happy, inspired and free he was at that moment! I haven’t seen enough of that ©

The Step Sequence

Toe steps L/R/LFI, broad step LFI/RFI, twizzle RFI ccw (2 turns), three-turn RFI ccw, turning choreographic movement (steps) of 720 degrees ccw, chasse LBI/RBO, choctaw RBO ccw, choctaw LFI cw, half flip cw, mohawk LFI cw, twizzle RBI cw (2 turns), half flip RFI cw, mohawk LFI, twizzle RBI cw (2 turns) - rocker RBI cw - counter RFI cw - crossed step RBO/LBI, change of edge LBI/LBO, crossed step RBO/LBI, change of edge LBI/LBO, choctaw LBO cw, broad step RFI/LFI, mohawk LFI cw, hydroblade (right on the final of the musical phrase), one-foot axel (in which Yuzuru basically flies up at the beginning of the new musical phrase), chasse LBI/RBO, mohawk RBO, crossed step LFO/RFI, bracket RFI cw, cross roll RBO/LBO, lobe LBO with free leg swing, loop RBI cw, falling leaf cw, bracket LFI ccw, crossed step LBO/RBI, direction change forward, rocker LFO ccw – counter LBO ccw – loop LFO ccw.

Scheme of the Step Sequence

Table of difficult turns and steps of the StSq:

Features of difficulty of the StSq:

Following turns and steps are cunted towards the features: two clean choctaws (cw and ccw), two rockers (cw and ccw) two counters (cw and ccw), two brackets (cw and ccw), two twizzles (cw and ccw), two loops (cw and ccw). All in all 12 difficult steps and turns.

All 6 types of difficult steps and turns are executes in both directions (clock-wise and counter clock-wise), that satisfies complexity criteria, maximum level of the StSq is 4.

Rotations in either direction (left and right) with full body rotation covering at least 1/3 of the pattern in total for each rotational direction (see scheme). Feature counted.

Use of body movements for at least 1/3 of the pattern (arms, head, thighs and upper body work is definitely enough). Feature counted. 

Two different combinations of 3 difficult turns on different feet (first on the right, second on the left). Both are executed with a clear rhyme within the sequence. Feature counted. 

Thus all four features are counted towards 4 level of difficulty.

The element as a whole is wonderfully implemented in the musical canvas. The timing and scale of elements (e.g. hydroblade, one-foot axel, Ina Bauer) compliment the rhyme and beats. Every step and elements also enhance the precision of interpretation and highlight the phrasing. The same can be stated about the choreographic accents during the execution that fit the rhythmic pattern: steps and turns at the start and the combination of hydroblade and one-foot axel executed on the change of phrases, the second combination of three difficult turns that coincides with the end of the phrase, the change of foot right after the final loop at the end of the measure and distinguishing the end of the sequence. Movements suit the mood and style of the music and also become a mean of interpretation. The final combination spin CCoSp is entered through the “traveling came” at the beginning of the new musical phrase to highlight wave-like changing intonations of the final part. Features of difficulty of the spin: Camel spin

change of edge in the camel spin from inside to the outside;

difficult non-basic position;

Change of foot (from left to right)

difficult variation of the sit spin (sit forward “a-la Johnny”)

difficult variation of the upright spin (“scratch spin”).

In the combination spin all the three basic positions are executed: camel, sit and upright. Four difficulty features are used. For the combination spin with change of foot the maximum number of features attainable equals two for each foot. This requirement is fulfilled (two position on the left foot, two – on the right). Thus the spin is level 4.

Change of positions in the spin on the left foot by the measures: –  change of edge in camel spin – transition to non-basic position – change of foot and transition to the difficult variation of the sit spin on the beat – difficult variation “scratch” of the upright spin on the fading of the melody at  the end.  Choreography is accompanied with the intricate hands and arms movements in the spin to even further express the musical accents:

–   accentuated choreo during the camel spin: –   undulating hands movements in the “pancake” position; –   gentle left hand gesture in the upright spin.

Transition to the final pose that mirrors the starting one, symbolizes the flow of time. The only fascinating difference: in the starting pose Yuzuru turns his head in different direction. His eyes seem to be fixed on the future, on new hopes and dreams. Everything continues to…

Johnny Weir, interview for Number 966, 22.11.2018: 

“Yuzuru used some elements of my program that looked very harmonic. At the same time the program became something personal for Yuzuru, he skated it in his own style, that touched me very much.Yuzuru did everything in order to fully express the music. And if I showed it as soft and gentle sadness, Yuzuru demonstrated his fierceness and the brilliance of the composition. Music just as people is versatile, and Yuzuru and I showed different interpretation sides of the same melody. His talent became obvious even in his childhood day, but he have grown up to be the athlete I couldn’t even imagine. Yuzuru became so unbelievably strong, and despite the injury conquered his second Olympic title. I never thought I would live to a skater so strong. To everyone who doesn’t know him personally I can say that after all this time his compassion for people and his humanity haven’t changed in the slightest. He’s famous all around the world, and yet his modesty and approach to people remain the same as they were on the day I’d met him for the first time.”

Translator’s notes:

* the original article was published in order to celebrate Yuzuru’s 24th  birthday, as was this translation, belated as it is. Hope you’ll be just as happy as you deserve for inspiring so many people all over the world with your skating, your talent and your heart, Yuzuru!

** some quotes were unfortunatelly translated from Russian (credits to Аnna Zamotayeva and Evgenia Mitrofanova) where the original wasn’t available. Considering that some quotes went from English to Japanese to Russian to English, nuances may be lost in translation. If you have sources with original (either Japanese or English) quotes, I would be happy to improve the text.   *** if you have any questions or suggestions concerning technical skating details, chances are I messed up in the translation, and it was not a problem of the original, so please, contact me first. Also, none of the photos belong to me, and if you would want your picture taken down, I would do so right away.  Thank you!

[kolmogorov-is-sad]

Figure Skating, as Performed by Yuzuru Hanyu

[kolmogorov-is-sad]

Interview with Daria Panenkova, 25/08/18

source

A translation of Daria Panenkova’s interview going into 18/19 season. Feel free to point out any mistakes.

It happened so that one week before my interview with Daria I accidently opened her livestream on Instagram. There were all the usual things like good luck wishes, expected question about the coaching change, photo and autograph requests for after the test skates. But during the stream Panenkova admitted that she keeps a diary and added: “I will give it to my mom to read when I am 99 year old”. And that seemingly insignificant phrase in many ways reflects the essence of ladies’ figure skating these days. Most of the contestants are 15-18-y.o. girls-ladies just like this. In real life they are teenagers with their own secrets and worries. And we should never forget about that.

When asked about the reason for leaving Eteri Tutberidze’s team or her new coach situation, Panenkova promised to give all the answers right after the test skates that held on September, 9 in Moscow, but she readily talked to us about her new programs.

-- At the test skates I will present the programs choreographed under my new coach, the specialists from the Federation of figure skating haven’t seen them yet. Short program is to Adele’s song “Skyfall”, it was suggested by my coach, and the free skate is to “You’re not from here” by Lara Fabian, which was my idea. I wanted a program to that singer for a long time, and finally my dream has come true! It was never an option to leave the programs from my old coach.

-- But that should have been such a loss of time. Have you not panicked even a tiny bit?

I wasn’t worried at all, I love new programs.

-- Judging from you’re your livestream when Alina Zagitova jokingly kept sending you off  to sleep, you are good friends?

-- Yes, we are getting along well with Alina. We met back when we just entered Eteri Georgievna’s group, and it was obvious that we understood each other without words. I like talking to her very much? Alina will always support me, cheer me up or amuse me. Or we can be sad together. She’s a good person.

-- It should be hard to compete with friends, and this season you will have to do that right from the GP event in November in Helsinki. Do you imagine that? Will you refrain from discussing competitions, or not?

-- Right now we discuss competitions with Alina, but when we arrive to the tournament we have very few conversations. Everyone has their own way to prepare for competition. You can talk in piece when it’s over. I think everything will stay the same way as before, but we’ll have to see.

-- I always wanted to know, when people train together in one group but compete with each other for places on the podium and in the national team, would someone feel generous to come and give a piece of advice: “Hey, you’re doing lutz a bit wrong, that’s how you should do it…”?

- Of course! Alina and Zhenya Medvedeva, and Sasha Trusova have all advised me on how to do an element the right way or how make it look beautiful. I remember how one time Sasha told me: “Dasha, never regret what you did”. Back then after the skate I was just thinking: “Shit, why have I done that extra element and get tired so much more?” But after hearing her words I have never said thing like that and have always done more than necessary.

-- From aside, Trusova seems to be some alien with all the quads. When she was landing them right in front of you, what were you thinking?

-- Nothing. I am always focused on myself during practice and all my thoughts are about some of my own elements. But when Sasha had executed them I did wonder: “How does she do that?”. And later we got used to it.

-- Have you tried learning [quads] yourself?

-- I tried quadruple Salchow 2-3 year ago, but my rotations aren’t very fast and the height isn’t enough for a quad. At the end of the last season I had a lot of clean ones but haven’t tried the this season yet. What did I manage to work on this off-season? I believe my skating got better. We’ll see what will be the specialists opinions on that.

-- Jumps at the second half of the program were one of your “things”. Were disappointed with the changes in the rules that now reward only the last three jumping passes of the program?

-- Yes, I was a bit disappointed. But all is for the best [smiles].

-- Seeing Alina Zagitova and Evgenia Medvedeva, it is astonishing how petite they are. From behind they look no older than 14 y.o. You, on the contrary, look like an average 15-y.o. girl. Does that make the jumps more difficult to execute? Did you have that terrifying for figure skater moment when your body seems alien?

-- I noticed last season how hard getting in shape is for me. I had a long time remembering how to jump, couldn’t skate in the program. This season it is even harder, and that worries me very much. But I hope to get over that soon. I always tell myself that everything always happens the way it is supposed to happen, all is for the best, even if it doesn’t seem that way.

-- Behind every more or less successful skater there is a mother…

-- It is no different for me than for others. Mam takes me to the rink, watches over my nutrition, sometimes she has to force me. She calms me down when I can’t get something right, give me advices I need and just does a whole lot of things for me. All I can do is to say “thank you” from the bottom of my heart for putting up with me and doing everything for my happiness.

-- I do you get tired a lot after practices? Do you have energy left for something else or only to lie down in quiet as Medvedeva told us she does on the day off?

-- I get very tired, because I try to give away my all at practices. But I go out with friend at in the evenings so I won’t be sitting around the house all day long. But I don’t show how tired I am, I think no one cares. I always go out on the weekends as well, if I sit all day at home my legs will be sluggish at practice.

-- Going back to the new season. What kind of result would be an  ”A” for you?

-- I will try to skate clean programs and show all I’ve got. But I would never give myself an “A”, I will always find something to criticize myself for.

photo from getty images

[kolmogorov-is-sad]

Mikhail Kolyada, interview

Rough translation of this interview.

I: We’ll start with blitzkrieg, questions not related to figure skating. Your first word?

M: [laughs] I don’t know. My parent didn’t share that with me.

I: Favorite school subject?

M: PE

I: Favorite place in St Petersbourg?

M: Isaak cathedral, inside of it.

I: Your [she uses formal pronoun, then corrects herself as they agreed to use informal speech - I just though it was ver Misha of him to ask that] dream that is not related to figure skating?

M: I don’t know, haven’t thought about that

I: How do you ee yourself in ten years.

M: Just as positive and cheerful. I don’t know yet what job will I do.

\they get on the ice\

I: Please, say, is it true that once the season is over skaters start breaking new boots right away

M: Yes, basically.

I: [Your skates are] new?

M: New.

I: For how long have you worn them?

M: For five days.

I: Is it uncomfortable?

M: Yes, not yet comfortable. 

\\\\\ they talkabit about breaking in boots

Let’s talk about the sport now. [there is a video from WC, Misha knocks his finger on his head] World Championships, free skate, the final that did that gusture mean?

M: [laughs] That’s because I’m a dum-dum. I failed a jump that I could have done in theory [repeats the gesture] I should have thought about that on time

I: On time. When is that?

M: During the program, not after. But well, eveything has its time and place. In fact, should have I done that triple loop instead of a double, I could have been second

I: During your performance TAT repeatedly said: ”Misha doesn’t fight for his jumps” What does that mean?

M: I guess it means that she knows that better [than me]. Actually, I always try to fight for the jump. It is just that my jumps look like they take no effort from me, but in reality, it takes just as much as for other skaters.

I: There were a lot of falls at the WC, especially in the men’s discipline. Why do you think was that? Were the skaters physically tired or mentally/emotionally exhausted?

M: I think was rather emotional problem, there were the Olympics and just in three weeks the WC. It was also a very important competition, so everyone knew they couldn’t relax. But not to relax after the Games… I don’t know.. you just HAD to take a breath after that. So a lot of people didn’t manage that/

I: Do you have some kind of psychological fear before the jump: “what if I fail, what if I fall?”

M: I don’t know, maybe on some primary level, I don’t really think about such things. I just go and jump. Wel, or I just go and fall [laugh]

I: No matter what, you still have that bronze medal from the WC. By the way, where is it?

M: Somewhere at home.

I Are you proud?

M: I don’t know [laughs]. Maybe I don’t give it that much meaning. Maybe beacouse I know I could have done better.

I: You also have a silver team medal from the Olympics. After the short program there were a lot of complains implying that you have robbed the team of the gold medal. Did that hurt at the time? Did you feel bad for the team, for yourself?

M: At the time I was overwhelmed with emotions, there were a lot of people trying to cheer me on, a lot of people saying nasty things about me. At the end I managed to get back from the situation, though it was very hard. It has never been that hard for me. People from the team helped me a lot, they were coming to me, saying something. And I got a little better with every word. Also, my friends called and supported me, so I could recover.

I: [there is a video from the FS StSq, TAT: “and here he finally relaxed/calmed down (sighs). At 4:19 he finally relaxed”] What happened here? Why had you relaxed?

M: Then? Well, I relaxed earlier than that actuallu.

I So TAT got it wrong?

M Yes, hello to Tatyana Anatolievna, she got it wrong. I relaxed earlier, even before I stepped on the ice. I tried to forget everything from before and that from anew.

I:  I feel like it takes an army of psychologists, of friends and some other ‘doping’ to leave all tha behind and skate.

M: well, that’s what it was, kind of. Just no doping [laughs]

\\\\\\\\\\

\Masha skates with a camera\

I: Mikhail, don’t you want to join the crew?

M: Actually I wanted to do photography, Iike seriously learn, but there is no time for that

I: There were a lot of opinions about the quality of the training and that the skaters [Misha] do not give their all when performing. Any thoughts on that?

M: Well, I agree that I should work more. As to the training – I think that is only for me and my coach to discuss. Of course, everyone knows everything and so on, but really, try to take someone fron five years old and guide them to such a level. It is hard

I: How does the schedule goes for you from now on. The season in over, you have the new boots, what next?

M: We will probably work on the new programs, choose the music break in the boot more.The trainings are not serious yet, just so that I won’t forget how to skate and stand on the ice.

I: How do you create a new program? Are you just presented with a program or is it a collaborative work?

M: No, we work together, discuss things. Basically, I can stand in a line at the shop and get some idea to write down. You go home, start listening to the music, imagining yourself in that program, and then you come the next day with an almost ready concept.

I: Do you already have any ideas for the next season

M: Well, just some notes.

I: Anything you can tell us about?

M: No [smiles]

I: Music?

M: [smiles wider] No. Noting to share until September.

\\\\\\\\

M: I can’t say the precise percentage, but definitely most of the sportsmen are superstitious. So yes, me too. There are just like some things that I do every day and it is not even a superstition, more of a habit.

I: Like what, for example?

M: I don’t know, like to start doing my boot from the left one. And not just the skating boot, the ordinary one as well. Or to tep on the ice with the left foot first.

I: Always from the left?

M: [smiles] Always.

\\\\\\\\\

I: There are some changes to the fs rules starting next season. For example, the long program is shortened by 30 second. What do you think, is that a good or a bad idea?

M: There will be one jumping pass and 30 seconds less. So the program will get more filled. So in some aspect it will be more difficult than it is now.

I: There will be less time in between the jumps to rest, right?

M: Yes, yes, yes.

I: So it will be more difficult?

M: Well, of course. There will be a need to upgrade my ‘functionality’, so that I will be able to get through to the end.

I: The ISU Congress will take place in July, and that is where the future of the quads will be decided. Why there is duch a fuss about the changes concerning the quads? Do I get it right, tat the same quad will be allowed to be executed only once in the FS?

M: That is unknown yet. The fuss is because skater will be forced to learn new kind of jumps.

\Misha talks about different types of jumps\

I: One will receive from -5 to +5 on the elements from the next season. Does that scare you?

M: No, not really.

I: Not at all?

M: No, not at all. They do that to make competitions more spectacular and to shorten the time of competitions. From the first to last group on the ice it take about 5 hoyrs, si it is hard for the spectators toward the last groups, and the last groups are the strongest ones. So you sit full of energy through the early groups but then you get really tired towards the end, it gets hard to watch or judge objectively.

I: Ok, now your quote. “Every season is a notebook from the new page”. You said that. So, what will the next season notebook be like, and what do you want to wright in there?

M: I will say it like that: we will work on the calligraphy and write things in so that when coming back to the notes there would be no need to struggle thought my own text.

\\\

Interviewer asks Misha to write a wish for the fans/audience on the cup.

M: I have forgotten how to write. I took a pen in the hand not so long ago and thought: “oh shit” […] What should I write… Eh, I have a poor imagination as well, brain just refuses to work at the end of the season.

I: What mark did you have for the Russian language at school?

M: More of a 3 (C) than a 4 (D) [laughs]

[kolmogorov-is-sad]

Yuzuru Hanyu. Прильнуть покрепче к нотам ©

In “Ballade” the jumps are blent smoothly into the program. Especially so, because the sounds of piano express everything on their own, jumps shouldn’t become some other musical instrument. Skating, spins, steps, jumps - I try to integrate them all into the same space and dimention the notes belong to.” © Yuzuru Hanyu, interview for Kateigahou, August 2017

[*the name of the article can be rougly translated as ‘To hold closer to the notes’]

This is a translation of an amazing article by Yulia on technical and artistic analysis of Yuzuru Hanyu’s Olympic winning performance of “Ballade No.1 by Frederic Chopin″ SP from 2017-2018 season.

Ballade №1 by Frederic Chopin… There is only piano playing. 

“This music requires a very sophisticated expression, that’s why it is hard for me. There is no upsurge/ascent to help a skater if one makes a mistake. Here every mistake becomes evident” © 

 Yuzuru’s thought is very precise. That is a risky music. And a program is just as difficult as a reigning Olympic champion program can be. Ballade is his program, crystal, airy, piercing, it demonstrates the ease, grace, precipitancy and Yuzuru’s smooth skating. It perfectly combines technical and artistic components of the figure skating.

It is said that a competition cannot be won with a short program, only lost. That is why you‘re not allowed to choose wrongly for an Olympic season short.

According to the choreographer Jeffrey Buttle, after the 2017 World championships he asked Yuzuru what kind of program would he like to choose, and heard “Get the Ballade back” in return. “Yuzuru always expresses his opinion on what can be improved and we look for ways to achieve that.” [Asahi Shimbun, 18.08.2017]

On one hand, it is a program loved by a sportsman, accepted by the public and (which is not insignificant in the slightest) highly rewarded by the judges. On the other hand, there is a change of the program’s pattern, different element order and a further technical upgrade. That is why the choice has been made in favor of perfect and beloved “Chopin” with its base value increased with a 4Lo instead of 4S and its content made more difficult with a 4-3 combination in the second half of the program.

“Yuzu has grown very much both in a technical and a mental sense in comparison to himself from two seasons before. So even though it’s the same music, he will be able to show more mature performances on a higher level. I myself love these programs very much, so I am excited to see their new performances.“ Brian Orser, Kahoku Shimbun, 18.08.2017

Further events have only proven Yuzuru’s decision to be the right one. “This time I couldn’t skate for a long time [due to the trauma – author’s note] and yet it is very important in figure skating for the program to be familiar (skated in). Maybe it was a sign from above for me to choose the music I am used to and to which I can perform with a deep feeling.” [Yuzuru for Fuji TV, 23.03.2018]

The Ballade we see is so impressive. The program is upgraded not only in regard to the technical content. There are more mature interpretation, renewed skating choreography, new dimension to the emotional investment of the performer. Skater’s hands seem to live with the music - the movement is soft, graceful, smooth. There is no rush. Just a there are no unnecessary notes in the music, there are no unnecessary movements in Yuzuru’s skating. There is special delicacy to the expression of piano music and a subtleness to its interpretation. That is another program to the magnificent music of Chopin and another Yuzuru, beautiful and full of inner strength.

And though it is quite risky to skate to the same music again for different reasons, it allows to see how much has Yuzuru grown in the technical and component aspects of skating.

The only thing uniting all the three programs is the amazing music of Chopin. In comparison to the second version the structure​ of the program​ there are some changes:

A 4T+3T combination has been moved to the second half of the program and is executed as the 5th (and last jumping) element.

A sit spin with the change of foot CSSp has been moved to the first half of the program to replace of the camel spin FCSp. The latest has replaced the combination of the second version of the program.

After the right ankle injury, there came a necessity to remove a 4Lo as a solo jump with the steps immediately preceding it (due to the stress to the ankle at the take-off) and replace it with a 4S once again.

Different order of the elements has led to a different pattern of the program and of the skating choreography:

Entries to all the jumping passes have become more difficult/complicated. Every single one has a difficult or combination entries and steps leading into the jumps without interruption, the solo quadruple jump and a triple axel in addition to that have unusual exits.

There is a brand new skating choreography in between the elements in the middle of the program (from the sit spin with change of foot to the combination in the second half). With that, the skating transitions are used as the main instrument of the music interpretation (the notorious “skating presentation [коньковая подача]” that is so much talked about, yet so rarely seen in men’s singles’ skating). The variety and difficulty of the transitions have been selected with regards to the general mood tone/mood of the program.

Musical structure of the program includes three music fragments:

1. Intro

Calm and relaxing at the beginning melody has the sound gradually growing (through two sequentially executed spins) stronger (more intense) till the end of the fragment at the sit spin with change of foot (4S – FCSp – CSSp).

2. Development (– 3A – 4T+3T).

The quietest and most peaceful part of the Ballade sounds at the begging of the musical fragment (resembling the sound of drops of rain). The entry to the central element of the program, triple Axel, and the very jump are executed with the music gradually growing weaker and weaker until it almost completely vanishes with the very jump executed right at the junction of two music phrases.

But closer to the combination the tempo and intonation change, the emotional tones grow stronger. The combination, executed at the peak enforcement of the music in the fragment, highlights wonderfully the musical structure of this part of the program.

3. Culmination

That is the step sequence StSq and the final combination spin CCoSp is executed to the fastest and most emotional fragment of the Ballade.

Link to the "Ballade №1" performance

Olympic channel link

The beginning of the program, the first piano cords can be heard. Yuzuru’s head is low, eyes are closed. Silence and calmness filled with inner force.

“I feel the music as my own breath…” ©  Yuzuru Hanyu, FaOI 27.05.2017

“Hanyu is the only skater who can stand on the ice doing nothing at all, but completely hold the attention of the whole audience.” ©  Kurt Browning

The first move is the slight turn of the head. There is an LFO roll, an LFO three turn (right on the note), a crossover, an RBO/LFI choctaw (the step is executed to the musical accent), an LFI bracket (a turn is right on the note and an LBO roll of the exit fill the pause at the end of the musical phrase), an LBO/RBI crossed step at the beginning of a new musical phrase, an RBI/LFO direction change  forward, an LFO Waltz three, an RBO backward power three turn and two crossovers.

Then there is an LBO/RBI chassé and a roll with both hand up at the change of two musical phrases with choreograph accent at the hands moving up in the air. The crossover at the beginning of the new phrase coincides with the beginning of the solo jump, 4S, entry: RBI rocker (instead of the previously executed LBO/RFI choctaw) – RFI counter – RBI/LFO choctaw – LFO waltz three – RBO three turn – RFI/LBI spread eagle (the element and the hands movement up choreographically end the musical phrase) – RBO backward power three turn. Then a spread eagle on the entry and the back power three turn, from which the jump takes off, are executed in harmony on the junction of two musical phrases.  

All the moves at the entry are musically accentuated, and the skating transitions are executed on rhythm from the first step to the jump itself and fit the musical phrasing: entry/jump/exit are executed on two phrases that are united choreographically and decorated with the spread eagle The jump is performed in complete accordance to the music – an easy breath in (on the take-off) and a soundless breath out (on the landing).

Positive criteria of the jump execution:

Difficult entry (combination one – difficult steps and turns + a figure skating element);

Clear and recognizable steps on the entry;

Good height and distance;

Good flow from entry to exit;

Effortless throughout;

Good extension on the landing and a creative exit;

Matched to the musical structure (entry/jump/exit harmoniously blend into the musical structure of the program).

The elegant exit of the jump choreographically decorates the end of the musical phrase and highlights the style of the program: RBO/LFO spread eagle (with hands up) going into RBI/LFI spread eagle (with a smooth hand movement down right on the notes).

“Hanyu is very musical He feels the program very well. He has fantastic plasticity and at the same time – the cleanest jumps, the things one would think to be exclusive.” E. A. Tchaikovskaia for МФК [”Mir figurnogo kataniya”] magazine № 9.

The following transition to the camel spin is performed to the piano passage at the end of the musical phrase: a crossover, an RBI/LFI mohawk, a LFI/RFI broad step, an RFI three turn. Connecting steps and Yuzuru’s hand and torso plastics (especially, a soft left hand gesture in front of himself) emphasize the music phrasing and define the choreographic change between the elements (from the jump exit to the spin entry).

Jump as the entry to the camel spin precisely matches the beginning of the new phrase. The FCSp is literally broken down to the difficult positions according to the measures. Interpretation of the music is enhanced by some amazing hand moves in every position during the whole spin.

Features for levels of the spin are:

Difficult entry (arabian);

Difficult camel variation (upper);

Difficult variation of the sideway camel spin (catchfoot) «ring»;

8 turns without a change of position («ring»).

Thus, it is a level 4 spin.

Positive GOE criteria bullets of the spin:

Good spin and acceleration during the spin

ability to center the spin quickly;

 balanced rotations in all positions;

good control throughout all phases;

good, strong position;

element matches he musical structure (changes of positions fit the musical phrasing, change of foot is executed on the downbeat of the measure, there are accentuated hand movements on the spin).\

Yuzuru’s hands move wonderfully throughout the spin. The soft gesture from the beginning gets more expressive with the intensifying music tones as the spin takes the “ring” position. Hands move up in the upward camel position, then the palms of the hands smoothly move down without a change of position; in the difficult position of a “ring” the left hand flies up, go down on the next measure and then up once again and the palm grits into a fist as if grasping all these notes, then the palm opens and the hand gently goes down with the end of the spin.

The spin exit is beautiful, with the right hand up as the free leg steps down.

Emotional enhancement of the music and volume at the camel spin exit is choreographically highlighted with the skating transitions before the sit spin with change of foot entry.

There is a musically executed bracket step, an RBI/LFO direction change forward, a broad step, an RFI three turn, an RBO here turn and an illusion spin entry (enhancement at the beginning of the new phrase) to the sit spin with change of foot.

The most beloved and notable spin of Yuzuru, a CCSp, is executed as the culmination of the first half of the program to the music getting more intense.

The illusion spin entry and the very spin itself are executed to the piano passage with musical enhancement. Increase in speed and the hands movements put the stress on the accents and express the phrasing of the music.

Features for levels of the spin:

Difficult entry (illusion spin);

difficult variation of the sit spin sit forward (executed with two different forms one after another of the variation – “shoot the duck” and “cannonball”);

difficult variation (sit sideways);

difficult variation (sit behind).

For every spin with change of foot the maximum number of features possible for the spin on one foot equals two. The criteria is fulfilled (two positions are executed on the right foot, two others – on the left). That is a level 4 spin.

Positive GOE criteria bullets of the spin:

Good spin and acceleration during the spin

ability to center the spin quickly;

balanced rotations in all positions;

good control throughout all phases;

good, strong position;

matched to the musical structure (the increase of speed of performance is proportional to that of the tempo and volume intensity; amazing hands movements - singing hands © - in every position: left hand up in a difficult variation sit forward), continuous soft movements in the last two difficult variations on the left leg to reflect the music growing stronger. playing around with the music intensity). 

An exceptional thing about all Yuzuru’s spins is that extra complication in form of hands choreography. Such an attention to the details to highlight the musical accents and nuances is worth admiration.

The second half of the program coincides with the beginning of the second musical fragment. The tempo and intensity change. And the silence, serenity and conciliation of the music find the reflection both in the skating choreography and Yuzuru’s skating itself. Transitions are executed more smoothly and softly, choreography becomes more reserved, when it comes to the space and position on the ice, to reflect the mood of this part of the Ballade. No other thing, perhaps, would have been appropriate, as the music commands precision and delicacy of expression, and the steps, just like the jumps, do have their own pace ©. 

There is an RBO three turn, a skate on two feet with intricate and accentuated hand movement, an RBO/LBI direction change forward, an RBO roll accompanied with a languid left hand and free leg movement, an RBO/LBO cross roll as hands go up, an LBO/LBI Waltz jump, an LBI/RBO chassé, an RBO roll accompanied with languid hands movement to the sides and to the ground right on the turn to the piano passage, an RBO backwardward power three turn (the turn with the move of the free leg are executed precisely on the change of musical trades - it is one of my most beloved moments of the program - author’s note), an RBO counter (right on the beat) and an RFO three turn. (turn with the change of foot is executed right on the junction of two musical phrases - one of my favorite moments of the program [author’s note]). It is followed by an RBO counter (right on the note) and an RFO three turn.

The beginning of the next musical phrase brings the beginning of the 3A (the central element of the program) entry, the end - with the jump itself.

The beginning of the new musical phrase marks the beginning of the central element of the program, a 3A, entry, the end of the phrase - the execution of the jump.

There is a crossover, an RBI counter, an RFI/LBI mohawk, two crossovers. Then an  LBO/RFI/LBO choctaw - LBO counter - LFO three turn - LBI/LBO Waltz jump - LBO/RBI crossed step - RBI/LBO chassé - LBO counter - 3A.

Discrete and light gestures and cat-like soft movements Yuzuru has at the jump entry to the gentle piano accords, that seem to come in weaves, perfectly fit the musical structure of this element.

The whole entry is executed to the fading piano accords (counter right before the jump seems to sing on its own) and the jump takes off on the last accord and is landed with music almost completely vanishing, highlighting the nuances of the musical phrase.You almost forget how to breathe at the sight of a skating and music harmony like that. Great staging and great performance.

Both choreographically and melodically the 3A is presented as the central element of the program and as a true king of  jumps, the name given to it by Shoichiro Tsuzuki, one of Yuzuru’s first coaches.

“I have come to love skating as much as I do now thanks to the axel jump. If it wasn't for it I wouldn't have won at the Novice Japanese Nationals. If it wasn't for it I probably wouldn't be able to skate with such confidence” ©  Yuzuru Hanyu, interview after Olympics SP

Positive GOE criteria bullets of the jump:

difficult entry;

clear and recognizable steps immediately preceding the jump;

good height and distance;

good flow from entry to exit of the jump; 

good extension on the  landing position and creative exit (Waltz jump - counter);

effortless throughout; 

element matched the musical structure. 

“His triple axel on its own justifies the price of the ticket for the competition.” © Angelo Dolfini

The exit of the axel comes at the beginning of the next musical phase. Since that the emotional tone gradually intensifies up to the very end of the program

There is an RBO/RBI Waltz jump, an RBai twizzle (with right hand up), an RFI three turn right on the beat, B LFO waltz three turn (with back outside direction change of the free leg RBO), an RBO/RBI Waltz jump, musically accentuated RBI counter, an RFI three turn (with accentuated but completely natural right hand movement above the head) and an LFO waltz three turn (with back outside direction change of the free leg RBO).

At the beginning of the new phrase there is an RBO/LFO mohawk, an LFO rocker (turn right on the note), a backward power three turn at the end of the phrase.

The entry the combo fits beginning of the new musical phrase. There are three crossovers executed, a direction change forward, LFO three turn (with the right hand up) - LBI three turn - LFO three turn - 4T+3T (rippon). Skating transitions on the entry (impetuous multiple three turns) and every jump of the combo fits the musical structure of the Ballade: take off on the beat and the landing on the  lower note. Hands movement down after the rippon at the exit of the jump is executed right on the beat. Change from exit of the jump to the skating transitions between the elements fits the end of the musical phrase. That is an incredible depth to the interpretation of a very difficult element.

Positive GOE criteria bullets of the combination jump:

difficult entry; 

clear and recognizable steps immediately preceding the jump; 

varied air position (rippon on the 3T); 

good height and distance; 

good flow from entry to exit (combination is executed without an interruption of the rhyme); 

good position on the landing (hands movement and the free leg position);

effortless throughout;

matched to the musical structure (both the combo and skating transitions leading into it).

Skating transitions out of the combination and until the stop at the beginning of the step sequence are executed to the piano passage ending the second musical section and unite choreographically two elements: combination and step sequence.

There is a direction change forward at the beginning of the new musical phrase, an LFO waltz three turn, an RBO/LBI half-loop, an LBI/RBO chassé, an RBO twizzle into inner spread eagle of RFI/LBI accompanied by soft hands and torso movements, an RBO/LBI  direction change backward and a choreographic pause at the verge of two musical sections (phragments) before the step sequence.

The beginning of the step sequence coincides with the new musical phase opening the third and last musical segment. Tempo grows faster with the culmination - light but reservedly strong at the same time step sequence -  drawing closer.

It is truly masterful, perfectly inserted in the music © A. Dolfini

Yuzuru spreads his arms wide and closes his palms.

An RBO/LBI crossed step

An LBI/RBO chassé (with upper body movement)

A CCW RBO/LFI choctaw (with hands and upper body movements)

A CCW LFO three turn into a inner LBI/RFI spread eagle with new “enwrapping”  movement of hand, head and upper body

A CW LFI/RBO choctaw (with hands and upper bode movements)

An RBO/RBI waltz jump (with hands movements)

A CW RBI loop (with hands, head and upper body movements)

An RBI/LBO chassé (with hands and upper body movements)

A CW bracket step (with hands and upper body movements)

A CCW toe jump (with hands, head and upper body movements), executed right on the note at the end of the musical phrase

A CCW RFI twizzle

A CCW RBO rocker

A CCW RFO counter

The combination of three difficult turns on the right foot is executed during one musical phrase, whose end marks the following RBO/LBI crossed step (with hands, head and upper body movements precisely on the last accord of the phrase).

The CW toe jump (with head and hands movements) is on the high accord  the beginning of the new musical phrase. Musical accents match the choreographic ones, that are placed excellently - Yuzuru moves up with high notes and down with lower tones.

A run fitting the music stylistics

A CCW LFI bracket with broad hands movement

An LBO/RBI crossed step

An RBI/LBO chassé

A CW LBO rocker

An LFO/RBI chassé

A CW RFI counter

An RBI/LBO chassé (with head and hands movement)

A CW direction change forward (with hands and upper body movements)

A toe step with a CW direction change backward

An RBI/LFO direction change forward (with hands and upper body movements)

“What a beauty of skating! What a breath in that skating… “© T. Tarasova, OG 2018 SP commentary

After the spread eagle comes a skating transition of steps and turns, perfectly incorporated in the musical structure:

A CW toe jump (with hands and head moving up) right in the musical beat at the high note

A Jackson (a CW LFO/RBO direction change backward - left foot down covering at RBO/LBI)

A CW hop (with head and hands movements) right on the beat on the high note

A Jackson (a CW LFO/RBO direction change backward - left foot down covering at RBO/LBI)

A CCW LBI three turn (with head movement and hands opening up)

Then Yuzuru changes to the right foot and to an amazing piano passage executed a CCW RFI four-turn twizzle (with head and hands movements), highlighting the enforcement of the music in the passage, into a RFI/LBI spread eagle (with head, hands and upper body movements). Choreography and music in a complete unison.

“His step sequence is music itself. Truly magnificent! “© Yoshiko Kobayashi, the president of JSF

A CW LBO/RFI choctaw (with hands and upper body movements)

An RFI/LFI broad step

A CW LFI twizzle

A CCW LBO counter

A CCW LFO loop

A change of foot and a CCW RFI three turn

Final combination of three difficult turns and final steps of the sequence choreographically  enhance the musical structure of the last part of the Ballade.

The table of the difficult steps and turns of the StSq:

The scheme of the StSq:

*yellow - CCW, blue - CW 

Step sequence level features:

1. Cleanly executed 2 choctaws (CW and CCW), 2 rockers (CW and CCW), 2 counters (CW and CCW), 2 loops (CW and CCW), 2 twizzles (CW and CCW), 1 bracket (CW) are counted, thus 11 difficult steps and turns. Five types of difficult steps and turns are executed in both directions (CW) and CCW). This fulfils the “complexity” criteria of sequence of maximum level 4.

 There are enough of turns are executed in both directions (clockwise and counterclockwise) with full body rotations (at least ⅓ of the pattern as a sum of either rotation direction). Feature is covered.

Body movements used in a t least ⅓ of the pattern (there are more than enough hands, head and torso work). Upper body and hands movements are distributed uniformly in the pattern of the sequence both in-between the combinations of difficult turns and during the combinations execution itself. 

Two different combinations of three difficult turns are executed on different feet  (the first one on the right foot, the second - on the left). Both combinations are executed in distinctive rhyme during the sequence execution. To cover the feature it is required to complete two different difficult combinations one on each foot. On each foot only the first combination attempted counts. Those requirements are fulfilled. Feature is covered. 

Positive GOE criteria bullets of the StSq:

good energy and execution;

good speed and acceleration during the execution;

use of various steps during the sequence (all types of difficult steps and turns as well as connecting steps are being used); 

good control and commitment of the whole body maintaining accuracy of steps; 

creativity and originality (features in form of hops and spread eagles in different variations and combinations - three turn and twizzle into SE, multi rotational twizzle);

effortless throughout;

element enhances the musical structure (choreographic accents are in unison with the musical ones, head, torso and hand movements fit the character and the style of the music);

After the StSq there is a direction change forward leading into a combination spin with a change of foot (CCoSp) executed to the final accords of the Ballade. Entry to the spin and the basic camel position are executed as a junction of two musical phrases of the final part of the Ballade.

Features for levels of the spin:

change of edge in the camel spin (inner to outer);  

difficult variation of the upright spin (“A-spin”);  

difficult non-basic position; 

difficult variation of upright spin (“scratch spin”).

In the combination spin all three basic positions: camel, sit and upright spins (simple sit spin was executed on the right foot). Three difficulty features were covered (feature of “change of edge in the camel spin from inner to outer” hasn't been counted, since Yuzuru after the change executed about one and a half rotations instead of two minimally required).

For a combination spin the maximum number of featured possible for spin on one foot equals two. That requirement fulfilled (two positions on the left foot, two on the right). Thus a level 3 spin.

Positive GOE criteria bullets for the combination spin:

Good spin and acceleration during the spin;

ability to center the spin quickly;

 balanced rotations in all positions;

originality (for example, the variation of non-basic position) 

 good control throughout all phases;

good strong positions; 

fitting the musical structure (basic position in the camel spin and the резкое right hand move along the side of the body, left hand going down in the camel spin, change of edge, change from simple sit spin to the non-basic position, and the following “scratch spin” are all enhancing the musical accents; there is a precise left hand gesture up in the scratch spin on right the beat of the second to last accord of the Ballade).

The closing accord and the beautiful gesture of a conductor after a musical performance at the final pose.

“Yuzuru was the conductor of both the audience and the judges.” © B. Orser, interview after the SP at the ACI 2017

It is impossible not to agree with Stéphane Lambiel’s opinion from his interview to the R-Sport after the Rostelecom Cup 2017: “Hanyu’s short program to the Chopin became much more mature and consequently, much more interesting”

In my opinion, this season Yuzuru presented the best version of his Ballade. In this music there is place for soothing silence and for gradual enhancement from complete stillness, calmness and peace to an emotional outburst. Throughout the whole program Yuzuru conveys the character and the style of the music, expresses every nuance of the musical phrases and changes of rhyme with his movements and skating, he demonstrates an efforlessness and surety of elements execution and the perfection that comes with music and performance  fusion.

Yuzuru has always been very tactful and careful in his attention to the musical material of the programs and and impressive sense of music. This is why the program feels so organic, elements intricately inserted in the musical and choreographic structure and not being an foreign body. Steps, movements - everything fits the music. And not a single or element could be left out and, especially, simplified, the program would lose its lightness, fragility and clarity.

That’s what it is like, the unforgettable Chopin’s Ballade… Yuzuru grants emotions of incredible depth and strength with his skating.  Never have I imagined I could love Chopin’s Balade even more, but Yuzuru left me no choice.

I'm back. ©

Thank you for your attention!

Translator’s notes:

* If there are any questions concerning technical details, please, contact me. Most probably those are just some things lost in translations and not author’s mistakes. If you have any suggestions, feel free to comment, I am neither a native English speaker, nor a translatorm just a enthusiast.

** Quotes in Japanese were translated from Russian as they were given in Anna Zamotayeva and Yevgenia Mitrofanova [Анна Замотаева и Евгения Митрофанова] translations (though I may check the originals later). Kurt Browning’s quote was translated from Russian as well.

[kolmogorov-is-sad]

Imagine you are an athlete who has been one of the best in the world in past few years. Then imagine you have been fighting for multiple injuries that prevent you from basic training for 10 months. Then imagine people are counting down the days for the Olympics which you have been dreaming for years. That your coach telling you “no need to hurry, there will be an Olympics in 5 years and we can prepare for that” could be the worst nightmare you ever had.

That was what Satoko Miyahara was facing back in October 2017, 4 months until the Pyeongchang Olympics.

by Wei Xiong

Her struggles date back to January the same year, just one month after she won the silver medal at the Grand Prix Final, and claimed her 3rd consecutive title at Japanese Nationals in a dominant fashion. Just when everyone thought she was going to have another great season, Miyahara was diagnosed with a stress fracture in her left pelvic girdle, which forced her to withdraw from competitions in February and rest for 4 weeks.

However, the suffocating pain didn’t go away even when March came. The Japanese champion withdrew from the Worlds, and decided to go for rehabilitation in Japan Institute of Sports Sciences for a month. Yet, when she resumed ice training in May, she was haunted by a series of unfortunate events: sprained left ankle, bone bruise and inflammation on right pelvic girdle, and physical illness, which pulled her away from training from time to time. Even when she trained on the ice, she could practice no more than 10 jumps per day in order to protect the fragile body.

Keep reading

[kolmogorov-is-sad]

Бантики и пуфики © top-7 ISU World Standings, pt 2

Here comes the second part of the translation of  top-7 men’s singles skaters’ FS analysis with regard to transitions. The original article in Russian by amazing Yulena is here.

Greetings to all figure skating fans!

Today I present the second part of transition analysis in the free skates of ISU WS top-7 men’s singles skaters to you.  The first part (the short programs analysis) is here. 

Today we’ll try to evaluate the free skates of Yuzuru Hanyu, Shoma Uno, Javier Fernandez, Mikhail Kolyada, Boyang Jin, Patrick Chan and Nathan Chen from the standpoint of continuity (smoothness) of movement, variety and difficulty of transitions both between the elements and on the entries/exits, by considering all the main criteria of TR component. 

We do not include step sequences (StSq) and choreographic sequences (ChSq) in our review since they are independent elements of the program. I’d recommend not confining oneself to looking through the tables and diagrams but also read all the explanations carefully and simply watch the programs, of course.

Free skate in men’s singles is 4min 30s (+/- 10s). In that period of time the skater must execute 8 jumping passes, 3 spins and two sequences – step sequence and choreographic sequence.

Step sequence in the free skate averagely takes between 35 and 45 seconds. The range of ChSq execution time is much broader: from 5 to 35 seconds. Therefore, it takes a skater between 54s and 75s (1min 13s) to execute both sequences, more specifically (in decreasing order):

Hanyu - 75 s  Chan - 72 s Fernandez - 67 s Jin - 65 s Chen - 61 s Kolyada - 57s  Uno - 54 s

Other elements – 8 jumping passes and three spins - are executed in the interval of time from 3 min 15 s (Hanyu) to 3 min 36 s (Uno). The more the total amount of time spent on the execution of step and choreographic sequences, the closer are the remaining elements of the program to one another and the higher is the density of transitions between them, so it is more difficult for a skater to perform a program like that. 

We consider the time of the free skate minus time spent on the sequences a unit of time (graph 1):

Total amount of connecting steps and turns, including one foot ones (footwork movement transitions), that are executed in the unit of time and characterize the density of transitions, are presented in graph 2: 

According to the both graphs the highest density of transitions (not taking time spent on both sequences into account) belong to the ‘old guard’ – Hanyu, Chan and Fernandez. The lowest density of skating transitions distribution belong to Chen, Kolyada and Uno (in decreasing order). Boyang’s program in that respect is the golden mean in the middle. Variety of skating transitions and connecting elements (not taking body movement transition into account) is presented in table 1.

Diagram 1 below gives more amply characteristic of variety as quantitative ratio of one foot transitions to amount of running steps/crossover, other steps and other transitions (skating movement transitions and non listed element transitions).

This diagram data shows that qualitative characteristics of skating transitions variety differ significantly. The most well-balanced free skate program in terms of variety of skating transitions belongs to Yuzuru Hanyu. It has the widest diversity of one foot transitions and skating transition in form of steps, combined with least amount of progressives/crossovers. Latest constitute less than a half of the total amount of transitions on two feet. Connecting elements in the program are represented by a half axel, a half-loop and a hop, connecting movements -  by five spread eagles, one pivot, one Besti squat, one Bauer and one lunge. 

Javier Fernandez’s program takes the second place when it comes to balance and diversity of skating transitions. Wide range of skating transitions in form of steps compensates greater ratio of number of crossovers to number of one foot transitions. A little more than a half of skating transitions on two feet consists of crossovers/running steps. Connecting movements are represented by two lunges, two Bauers and a spread eagle, connecting elements – by a half axel, two Waltz jumps and five hops. 

I’m pleased that Mikhail Kolyada’s program is last of three leaders in variety of skating transitions which are mostly represented by connecting steps. He has a bit more of simplest skating transitions as running steps and a bit less of one foot skating in comparison to Fernandez’s program. Crossovers/running steps constitute a bit more than a half of all transitions on two feet. Two lunge, a spread eagle and a spiral are used as connecting movements, a hop and a alf jump – as connecting elements.

Patrick Chan’s program contains two times more crossovers/running steps than one foot transitions with nice diversity of skating transitions on two feet in form of steps. At the same time crossovers/running steps constitute a bit more than a half of the program’s transitions on two feet. The skaters’ wide arsenal of connecting elements and movements is represented only by a spread eagle and three half jumps in the program. 

The balance of skating transitions variety in Shoma Uno’s program is tilted in favor of crossovers/running steps the number of which exceeds the number of one foot transitions almost two times. Such an amount of crossovers/running steps, however “genius”© undermines all the benefit of Shoma’s one foot transitions (which have sufficient representation) by considerably decreasing the skating difficulty and is, in my opinion, unacceptable for the program of one of the top skater and medal contender at main competitions [e.g. European, Four Continent, World Championships and Olympics]. The number of skating transitions in form of steps (in comparison to other top-7’s programs) is minimal. The reason is that they are substituted by body movement transitions – posturing and glides on two feet. Connecting movements are represented by two Bauers, three spread eagles and a luge, connecting elements – only by a hop.

Boyang Jin’s balance of skating transitions variety is tilted in favor of connecting steps due to a decrease in number of running steps/crossovers and, especially, one foot transitions. The number of latest is very, very small. Skating transitions on two feet in form of simple steps prevail, and their amount riches the highest number in Boyang’s program. Connecting movements are represented by a lunge, a pivot and two half jumps, connecting elements – by a hop. In Nathan Chen’s program the balance of variety is tilted in favor of simplest skating transitions – running steps/crossovers. There are fewer one foot skating transitions than in Uno’s program, but there are more connecting steps, while the amount of running steps/crossovers is comparable. Such a minimalist approach to connecting steps and elements also decreases the skating difficulty of the program, and is unacceptable for the top-skater and a medal contender at the main events. And one more thing I’ve noticed. The fact that a skater changes the jumping content of the free skate all the time not only varying the placing of the jumping passes but also the types of them, it indicates an incredibly simplistic program in terms of variety and difficulty of transitions. Connecting elements and movements are represented rather poorly by only three spread eagles. Apparently, those are the very things that function as transitions and create an effect of rich skating choreography. 

The next criteria with shall look at is difficulty. Table 2 and diagram 2 illustrate the qualitative characteristics of skating transitions difficulty in the free skates of top-7 skaters as ration of one foot transitions to running steps/crossovers.

 Yuzuru Hanyu is the only skater in the WS top-7, whose balance of skating difficulty in the free skate is titled in favor of one foot skating transitions. Then there is Javier Fernandez’s free skate. The third place in regards of sating difficulty of the FS belongs to Mikhail Kolyada. Then in the descending order we have the programs of Patrick Chan and Shoma Uno, where the balance is tilted in favor of running steps/crossovers whose number is almost twice the number of one foot skating transitions. Minimum skating difficulty belongs to Nathan Chen’s and Boyang Jin’s programs, in which only one third of the amount of running steps/crossovers is the amount of one foot transitions.

In conclusion, let’s take a look at such criteria of component TR as difficulty and continuity of movement from one element to another (“smoothness”) of each skater in order of increasing skating difficulty of the program.

Boyang Jin starts his free skate with posturing and a skating transition consisting of simple steps and one difficult turn – counter. Then there is a series of crossovers, change of direction forward and the first jumping element, a 4Lz, entry. After the jump there is a glide on two feet, a transition of simple steps and turns, a couple of crossovers and a running step before a 4S entry (mohawk – add another foot – backward power three-turn). Then there are two crossovers with direction change forward, a transition of steps and a combination 3A+1Lo+3S. After the exit there is a change of direction forward, a three-turn and a camel spin, right after which Boyang executes a choreographic sequence (33 s). At the beginning of the second part of the program there is a combination transition (gif 1): three-turn, mini-Bauer going into pivot, direction change forward, cross step, chassé, rocker. Then there is a series of simple steps and a 4T executed from a mohawk. Before the next jumping pass there is a simple skating transition of steps going into a lobe with free leg out, one more transition of steps, a series of crossover and a second 4T (in combination) from a mohawk. Then – a direction change forward, a couple of running steps, simple steps and a 3A. After the jump the skater executes a transition of steps ad a connecting element: choctaw, broad step, mohawk, three crossovers, Bauer (gif 2), - and starts preparing for a 3Lz+3T combo. After the combination there is a direction change forward, a running step, a rocker, simple steps and a 3F taking-off form a mohawk. The ump exit is immediately followed by a sit spin with change of foot and a step sequence (32 s). The program ends with a combination spin with change of foot.

In the program Boyang uses skating on two feet with transitions in form of simple steps. Skating difficulty of the program is minimal. Transitions are simple, distributed uniformly between the elements ad are not considered difficult entries/exits. Preparation for every element is evident (coherency and continuity of movements on the entries is disrupted).

Nathan Chen’s free skate starts with a posturing and a simple skating transition – running step, mohawk, three-turn, four crossovers - before entering the first element of the program -  4Lz+3T combination. After the combo comes a running step, a mohawk, a crossover ans a combination transition for the judges (gif 1): spread eagle, couple of crossovers, broad step, chassé, choctaw. Then there are here running steps and simple steps before a 4F entry (from a backward power three-turn). After the exit there are a posturing, a three-turn, a transition of simple steps and a series of crossovers, a 4S from a backward power three-turn. After the jump – two three-turns with change of foot in between and a camel spin with change of foot, immediately followed by a step sequence (42 s). After he sequence there is a glide on two feet going into a spread eagle, a crossover, a change of direction forward, a three-turn, a crossover  and a glide on two feet (gif 2). Then there are four crossovers and a preparation for a 4T+2T+2Lo combo (executed from a three-turn). After the combination the skater did three running steps, changes direction forward, added second foot and tried to executed second 4T (from a three-turn) *preparation for both the solo toe loop and the one in combo are identical)* Then there is a couple of direction changes forward with a three-turn in between, a running step, one Jackson, four crossovers, a mohawk into a Spread eagle and a 3A. After the jump we have a skating transition of simple steps, two crossovers before a 3A+2T combo, followed by a couple of progressives, a mohawk, a crossover and a 3Lz. After the jump a couple of running steps, choreographic sequence (19 s) and two combination spins at the end of the program.

In Nathan’s program simple transitions and skating on two feet with simple steps prevail. Especially strikingly apparent the minimal skating difficulty became when watching live. A quad – skate with crossovers/progressives and simple steps raising hands beautifully - another quad, and so on. Preparation for the jumping elements, when the skater just skates on two feet before executing is evident (disruption of continuity and smoothness of the movements). Transitions are concentrated between the elements and are not considered difficult entries/exits (except for the solo 3A). *But as soon as at the SA Grand Prix this single difficult entry has been removed due to the lack of necessity to make an already empty program even simpler*. Just like in previous season FS, connecting elements are not being used, the number of connecting movements is at minimum. In my opinion, the program is very empty for the transition scores it receives.

Patrick Chan starts his free skate with three crossovers, a rocker and a change of foo with direction change forward. There is a series of simple steps, two progressives, a broad step and a 4T entry (обманный шаг [three-turn, free leg lunge, other foot lunge, crossover]  – three turn). After the jump entry there is a direction change forward, a couple of progressives, a transition of two Jacksons and two crossovers before a 3Lz entry. A half jump on the Lutz exit we have a skating transition of simple steps before the preparation for the combo with an Axel and a half loop. Right after the combo Patrick moves to the choreographic sequence (32 s) after which there are a couple of progressives with a chassé in between and second toe loop entry (обманный шаг - three turn). After the jump - a stop with some posturing, a toe step, a three-turn and a beautiful skating transition (gif 1): stepping over with direction change backward, broad step, rocker, Jackson, cross roll, two three-turns with fee leg out. Then there is a direction change forward, a skating transition before a solo Axel. A glide on two feet, a crossover, a couple of mohawks, a crossover, a choctaw going into a forward lobe and a 2Lo without preparation. After the jump there is a direction change forward, two three-turn and Patrick’s signature twizzle entry to the camel spin with change of foot. There is a posturing on the exit of the spin and a combination transition (gif 2): half jump, mohawk, broad step, mohawk, chassé , mohawk, Then – a couple of progressives, a series of mohawks and chassés before a 3Lz. After the exit there are two crossovers, a half jump, change into a forward outside lobe, backward power three turn, and a 3F. After he jump the skater goes for a sit spin without any preparation. A couple of progressives on the exit, a step sequence and a final combination spin.

In Patrick’s program transitions on two feet in for of steps prevail. Skating transitions are concentrated in between the elements and are not considered difficult entries. Combination entries to the elements are absent but all the triples are executed from short entries (with no preparation) or from steps. Only 3Lz has a complicated exit. All 4Ts (solo and in combination) and Axels (solo and in combination) are executed from simple and uniform entries. Despite that, simple transitions between the elements and on the entries are executed with smoothness and fluidity in single rhyme.

Shoma Uno’s long program starts with basic stroke, two crossovers (though not so long ago at Lombardia Trrophy there was a one foot rocker-counter transition instead of the crossovers). Then – direction change forward, three turn, direction change forward, two running steps, broad step, mohawk, crossed chassé, three turn. Then the skater added second foot, changed direction backward on two feet and executed a 4Lo. After the jump exit there were direction change forward, a mohawk, a crossover, a three turn going into posturing , to three turns, a hop, direction change forward, a couple of running steps, a mohawk, a chassé with direction change forward, some posturing on two feet, a mohawk and a 3Lo. After the jump exit: Bauer, chassé, rocker-counter transition, two crossovers, direction change forward, mohawk, chassé, two crossovers, spread eagle -  and then 3A. After the jump the skater sequentially executes two spins – a camel spin and a combination spin, with big crossover connecting two of them (I haven’t seen such a transition between spins in any other top’s program). There are two crossovers after the spin exit, direction change forward and a step sequence (35 s).

After the sequence at the beginning of the second half of the program there is a stop and some dramatic posturing, then a glide on two feet, a crossover with direction change forward a skating transition of two sets of running steps (!): three progressives – glides on two feet – two progressives – mohawk – crossover, after what the skater adds second foot, changes direction forward and executes a 4F from a three turn. Then there is a direction change forward, Jackson going into the glide on two feet and skating transition (gif 1): bracket - crossover - chassé- two crossovers - mohawk - three turn. Then there are three more crossovers, a glide on two feet, a direction change forward, a three turn – three turn – three turn - 4T. After that - direction change forward and a combination transition (gif 2): three turn, chassé, three turn, spread eagle, chassé, three turn, spread eagle, two crossovers, direction change forward, two crossovers with arms raised up. Then there is a mohawk going into a Bauer, a chassé, direction change forward, two running steps, a mohawk, a cross chassé, a counter-three turn and a 4T+2T. Then – a direction change forward, two running steps, a mohawk going into a lunge, a three turn, a skating transition of two sets of crossovers: two crossovers, broad step, three crossovers with direction change forward and 3A+1Lo+3F combo. There I a crossover after the combination jump exit, direction change forward, a three turn, a chassé, a backward power three turn and a 3S+3T. Then the skater makes direction change forward and executes a cantilever choreographic sequence (19 s), after which goes with two three turns into the final combination spin.

In Shoma’s program simple skating on two feet between the elements prevail. The numbers of crossovers/running steps are huge. After the step sequence and throughout the second half of the program he emptiness is glaring as well as pauses in preparation for the jump elements. Those sets of accelerating crossovers/running steps before the 4F and 3A+1Lo+3F combo are especially indicating in that respect, and have little to do with skating choreography and difficulty of skating transitions between the elements. But three out of eight jumping elements are executed from difficult entries - 4T+2T combo, 4T and 3A; 3S+3T combo has short entry. There are no creative (difficult) exits. In the free skate (like in the short) numerous body movements transitions are used  - unvaried glides on two feet with pompous arms gesture to the heavens™, which fill up the pauses empty places in the choreography.

Mikhail Kolyada’s starts his long program with posturing, a toe step, a crossover with direction change forward. Then there is a choctaw, a crossover, a couple of mohawks, three crossovers before the first jumping element entry: three turn – add second foot – mohawk – crossover – 4Lz. There is direction change forward and s skating transition in the style of the program: rung step, Jackson, mohawk, toe half jump, mohawk. Then – a couple of crossovers, a mohawk, a running step, a broad step, a mohawk, a crossover, two backward power three turns and a 4S. After the jump comes a mohawk, a lunge on the knee going into a couple of three turns, a skating transition of simple steps (crossover, mohawk, broad step, mohawk, two crossovers, mohawk). Then – a three turn, a crossover, a mohawk, a running step, a chassé, a running step, bracket – direction change forward – 3A+3T. After the combination there is a direction change forward, a broad step, a three turn and a sit spin, after which the skater proceeds with a step sequence (43 s). At the beginning of the first half of the program there is a glide on two feet in the style of the program, a direction change forward and a combination skating transition: broad step, choctaw, half jump with change of direction, crossover, direction change forward, two three turns, chassé. Then – two crossovers before a 4T entry: chassé – mohawk – broad step – mohawk – chassé – direction change forward – three turn. After the jump exit there is  direction change forward and a combination skating transition (gif 1): three turn, chassé into back outside lobe, backward power three turn into a spread eagle, crossover, choctaw. Then – a chassé, a Jackson, two crossovers, a mohawk, one running step, a bracket – direction change forward  and a solo Axel. After the exit there s a skating transition (gif 2): Jackson into an arabesque, change of foot, bracket, cross step, direction change forward, three turn. There are three crossovers, direction change forward. Then – a running step, a broad step – mohawk – crossover – 3Lz+1Lo+3S. After that there’s direction change forward, a three turn, a crossover and choctaw – broad step – mohawk – 3Lo. After that comes a glide on two feet a la Elvis with the change of rhyme, three crossovers, direction change forward, two three turns – broad step – mohawk -  crossover – 3Lz+2T. There are steps fitting the stylistics of the program, a choctaw, a hop, a broad step and then transitioning to a combination spin followed by a choreographic sequence (14 s) and the final came spin.

In Mikhail’s program there is a prevalence of skating transitions in form of steps with direction change, which are uniformly distributed between the elements. The skater mostly demonstrates fluidity and continuity of movements between the elements, that is provided by smooth execution of connecting steps and connecting elements. Both Axels (solo and in combination) are executed from short entries, the 4S and 4T are executed from steps. Axel, 4Lz and 4T entries are just the same used in the SP. There are no difficult exits from jumping elements. Sets of crossovers/running steps in the program serve the technical purpose (gaining speed before the jumping elements).

Javier Fernandez’s long program starts with a glide on two feet and a simple skating transition with direction change forward. There are two cross steps fitting the character of the program, two three turns going into a Jackson, direction change forward and two running steps before a 4T entry: broad step – mohawk – chassé– Waltz jump – chassé – direction change forward – three turn. After the exit there is direction change forward, glide in the style of the program, half Axel going into a lunge, a three turn, a chassé, a broad step, a crossover, a chassé, two crossovers before a 4S entry: choctaw – running step – broad step – mohawk – two backward power three turn. After the exit - direction change forward, waltz three/вальсовая тройка [RFO (three turn) – step on another foot – RBO exit] direction change forward, two running steps, a forward inside lobe going into backward inside lobe on the other foot and a combination transition (gif 1): three turn, crossover, chassé, two crossovers, Waltz jump going into a spread eagle–Waltz jump-direction change forward and a 3A. Then the skater executes a half jump and moves to a choreographic sequence (22 s) and a sit spin with change of foot. There’s a stop with posturing, direction change forward, a three turn, a glide on two feet, two three turns, direction change forward and two three turns. Then the skater makes some posturing putting a hand on one’s heart, a cross step, a three turn, direction change forward, two running steps before a Salchow-toe loop combination entry: broad step – mohawk – chassé – three turn – cross step, direction change forward and a Waltz jump (gif 2). There is a chassé, three crossovers, a Bauer and a 3Lo; then – toe half jump at the jump exit, a three turn, a cross step, a chassé, direction change forward, two running steps, a broad step, a mohawk, two crossovers. There’s some posturing on the left foot – direction change forward – three- turn – Waltz jump – direction change forward and a 3A. Then the skater changes direction forward and, after a running step, a choctaw and a crossover, goes for two half jumps (clock wise and counter clock wise) and  after a running step, a choctaw, a crossover and a 3Lz. Then he changes direction forward and executes two progressives and a skating transition before a flip combo with half loop: broad step, mohawk, broad step, crossover, chassé, direction change forward, three turn. At the combo exit there are a three turn – Bauer and a hop as a combination spin entry. Then – a Jackson and a step sequence (45 s), followed by two crossovers going into a lunge and a final combination spin. In Javier’s program skating transitions in the form of simple and combination steps with direction change prevail and are distributed uniformly between the elements of the program. The skater mostly demonstrates fluidity and continuity of the movement between the element that is provided by smoothness of skating steps and elements execution. Both quad Salchows (solo ad in combination) are executed from the steps, two Axels – from difficult and unexpected (short) entry respectively. Triple Lutz and loop also have difficult entries. The 3Lo and the combo with a half loop have difficult exits. Sets of crossovers/running steps serve the technical purpose (gaining speed before jumping elements entries). There are also posturing in the program (body movement transitions) expressing the “Man of La Mancha” program stylistics and concept.

Yuzuru Hanyu starts his free skate with a skating transition: pivot on the left hand, cross step, forward outside lobe, change to the left foot, three turn, broad step, crossover with direction change forward, waltz three, chassé. There are two crossovers before the first jumping element, 4Lz, entry: mohawk – broad step – chassé – mohawk – crossover. After the jump and the direction change forward with change of foot there is a combination transition: a glide on the arc with accentuated torso, head and arm movements, two three turns, an inner Besti squat going into an outside Bauer, a counter, a three turn (gif 1). Then there’s one crossover, a mohawk, a broad step, a mohawk, a crossover, chassé, a lobe with the free leg out, a Waltz jump, a three turn. Then a 4Lo entry begins: mohawk – broad step – mohawk – chassé – cross step – mohawk (the jump is executed from a series of mohawks). Then – direction change forward with change of foot, a half-sitting glide on the right foot, a broad step, a Waltz jump, a three turn. Then there are two crossovers before a 3F entry: mohawk – three turn – direction change forward – three turn – three turn – three turn. On the arc of the jump exit there is a Waltz jump – counter – three turn transition and then direction change forward and a combination spin with change of foot. At the spin exit there is a three turn into an inside Bauer and a lunge with gesture in the nature of Seimei character before the beginning of a step sequence (40 s).

After the step sequence the is an accentuated stop and posturing in the style of the program, a three turn, a mohawk, a chassé, a choctaw, a broad step, a mohawk, a chassé and three crossovers. Then – direction change forward, a rocker, a cross step (change of foot), a chassé, a three turn, a running step and a 4S entry: broad step – mohawk – backward power three turn. After the jump exit there is a crossover, direction change forward and a combination transition (gif 2): Waltz three going into a spread eagle, Jackson, mohawk,  chassé with accentuated right leg step down. Then Yuzuru executes three crossovers, before a 4T+1Lo+3S combo (he only managed 2T): mohawk going a spread eagle – cross step – broad step – mohawk – backward power three turn – direction change forward – three turn. With a change in the music rhyme and tempo after the jump exit there is a combination transition: half loop, toe jump, three turn, chassé, three turn. Then – three crossovers before a solo 4T entry: outside spread eagle – backward power three turn – direction change forward – three turn (at this particular competition a 4T+3T combo was executed). It is immediately followed by direction change forward, a running step, a broad step – waltz three – spread eagle – 3A+2T. There is a spread eagle at the exit, a half Axel, two running steps, a broad step, a mohawk, a crossover, Waltz jump – direction change forward – 3A, direction change forward and a sit spin with change of foot (what an incredibly precise timing of the elements). After the spin Yuzuru executes a choreographic sequence (35 s), followed by a direction change forward, a three turn, and then goes for a final combination spin with change of foot.

In his program Yuzuru demonstrates smooth and continuous movement from one element to another. Running steps/crossovers are used in sets of 2-3 for strictly technical purposes – to accelerate before the elements entries. There is a nice variety of skating transitions in the form of steps. There is no preparation for the jumps – there are steps and the next moment it’s already a jump:) The exposition of the elements and most precise timing of their execution enforce high density of the distribution of the elements, especially so in the second half of the program. There is almost no second to take a break, relax and restore the power. For example, last three jumping passes of the program (and those are 4T and two triple Axels) together with their entries/exits are timed like that: fifth jumping element – 15 s – 4T+3T – 5 s –3A+2T – 6 s – 3A. Out of eight jumping elements, six are executed from the steps; 3A+2T combo and 3F have difficult entries/exits as well. 4Lz and the final 3A have short entries.

Taking the number and different types of quads in the free skate, the continuity of the movement from an element to another, the density, variety and difficulty of transitions between the elements, as well as at the entries/exits, into the account, the most complicated program is that of Yuzuru Hanyu. It is followed by the programs of Javier Fernandez and surprisingly enough Mikhail Kolyada.

Thanks for your patience and attention

Once again, feel free to offer your suggestions. If you think that there is a mistake regarding technical content, this is most probably translator’s fault and shall be gratefully corrected. 

[kolmogorov-is-sad]

Бантики и пуфики © top-7 ISU World Standings, pt 1

This is a translation of this amazing analysis article by Yulena, who looks into the transitions of the short programs of top-7 men’s singles skaters as of ISU WS in 2017-2018 season.

Greetings to all figure skating fans!

This is our now traditional analysis of transitions between the elements in the short programs of top-7 men as of ISU WS.

In the first part we’ll try to analyze and evaluate the short programs of Yuzuru Hanyu, Shoma Uno, Javier Fernandez, Mikhail Kolyada, Boyang Jin, Patrick Chan and Nathan Chen. To put every skater in equal position, I used second international competition of the season for every skater’s analysis. The only exception is Patrick Chen who has so far competed in only one competition.

It is obvious, that men’s single skating is not just multi rotational jumps, the diversity and quantity of which determine the difficulty of the program. One shouldn’t underestimate the skating difficulty in men’s singles as well. Skating to the programs with several quadruple jumps and also diverse and difficult transitions, which are the foundation of skating choreography, is incomparably harder. It is more difficult and increases the risk of mistakes. But those are the  programs, in which elements are a part of the choreography and blend into the canvas of the program so that there is a continuous, coherent and smooth movement from one element to the other, that are the most balanced ones in terms of difficulty and choreography (хореографической составляющей). Even though transitions (TR) are only one out of five PC scores, it is inextricably linked to the separate criteria of at least two more – SS and CO:

Prevalence of one-foot transitions allows to additionally estimate such SS criteria as use of one foot skating; large amount of basic steps (ex.: running steps/crossovers) and easy steps in comparison to other types of transitions clearly indicates predominantly two-foot skating and should result in decrease of not only TR, but SS scores as well.

 Execution of steps and turns with change of direction as transitions between the elements is an additional characteristic to such SS criteria as use of multi directional skating.

Quality execution of transitions during the whole program allows to assess clarity and edge work of the skating and also precision of foot placement, which is considered in SS evaluation;

Use of varied and difficult transitions between the elements complicates skating choreography and program pattern by increasing a continuous flow effect from one element to another as a mean of expressing the character and the idea of the program;

 All the elements of the program and transitions between them connected together are an integral part of program composition (CO). Program in this case is favorably distinguished by so-called ‘skating presentation (коньковая подача)’: athlete’s skate is used as a main choreographic mean of music rhythm and tempo interpretation and demonstrates the unity of composition (CO) and its originality with the help of  purposeful use of connecting movements, elements and steps. 

I’d like to remind readers of the main criteria of TR component that should be considered when evaluating. It is not just a total amount of transitions but their qualitative characteristic as of a summation of the following criteria: 

 1. Continuity of movements from one element to another

Continuity is defined as an uninterrupted flow of connecting steps and movements not only between the elements of the program but also on the entries/exits. We get a specific combination of transitions and technical content, which can also increase GOE of the element (jump, spin). The element in such case is harmoniously incorporated in the program pattern and becomes a part of the choreography.        

 2. Variety   

 2.1 Linking steps – footwork transitions (steps and turns).  Steps are accompanied by change of foot: basic, progressives (running steps), crossovers,   chassés, cross-rolls, toe steps, mohawk, choctaw and other steps combinations: Jackson, bracket combination, обманный шаг (three-turn, free leg lunge, other foot lunge, crossover). Turns are executed without changing foot: three turns, twizzles, loops, brackets, rockers, counters.·        

 2.2 Linking movements  - skating movement transition (spread eagles, Bauers, P=pivots, hydroblades, spirals, lunges, arabesque spiral, duck spiral, arabian). 

2.3 Connecting body movements in various combinations (head, hands, and torso) - body movement transition. Posing, twisting, (choreographic lunges), choreographic posturing (dance movements) with torso, hands and head movements are used as body movement transition.

2.4 Other elements, that are not forbidden - non-listed element transition (hop (stag jump), Mazourka, inside axel, half-loop, Walley, different kinds of split jumps, Ballet jump, Arabesque, Falling leaf, half axel) 

 3. Difficulty - steps are combined with body, head and hands movements and with change of direction. Originality and difficulty of connecting steps and movements between the elements as well as on their entries/exits are considered.

For example, skating transitions are divided into simple and difficult. Steps (executed on one foot) are easier than turns (executed on two feet). Prevailing one-foot skating transitions and steps with changing direction also increase transition difficulty and should be find reflection in higher scores for this component.

 4. Quality – clarity of linking steps, elements and movements.

Short program in single skating is 2min 40s (+/-10s) long. In that period of time skater is required to execute three jumping passes, three spins and a step sequence.

Step sequence in short program usually takes from 30 to 40 seconds, is considered a stand-alone element of the program and is not taken into account when analyzing transitions.

Skater uses two remaining minutes of the program to execute 6 elements (three jumps and 3 spins) with connecting steps, elements and movements in between. We’ll consider those 2 minutes as a unit of time.

Let’s try to evaluate the density of transitions between elements, their diversity and also the skating complexity of the program.

Total amount of connecting steps and turns (footwork movement transition), executed in the unit of time, which characterizes the density of transition distribution, and also a ratio of the total amount of skating transitions to the amount of one-footed transitions are presented in the following graph. 

In average, skaters have about the same density of skating transitions in the short program. Shoma Uno’s program stands somewhat apart, having lower density of transitions between the elements than those of other ISU WS top-7 skaters’.

Variety of skating transitions connecting elements and movements is presented in table1:

Next diagram highlights qualitative characteristic of the variety of transition as the ratio of their types.

Data obtained from the diagram and the table allows us to consider the balance of the programs in terms of variety and difficulty of skating transitions.

It is obvious that the most balanced program in that regard is that of Yuzuru Hanyu. Skating transition prevail, the program has minimal amount of running steps/crossovers compared to other types of skating transitions. Predominantly one-foot skating transitions are used, as indicated by the quantitative ratio of turns and steps on the diagram. Connecting elements and movements are represented by three spread eagles, Bauer and a half-loop are executed as connecting elements and movements.

Shoma Uno’s short program has balance of variety tilted in favor of transitions o two feet represented by steps, the amount of one-foot transitions is almost two times less. Two spread eagles, lunge and stag jump are used as connecting elements

Two-footed transitions also dominate in the programs of Javier Fernandez and Mikhail Kolyada. Javier’s program has slightly more connecting steps and elements, Mikhail’s one – linking steps and one-foot transitions. Connecting elements in Fernandez’s program are represented by miniBauer, spread eagle and three hops, in Kolyada’s – by spread eagle, spiral and lunge. It is a pity, that latest program doesn’t use skater’s arsenal of connecting elements more than that.

Variety of transitions of Boyang Jin’s program is characterized by heavier usage of two-footed transitions represented by simple steps. One-foot transition number is minimalised. So are connecting elements and movements represented by Bauer and two hops.

Balance of variety of skating transitions in Patrick Chan’s program tilted in favor of two-footed transitions. Connecting elements and movements are represented by two Besti squats (one of which is executed for 1-2 seconds), lunge, Waltz jump and two hops.

Variety of transitions in Nathan Chen’s program is characterized by heavier usage of two-footed transitions (steps) of which there are three times more than of one-foot. One-foot transitions amount is minimized against the amount of simple steps amount. At first it may seem that Nathan’s program has greater variety of connecting elements and movements. But that is because elements and movements of similar types are used: two lunges, three spread eagle, three hops and half-loop.

We had a look at the connecting steps, movements and elements (footwork transition, skating movement transition и non listed element transition) use in  top-7’s programs. Last component of TR’s variety criteria is connecting movements in different combinations - head, head and torso (body movement transition).

Figure skating is not just about the technical elements (jumps, spins, sequences), but is also the skating itself hen the skater’s proficiency is revealed by the ability to combine skating transitions (footwork) with body work (torso, hands, head) in a continuous movement from one element to another. Body movements in different combinations increase the difficulty of skating transitions execution as they influence skater’s balance.

At the same time one should not equate beautiful introduction of body movement transition while executing the simplest basic steps (running/crossovers), glides on two feet (проездках на двух ногах), posing/dancing movements on one spot and torso, hands and head work while executing skating transitions (especially, one-foot).

Glides on two feet and posing (posturing) on one spot, executed in accordance with change of musical rhyme or dictated by music stylistics, expressing program’s concept (idea) and spirit of the program, are completely justified. It is much worse, when such connecting movements are used to fill up empty space of the composition (choreography) of the program instead of usage of skating choreography.

Next TR component criteria is difficulty.

Table 2 and diagram 2 reveal qualitative characteristic of skating transitions difficulty for top-7 short programs as ratio of quantity of one-foot transitions to running steps/crossovers. Why do we use them exactly? That is because one-foot transitions are way more difficult. Progressives and crossovers are the simplest basic steps and in the programs of top-level skaters should generally be used as supporting steps (service duties’) to gain speed before the jumping entries. Ability to gain speed using minimum number of running steps/crossovers and maintain in throughout the difficult skating steps execution indicates that skater has much more efficiently and with better control. That is exactly what proficiency (mastery) is about and thus deserves encouragement.  On the contrary, execution of a large number of crossovers, however “expressive and genius” © and two-footed skating instead of different skating transitions does not satisfy two TR component criteria at once (variety and difficulty), and doesn’t provide grounds for any additional bonuses when evaluating the analyzed component.

The diagram and the table don’t require any additional comments :)

We shall now take a closer look at the difficulty and continuous movement from one element to another criteria within every skater’s program.

Nathan Chen’s short program starts with posing and a series of simple steps with change of direction accompanied by connecting body movements. Then the skater выполняет переход на ход вперед combined transition: choctaw, toe step with change of direction, two lunges, three turn, direction change forward, three turn, chassé and three turn into Bauer (gif 1). Then there are a  series of crossovers, a couple of mohawks to change movement direction, a few more crossovers before preparing for the combination jump. mohawk, adds second foot and skates on two feet, mohawk, crossover and 4Lz+3T combination. After the jumps he changes direction forward and consequently executes two spins – sit spin and camel spin with change of foot. Between the spins there are a three turn, a glide on two feet and a low half-loop, that looks more like a hop. The camel spin is followed by two three turns with direction change forward in between, three crossovers and a combination of transitions and elements: mohawk, two spread eagles and Jackson (gif 2). Then there are a couple of mohawks, three crossovers to prepare for the solo jump, 4F. After mohawk and crossovers the skater changes of direction to forward, executes mohawk, adds second leg and just moves (skates) on two feet, then executes three turn and mohawk, immediately followed by the jump. Steps preceding the last mohawk are executed with a rhyme disruption and a pause between them and the jump. At first look, it looks like those steps are there, but they don’t blend together into one block, but rather follow “step, add another leg (step over) choose any, another step, add another foot, step, jump. After the solo jump execution there are hop, three turn with forward direction change, posturing - glide on two feet following music pattern, three turn and three crossover; change of direction forward, counter - change of edge - change of direction forward and a 3F, immediately followed by the final elements of the program: a step sequence and a combination spin with change of foot.

Simple transitions and two-feet skating with simple steps prevail throughout the program. The preparation to the combination and solo jumps is obvious (not an interrupted flow of the steps at the entry). Transitions are concentrated between the elements and are not considered difficult entries/exits (with the exception of the 3A). *But at as soon as SA Grand Prix this single difficult entry of the program has been removed and replaced with an ordinary uncomplicated entry, which seems quite old school, considering modern top skaters 3As*. Combined entries, where simple steps (mohawks, chassés) and turns (three turns) are succeeded by connecting elements, are much the same. Connecting steps and elements execution is accompanied by hands and head movements. 

Patrick Chan’s short program starts with a beautiful series of simple skating transitions (crossover, Waltz jump, cross roll, Waltz jump) and skates with left leg lunges. Then the skater changes direction forward, executes a couple of crossovers Waltz jump, crossover with direction forward change and two progressives before going for the first jump entry, 4T+3T combination. The combination is executed from familiar to Patrick entry: three turn succeeding обманный шаг with forward direction change. After jump exit comes combined transition: chassé , three turn, inside Besti squat going into BO roll, Waltz jump, crossover, rocker, counter (gif 1). Right after that series of connecting steps and turns there are a couple of crossovers and a solo 3Lz entry: mohawk - rocker - choctaw - chassé - mohawk - crossover. All the steps of the entry are executed without interruption (pause) at the same pace as the last step that is jump take-off.

After a hop on the jump exit there is a camel spin with change of foot. A three turn on the jump exit, a slide with body movement (as body movement transition), series of crossovers and chassés, direction change forward, mohawk - add another foot - direction change forward - 3A (which has become Patrick’s traditional 3A entry without sophistication). After the exit skater performs step sequence and concludes the program with two spins – sit spin and combination spin with change of foot, that have transition of steps and elements (gif 2): crossover, mohawk, broad step, three turn, hop going into lunge and lunge slide.

Skating transitions in Patrick Chan’s short program are not difficult, but are executed seamlessly, smoothly with the very ‘continuous movement from one element to another’ effect. Connecting steps and movements of the program are concentrated in between the elements are not considered difficult entries/exits. Only 3Lz has steps leading into it and a hop o the exit. Execution of connecting steps and elements is accompanied by hands and head movements.

Boyang Jin opens his short program with posturing (connecting body movements), going from a crossover and a chassé to the steps and turns combination transition: BO roll, change of edge, rocker, counter, progressive, rocker, crossover (gif 1). Then a series of crossovers before the first jump entry, 4Lz+3T combination, is executed. Before the combination the skater performs mohawk, adds second leg to stabilize the corpus, them come a crossover and the combination. After exiting the combination he instantly goes for the sit spin. Then there is a direction change forward, a couple of progressives, rocker and a series of crossovers before entering 3A. The last one takes off from a difficult entry: counter - change of edge - direction change forward. There’s a hop on the exit, mohawk, RBO three turn (with free leg in front of the supporting leg) (backward power three-turn/риттбергерная тройка) and a series of crossovers preceding a Bauer that goes into a three turn (gif 2). Then there’s a series of crossovers and solo 4T entry: rocker - add the other foot - choctaw (by stepping over) – chassé - mohawk-add the other foot - mohawk (there’s a pause in the steps, Boyang got “daydreaming”). After the jump exit there are some toe steps and a hop entering a sit spin with a change of foot and a combination spin, after which the skater executes a posturing (connecting body movements) and proceeds to the step sequence.

In Boyang’s program two-footed skating with simple steps prevails. The preparation to the solo jump and combination jump is apparent (breaking a smooth continuous flow of steps on the entry). Skating  concentrated between the elements and are not considered difficult entries/exits (with the exception of 3A that has a difficult entry). Connecting elements are represented by single Bauer, nicely inserted in the program structure.

Mikhail Kolyada start his short program with some posturing (body movement transition) going into the skating transition with torso and arms movements (gif 1): three turn, chassé , three turn, back outside roll, three turn, mohawk. Then there’s a change of direction forward, three crossovers and a solo jump entry (4Lz): three turn - add another foot – mohawk – crossover. I have mixed feelings about that. On one hand, Mikhail is the only skater that goes for a solo 4Lz in the SP [trans.note: by the time of translation Nathan Chen had a solo 4Lz in his planned layout at the US National Championships but then abandoned it in favour of 4T at the last moment, though it is unclear whether he will ever attempt that layout again]. His jump is one of the most technically skillful and impressive jumps that I’ve ever seen live, and it undoubtedly deserves high scores for the height and quality of execution. On the other hand, there is a compulsory requirement of recognizable steps on the solo jump entry in the short program that should be fulfilled. Right before the take-off mohawk and a crossover are executed, which seems somewhat inappropriate for such a technically strong skater as Mikhail. So I would like to see a richer (more interesting) entry. Immediately succeeding the exit there are a change of direction forward and a skating transition of simple steps and difficult turns: rocker, counter, running step, forward outside roll, bracket (gif 2). Then Mikhail changes direction forward, executes a mohawk and a series of crossovers before the 4T+3T entry: mohawk – broad step – mohawk – chassé – change of direction forward – three turn. After exiting the combination jump comes a sit spin. Then there are connecting body movements (posturing), a lunge, a series of mohawks and crossovers leading into a 3A, which is executed from a difficult entry (bracket with a change of direction forward) and with a difficult exit (three turn – Bauer). Right after the 3A the skater proceeds with a camel spin with change of foot, immediately succeeded by a step sequence and a final combination spin.

Javier Fernandez start his short program with two crossovers with posturing (connecting body movements) in between, then goes for a combination transition: toe steps with direction change forward, three turn, slide with hands and body movement, crossover with direction change forward, RFO (three turn) – step on another foot – RBO exit (waltz three/вальсовая тройка), backward power three turn. Then there is a couple of crossovers before a 4T+3T entry: broad step – mohawk – chassé – change of edge – add other foot, change of direction forward – three turn. After the jump exit there is a skating transition, consisting of a mohawk and a series of three turns going into a mini-Bauer, a series of progressives and a rocker. Solo 4S entry is (gif 1): choctaw – broad step – two backward power three turns (or a series of three turns and mohawks). Clear and recognizable steps on the entry are executed without a pause in one rhyme. After the jump exit and before the upright spin there are a posture into spread eagle *connecting body movements à la Chaplin) and a hop. After the upright spin Javier executes stylistic posture à la Chaplin and a combination transition  of steps and connecting body movements: move on the right foot with character-based foot movement fitting the style of the program, mohawk, crossover, Jackson (gif 2). Then come a crossover, Chaplin-style run before 3A entry – mohawk - two backward power three turns – change of edge – change of direction forward. After the jump exit there’s a hop, a three turn and a sit spin with change of foot. After executing of the spin the skater executes a couple of progressives and a posturing (connecting body movements) before the start of a step sequence and final combination spin.

Skating transitions in the form of simple and combination steps (Jackson, a waltz three and a backward power three-turn with change of direction prevail throughout Javier’s program and are distributed uniformly between the elements of the program. Out of three jumping passes, 4S and 3A have difficult entry, only 3A has a difficult entry. In Javier’s program a broad range of connecting body movements (slides and posturing) can be attributed to the musical stylistics and idea of the program (“Chaplin”). Connecting steps and elements are accompanied by character-like torso, hands and head movements that express the stylistics of the program. 

Shoma Uno’s short program starts with a posturing and toe steps. Then the skater executes a skating transition (rocker, crossover, three-turn) going into a glide on two feet (connecting body movements) and a counter. Then there are two crossovers, a couple of mohawks and one more crossover before a solo 4F entry: rocker – broad step – mohawk – bracket step – change of direction forward – three-turn. The solo jump entry got improved after Lombardia Trophy. *But as soon as IdF it went back to square one and the entry was simplified once again: the skater did a crossover instead of a bracket step, and by doing so prolonged a break between the preceding steps and a three-turn, directly from which the jump was executed [link].* After exiting the jump there are a direction change forward and a camel spin entry, followed by a step sequence. When it comes to an end, there is a glide on two feet matched by sharp arm movements into a lunge, a crossover, a three-turn, mohawk and direction change forward; two running steps, counter, crossover, direction change forward, two running steps (gif 1). Then comes Jackson into a FO roll, mohawk and two choctaws (both executed by stepping over) before a 4T+3T combination jump (counter – three-turn). After the exit the skater changes direction forward and executes a skating transition: three-turn, choctaw, hop, three-turn, mohawk; glide on two feet with sharp arm movement, mohawk, four crossovers, mohawk (gif 2).Then comes Jackson into a spread eagle and a 3A. Exiting he 3A with a spread eagle the skater enters a sit spin with change of foot with a twizzle and right after that changes direction forward and executes final combination spin.

The second part of the program (from the dramatic stop near the boards at the end of the step sequence and to the spread eagle before the 3A) is empty of footwork (see gif 2). There is a lot of two-feet skating  between the elements. The only difficult skating transition of the second half of the program is counter – three-turn at the combination jump entry. Two jumps out of three have a difficult entry – a 4T+3T combination and a 3A. The axel also has a difficult exit. Connecting elements are represented by two spread eagles and a lunge. Repeating connecting body movements in the form of posturing and glides on two feet combined with pompous arm lifting™ in a program to Antonio Vivaldi’s “Winter” hardly match stylistics, idea or mood of the program. Is that really such a severe “Winter”? In my opinion, the program would only benefit from replacing at some of the posturing (glides) with three or four skating transitions as it would highlight its choreographic structure.

Yuzuru Hanyu starts the short program with a skating combination transition of steps and turns: three-turn, crossover into choctaw, bracket, cross step, direction change forward, waltz three-turn, backward power three-turn. Then there are two crossovers, connecting body and arms movements, a crossover and a solo 4Lo entry: choctaw - counter - choctaw - waltz three-turn-spread eagle (gif 1). Then there is an elegant jump exit of outside spread eagle transforming into an inside spread eagle. Then come a mohawk, a broad step, two three-turns and a camel spin. After exiting the camel spin there are a bracket step, a change of direction forward, a three-turn and then the sit spin with change of foot is introduced. Then a three-turn on the spin exit, posturing (connecting body and arm movements), BO roll with soft hands and free leg movements, cross roll, change of edge, BO roll, three-turn, mohawk, counter, three-turn, cross step, counter, mohawk. Then the skater does three crossovers before entering the key element of the program, 3A, which entry and exit (gif 2) serve as the best illustrations of so-called skating performance of the program: choctaw – counter – three-turn – change of edge – cross step – chassé – counter. On the arc of the exit there is a change of edge – counter – twizzle combination transition. And right after that Yuzuru goes for a skating transition: waltz three-turn, change of edge, counter, three-turn, waltz three, mohawk, three-turn, backward power three-turn. Then there are a crossover, a chassé, and two crossovers before a 4T+3T, which takes off of a difficult entry – numerable three-turns. After the combination jump exit and up to the begging of a step sequence there is a beautiful combination transition of connecting steps, elements and movements: waltz three-turn, half-loop, chassé, twizzle into inside Bauer, three-turn and a stop before the step sequence commences. A combination spit with change of foot that comes immediately after the sequence closes the program. 

There is no empty space in that program. In comparison to the second version of “Ballade” skating transitions from the sit spin exit to the 4T+3T combo are completely updated. Beloved 3A is so naturally inserted in the new choreography that is has an impression of a jump in the middle of a step sequence. Movement from one element to another is continuous with crossovers used solely to accelerate before the jump entries (with 2-3 of them). All the jumping elements have smooth, seamless skating transitions executed at the entries/exits. This program has the most difficult set of entries/exits on every jump or combo, that are not only perfectly incorporated into the choreography but also match general tone and spirit of the program. One-foot skating transitions prevail. It is no accident, that Jeffrey Buttle, when answering a question about comparative difficulty of programs like that, said the difference is tremendous and such programs are also a personal challenge in a way.  That’s why Yuzuru Hanyu’s short program is beyond competition when it comes to variety, difficulty and integrity of transitions in the choreographic structure of the program and continuity (smoothness) of movement from one element to another. In terms of transitions between elements that is the very program that has the best skating difficulty among WS ISU top-7’s short programs.

Thank you for your attention and patience

Please note, that I’m not a professional translator or a native English speaker, and feel free to point out any mistakes or inaccuracy you may found. 

[kolmogorov-is-sad]

Team Japan 2018 Olympic Games

[kolmogorov-is-sad]

Evgenia Medvedeva: Grand Prix Finale and trauma (interview translation)

Two-time World and Europe Champion Evgenia Medvedeva talks about her trauma, past Grand Prix events and the upcoming Finale.

- Zhenia, after the NHK Trophy you, although not going into details, mentioned your right leg’s trauma. What was it about exactly?

-- A few days before the Cup of Russia I felt pain in the right leg. but, honestly, I don’t know a sportsman competing at such a high level, who wouldn’t hurt somehow. Understandably, I continued with the preparations for the competition. But 2-3 days before the event pain became stronger, we went to see the doctors, who diagnosed me with an incomplete fracture of metatarsal bones of the right hand. At the Cup of Russia I skated on painkillers, and right after that I went to Germany where the diagnose was confirmed. 

German doctors gave me some recommendations and many different vitamins, so that the bone would heal sooner. Before the NHK Trophy I even had to reduce the pressure (difficulty) of the training sessions. The Russian doctors got involved in the treating as well. Overall, everyone - both Federation and the doctors had done everything possible to help me get better faster. Thanks to everyone very much! But in such a short period of time the trauma hadn’t healed completely. Nevertheless, I felt somewhat better. 

I went to the NHK in such a condition. Yes, there was a great risk that the leg simply wouldn’t have been be able to handle that. But this is the Olympic season, and it is completely unclear what the future will be, considering the situation around our sport. Also, never  have I ever in my career withdrew from a competition, even if there had been a trauma. 

In Osaka, after the SP I felt worse. I skated the free skate on some strong painkillers. We stayed in Japan for one more day, I underwent a medical examination,I had an MRI done, and it had shown an incomplete fracture of the right foot.

-- How is it now?

-- I have a cast on my foot. As soon as we returned to Moscow from Japan I had it on. I am undergoing a rehabilitation treatment. I am doing everything to recover. Everyone helps me very much. I would like to thank the Federation, our coaches and the doctors who support me and worry about me.

-- Is the question about Grand Prix Finale open?

-- If doctors forbid me to compete in Japan, it will be the worst scenario possible. It will be very hard for me to stand by and watch other sportsmen compete from the outside. All the more so because I qualified to the Finale. And as I said, it will be the first competition in my sport career that I will miss due to the trauma.

But I hope very much that something like that won’t happen. Anyway, I decided for myself that I will compete at the Grand Prix Finale, no matter what.

(source) 

 (Note: I am not a translator, i just happen to know russian and to be figure skating enthusiast. If you find any mistakes, feel free to tell me)