#that Ina Bauer is spectacular

[gealach-edits]

Mako Yamashita, “Moeyo Ken” LP || Japanese Nationals 2023

[allekha]

Ina Bauer showing off her eponymous Ina Bauer, which she invented, in the 1961 movie Kauf Dir einen bunten Luftballon. In addition to her Ina Bauer, she also does a pretty catchfoot camel (as far as I know, nothing resembling a Biellmann would be done for a few years yet), spins in both directions, and some old-fashioned jumps, including a one foot axel-double salchow combo. The three-time West Germany champion, she placed a career-best fourth at both Euros and Worlds in her last year of competition in 1959. She performed in another film by the same director, also released in 1961.

The film features a solid twenty minutes of showy skating scenes at the end, shifting between solos of Bauer, large group scenes, and pairs skating scenes with Bauer. Some of those scenes are entertainingly spectacular and/or weird (n.b for anyone interested: some sections have racist stereotypes) and at one point two poor skaters are a donkey:

[asintoticamente]

Junhwan skated like 8 hrs ago and im still thingken bout that spectacular ina bauer im starstruck 

[alena-kostornaia]

Alena Kostornaia - The ideal figure skater. What is she good at?

Russia’s Match TV released an article written by Anastasia Panina analyzing Alena Kostornaia’s quality of skating. Translated by Edwin, edited by @birdie02​.

Spoiler: Kostornaia is good at everything, but she also has problems.

As soon as she appeared on the international junior scene, specialists and fans started talking about Alena Kostornaia, astounded by her marvelous skating quality. The girl stood out with her high jumps and her strong command over her skating despite her tender age, a command many top 10 senior figure skaters would envy.

In her sixteen years, Alena managed to stand on the podium of the Russian Championships twice, win Junior Grand Prix Final and win the silver medal at Junior World Championships, losing only to Alexandra Trusova.

Alena started this season with two victories. First, at the Finlandia Trophy, she won and left Elizaveta Tuktamysheva, the 2015 World Champion with her three 3As, in the dust. At her first senior Grand Prix competition of her career, Alena also convincingly won and bested 2018 Olympic Champion Alina Zagitova.

Now everyone is talking about Kostornaia. What is known about her? She is studying in a regular – not sports – school. Until recently,  she dreamed of becoming a neurosurgeon. She loves horses and unicorns. The girl is emotional and straightforward – she does and says what she feels. For example, at IDF 2019, she disappointedly grumbled “why did I strain myself?” When she saw her low marks for her SP with her 3A. And then, at the award ceremony, she laughed contagiously along with other medalists when the organizers mixed up the medals and handed Kostornaia’s gold medal to American Mariah Bell.

Match TV figured out what exactly is so strong about Alena Kostornaia and how she can be defeated.

JUMPING

As far back as last season, Kostornaia’s jumping set did not stand out among a dozen other figure skaters in Russia and the world – 

While it was not distinctive in complexity, it was praised for the cleanness of its execution.

At the Russian Test Skates, Alyona looked like an obvious outsider among her Team Tutberidze classmates – there were no quadruple jumps, experience in senior-level performances, world records, or titles. Back then, she also made mistakes. Alena did not put up with this situation, and immediately after the Test Skates she began to learn the 3A. A month later, two 3As elements were performed at the Finlandia Trophy in the free program, allowing Kostornaia to defeat the other 3A wielder, Elizaveta Tuktamysheva.

Now Kostornaia’s content is as follows:

SP: 3A // 3Lz, 3F3T (BV: 24.35 points)

FS: 3A2T,  3A, 2A, 3Lo // 3F3T, 3F1Lo3S, 3Lz (BV: 53.55)

From the point of view of the current rules, Kostornaia’s jumps should be awarded high GOE's. She jumps with amplitude, like Tuktamysheva, but always uses a difficult entrance (for example, from an Ina Bauer), exit (several one-leg turns on the landing leg), and sometimes  a difficult air-position variation during the jump (tano or rippon).

Unfortunately, Alena has a problem with her blade edge on toe jumps. Exclamation marks indicating an unclear edge on the Flip and Lutz appear from time to time in its protocols, but the “e” mark is a wrong edge – the technical team has marked Alena’s jumps since 2017.

In particular, at the recent Grand Prix competition in Grenoble, where the judging was especially strict, Kostornaia immediately received two exclamation marks - on the Lutz in her short and on the Flip in her free program. What does this mean in the future for Alena? If you do not try to correct these errors, Flip and Lutz will always be a convenient tool for manipulating results - this issue can negate all advantages that the 3A brings to it.

SPINS

Spins account for approximately 20% of the base technical value of a program, therefore, a loss of levels or poor performance can significantly affect the total score. Kostornaia has no problems with this at all - over the past two seasons, she has never lost a single level on spins. In addition, the GOE given for her spins are large – on average “+3” and “+4,” with some “+2” and numerous “+5.” While Alena does not have the outrageous flexibility of Yulia Lipnitskaya and the stunning Biellman spin of Kamila Valieva, she spins with very high quality – maintaining the position and achieving the desired number of revolutions without losing centering or speed.

STEPS SEQUENCES

In the 2019 – 2020 season, Kostornaia receives level 4s for her sequences. Last year, she received approximately an equal number of level 3s and level 4s. Again, her GOEs are high – an average of at least “+3.” The only exception is the Russian Championships, where Alena tripped and fell during the step sequence.

Achieving level 4s on step sequences with high GOE is a sign of a top-level figure skater. The best step sequences elevate figure skaters to become Olympic champions, World champions, and Continental champions [Europeans and Four Continents]. Kostornaia’s step sequences look spectacular thanks to her quality skating skills, which is a separate point of our analysis.

SKATING SKILLS

Let's see what criteria are used by the International Skating Union [ISU] in determining the parameter sliding:

- Deep edges, steps and turns

- Balance, rhythmic knee work and leg accuracy

- Ease of gliding

- Variety in force, speed and acceleration

- Multi-directional skating

- One-footed skating

Since she started competing on the Junior Grand Prix, Alena never received less than 7.5 points in the components for skating skills, and by the time she entered the senior ranks she often received 8.0 or 8.5, corresponding to a rating of “very good.” Above this rating are only “excellent” (9.0 – 9.75 points) and “outstanding” (10.0). Provided consistently clean performances, Kostornaia will be eventually evaluated at this top level. 

During the short program at IDF 2019, Alyona lost to Alina Zagitova in the components score by about 3.5 points. In the free the gap was no longer so large – only 2 points. This should be expected – on one hand we are talking about the reigning World and Olympic Champion, and on the other about a debutant in senior competitions. 

PRESENTATION, INTERPRETATION

In a recent interview, Alena admitted that if she is touched by a certain piece of music, more than anything, she desires to skate to it so that everyone around her says that her performance is very good. Whether the acting lessons that Alena attended as a child helped or whether her natural abilities played a big role, only Kostornaia can perform to music with a superb interpretation, even when given an unremarkable music piece.

An example is her new free program to the Twilight soundtrack. There is no outstandingly dramatic music, and even in the plot of the film there is nothing that would motivate the viewer to rewatch it again after many years – there is nothing substantial to cling to. But thanks to how Alena carefully arranges her choreography and her energy according to the layout of the program, her performances always look sublime for such an exceptional skater.

PSYCHOLOGICAL STABILITY

Last season, Alena performed immaculately for six competitions, only making three mistakes in twelve skates – a singled 1A in the short and a fall on a 3F in the free (both errors were made during JGP Czech Republic) as well as a fall during the step sequence during the Russian Championships. Moreover, her execution of jumping elements is phenomenal – almost 97% of cleanly performed jumps and combination jumps. Only Evgenia Medvedeva is comparable if you sample her first two senior seasons.

Alena Kostornaia is undoubtedly one of the strongest skaters in the world at her age. Her strength is not only that she can jump high and difficult or skate beautifully, but that she is good at almost everything – a sort of ideal product of the 15-year existence of the ISU judging system. Problems with edges on the Lutz and Flip can somewhat complicate Alena’s competitive life, but with a competent coaching approach this can be fixed.

[notebookfilledwithscrabbles]

Worlds 2019 – Yuzuru Hanyu FS by J SPORTS

Translation post 22

Original language: Japanese

Translator’s note: This is not a word-for-word translation. I paraphrased some of the things said in the broadcast to clarify the main point.

Announcer: Chizuru Kobayashi. She is a freelancer who has been working for figure skating programs on J SPORTS for years.

Commentator: Makoto Okazaki. ISU Technical Specialist and a coach. He won a bronze medal at 2001 Winter Universiade as a singles skater and has been contributing figure skating columns titled "岡崎真の目 (Eyes of Makoto Okazaki)" to Sponichi.

 (Hanyu takes a deep breath and shakes hands with Brian, Ghislain, then squeezes Pooh)

Kobayashi: And here comes Yuzuru Hanyu of Japan, who was in the 3rd place after the short program.

(PA announcer calls his name and Hanyu leaves for his starting position)

Okazaki: Overwhelming amount of cheers.

Kobayashi: Yes, they are cheering wildly. He is 12.53 points away from Nathan Chen who was 1st in the short.

Okazaki: These cheers will surely give him a boost.

Kobayashi: I think so, too.

 (Hanyu starts his performance)

Kobayashi: (t/n: His program is) "Origin," an arrangement of his idol Evgeny Plushenko's "Tribute to Nijinski." He is going to attempt four quads. The first one is going to be a quad loop.

(4Lo)

Okazaki: Quad loop. He saved the landing.

(4S)

Okazaki: Quad Salchow. Aww! It might have been a bit under-rotated, but he did a good job saving it.

(FCCoSP)

Okazaki: Jumped into a flying camel spin. Camel upward, camel sideways. This is a flying change-foot combination spin. From sit sideways to upright forward. A level 4 spin.

(Stsq)

Okazaki: Step sequence. Right rocker, counter, twizzle. Left rocker, counter, counter.

(3Lo)

Okazaki: Triple loop. Well-controlled despite the short set-up.

Kobayashi: Here comes another series of quads.

(4T)

Okazaki: Quad toe. Very nice!

(4T-3Aseq)

Okazaki: Quad toe, triple Axel sequence. Again, he did a very good job saving it.

(3F-3T)

Okazaki: Triple Flip, triple toe combination. This one was also nice.

(3A-1Eu-3S)

Okazaki: Three-jump combination consisted of triple Axel from a backward-outside counter, single Euler, and triple Salchow. This one was also well-executed.

Kobayashi: And that was the last jump. (t/n: in this program)

(Chsq)

Okazaki: And now, it's the choreographic sequence. Ina Bauer on forward-outside edge. Hydroblading.

(FCSSp)

Okazaki: Entered from a difficult air-position. Sit forward. This is a flying change-foot sit spin. Completed 8 revolutions in sit behind position. It's a level 4 spin.

(CCoSp)

Okazaki: Entered with a difficult entry. Change of edge in camel position. Change of foot with jumping. Included a variation in a non-basic position. This is a change-foot combination spin, level 4.

 (After Hanyu’s performance)

Kobayashi: Loud cheers from the audience. People in commentary positions around us are still applauding.

Okazaki: Hahaha. It's amazing!

Kobayashi: It's wonderful.

(Hanyu takes a bow to the audience)

Kobayashi: This is the world championships held in Saitama, Japan. The atmosphere in the arena is just incredible.

Okazaki: And an incredible amount of stuffed animals are thrown into the rink. (Laughs) Wow, this is spectacular...

Kobayashi: Indeed. ...Well, he was amazing.

Okazaki: Yes. Well, he reeled a bit on the landing of the quad Salchow and the jump looked a bit under-rotated, but other than that, he controlled everything so well.

Kobayashi: But (t/n: the landing of) the Salchow was also incredible. How could he stay on his foot that way?

Okazaki: Without stepping out or falling, right? That is something only he can do.

Kobayashi: Definitely.

(Hanyu comes back to the board)

Kobayashi: The Russian commentators sitting next to us never stopped applauding after he landed the last jump. It was amazing.

(Hanyu, Ghislain, and Brian take seats in the Kiss and Cry)

Kobayashi: Look at the amount of stuffed animals. It must be tough to collect them.

Okazaki: Yes...

 (During the replay of the highlights)

(Hanyu at the beginning of the program)

Kobayashi: He looked completely concentrated.

Okazaki: Yes, as if he was in the zone.

Kobayashi: Exactly.

(4Lo)

Okazaki: The quad loop. Looks good. (t/n: When he landed it,) His weight shifted on his heel for a moment but (t/n: he saved it) with no trouble at all. Excellent.

(Ice Scope data: Distance 2.20m, Height 0.64m, Running speed out of the jump: 9.5km/h)

Kobayashi: If I remember correctly, he injured his right ankle. Is that correct?

Okazaki: That's right, but he didn't make us feel its impact on his performance. He really is back on form.

(4S)

Okazaki: Ah, it does look a bit under-rotated, but from here... despite being almost in the sit position... (t/n: he regained his balance)

Kobayashi: That made us feel how strong he was.

Okazaki: It's incredible.

(3Lo and 4T)

Okazaki: Then there were jumps with a short set-up like this. This kind of jump does not make it easy for you to have a good flow out of it, so it is very difficult to control your body while landing it, but he still managed to hold the landing position. That's impressive.

Kobayashi: Indeed.

Okazaki: The lack of flow makes this kind of jump look less flashy, but it is very hard to go into a jump with a difficult entry and maintain control of your body even after landing.

(4T-3Aseq and the coaches watching it)

Okazaki: This Axel was also with short set-up and entered from a back outside counter... (t/n: I think he probably confused it with the other Axel in the 3A-1Eu-3S)

Kobayashi: Yes. He is the only one who can do such a thing.

Okazaki: Yes, and taking everything into account, it is natural for him to receive huge GOEs.

Kobayashi: Right.

(3A-1Eu-3S)

Kobayashi: Coach Orser's jump was bigger than usual.

Okazaki: Yes... This is the three-jump combination. This also looks good.

Kobayashi: This was the last jump in this program.

(Ina Bauer in Chsq shot from above)

Okazaki: The whole arena had already gone wild in excitement during this choreographic sequence.

Kobayashi: It was intense.

(Close-up shot of Hydroblading)

Okazaki: This also consumes your energy, and he did it at the very end of the program. I think he fought so well until the end.

Kobayashi: I agree.

(When they show the footage of his face at the end of his performance, the audience cheer loudly for him)

Kobayashi: Now this is what champion is. Yuzuru Hanyu, the winner of two consecutive Olympic titles and the two-time world champion.

 (Hanyu and the coaches in the Kiss and Cry)

Kobayashi: Now, what kind of scores should we expect?

Okazaki: I can't say.

Kobayashi: I am sure they will be huge.

Okazaki: (Laughs) They are still collecting the stuffed animals.

Kobayashi: Yes. It is a hard job.

(PA announcer announces his scores)

Okazaki: Ah, he scored over 200.

Kobayashi: Amazing. He scored 206.10. His technical score is 110.

Okazaki: Wow.

Kobayashi: And (t/n: his total score is) over 300! He did it.

Okazaki: Wow, it's incredible to score over 300 after falling behind in the short that way.

Kobayashi: It is indeed incredible. His total score is 300.97. At the beginning of this season, ISU restarted all the records, but in the end, it was Hanyu who broke the 300-point barrier.

Okazaki: Yes. I guess he managed to put a big-enough pressure on the remaining two skaters.

Kobayashi: I agree.

[ntmists]

vm prince??? jk i know what your answer will be 😂 pls still do that one if you want hahah but i’ll give you a couple others too: vm sympathy for the devil, vm funny face, shibs paradise, hd......r&j

vm prince:

throw the whole thing in the trash / dislike it / neutral / like it / love it / i have decided to stan forever / i may not be able to do it for myself but i’ll always do it for the prince sd

what do you think my answer will be?! 😂 that this short dance conceived me, birthed me, raised me as one of their own? that tessa’s game face before the program starts makes me ptfo? that whenever i hear kiss’s opening strums and that UGH! anywhere i bang my head as if i have a flow? that the dald no touch died so this could be immortal? that the point during “i’ll show you what it’s all about” is a gunshot to a judge’s head? that scott’s control in using a besti as transition has me in a chokehold? that scott and tessa are the only team to no hand the 3 turn and therefore are the only team ever? they could’ve rested on laurels and brought out old standbys but no - they debuted a new curve lift that progresses throughout the season, by inches and centimeters, until it’s become signature v/m, and this strive for excellence is what truly separates them from the pack. this is the superbowl tribute prince deserved!! petition for midnight blues to be renamed moirnight virtues, and to quote besp, fifteen seconds into worlds: THEY’VE WON IT ALREADY IT BEING MY HEART

vm sympathy for the devil:

throw the whole thing in the trash / dislike it / neutral / like it / love it / i have decided to stan forever / made me feel grown

disclaimer: every vm program is gonna get an i have decided to stan forever but not gonna lie i had to think about this one….i think it may be because of the pattern. their edgework is always spectacular for gravity is their best friend but we’ve also seen them do rhumba thrice in their senior career (SO FAR) when there are other patterns in they haven’t got to do that i’d rather see (turning silver samba into golden for example). that being said, i appreciate them so much for choosing music selections from the auntie and uncle rock stations over a sea of despacitos and i’m sure we thank them all for the choreographic ticks that spices up this program. it’s not even the neck kiss face caress combo heard all over the world: i’m talking about the ina bauer samba rolls, the partial step sequence in the above gif that dares judges not to put them first, how perfectly the rotational lift fits with oye como’s beats. still - ”we don’t remember pyeongchang short dance choreo” translates to “rhumba lives don’t matter” and frankly i agree

vm funny face:

throw the whole thing in the trash / dislike it / neutral / like it / love it / i have decided to stan forever / if you want a broadway pattern isu it’s right here

here’s the thing. if this free dance we’re from any other team, it would be their best free dance. but this is v/m and we all know they operate on another level so i understand why it’s lower-tiered among everyone’s ranks, especially when it’s in between brilliant incredible hip hip chin chin and amazing show stopping carmen. i still like it a lot because it’s another notch to their versatility portfolio and if this were on the hands of a different team it may come off as cheesy but tessa and scott are just the right amount of cheeky here hehe; i miss their combination lifts and the straight line rotational combo at the end is one of my faves, and the s’wonderful step sequence subtly takes my breath away it’s so lovely to watch i love their holds and as usual they leave no music note untouched….so i guess this is me coming out as a funny face apologist

shibs paradise:

throw the whole thing in the trash / dislike it / neutral / like it / love it / i have decided to stan forever

if we’re ranking the trilogy fds i’d put this after fix you and before evolution; i really liked this fd a lot but i wasn’t completely sold on it at first because they were struggling on both elements and interpretation during the season? but BOY did they come through when it mattered the most (aka the olympics individual event we love our silver bronze medalists); everyone talks about shib twizzles and rightfully so they are truly the best in that element but! look at this stationary lift level 4 tho: look at how solid alex is and how maia extends her arms and points her toes….i miss them and i want them to be the first ice dance gold medalists from the usa :)

hd….r&j?

leaving you with this it’s what you deserve

[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).

————————————————————————————————————————————

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

————————————————————————————————————————————

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

————————————————————————————————————————————

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!

[leavescrown]

Junior Grand Prix Finals

So we’re now at the Grand Prix Final in Japan, but it’s not just the seniors competing.

Something amazing was going on in the Junior Grand Prix this autumn. Incredible performances followed even better ones for the ladies. The battle for the six Grand Prix Finals spots was so tough that last year’s runner up didn’t even make it.

Here are the six competitors and where they stand after the Short Program.

6. Sofia Samodurova (Singing Sofia)

Don’t let her current sixth place fool you into thinking she is no longer a medal contender. She has come back from behind before. She is also one of only two of the girls who won both her events.

Oh, and she sings along with the music. During her program. Yes.

5. Daria Panenkova

This tough cookie skated through injury during the Grand Prix and made sure to be ready for the final. She won one event and became second in the other.

4. Rika Kihira

This young lady can jump, and when I say jump I include the Triple Axel. Because she’s one of few ladies capable of one.

3. Anastasia Tarakanova

This girl is wild in her skating and a great jumper. Especially her triple lutz is spectacular; a lot of seniors can learn from that.

2. Alena Kostornaya 

You only have to look at the picture above and see that Ina Bauer to know she’s something special. She broke the world record for Junior Ladies today, only to have it been broken again a few minutes later by...

1. Alexandra Trusova

She is tiny, isn’t she? Don’t let that fool you, because she’s the only lady (senior or junior) who has a quad in her Free Program. Her cantilever into her triple lutz with both hands above her head is also something to see. Speed, height, jumping power; this lady has it all.

And a little trivia for you Tumblr-people: she has a Makkachin tissue-box that she carries everywhere.

You can watch their competition here:

They all went faultless, which is very rare in any skaters competition.

[galaxylohnce]

So @randomsplashes​ got this ask about a prompt where Yuuri’s a street musician across the street from Viktor’s rink and when Viktor needs music he commissions it from Yuuri, bc he’s cute af and Viktor needs a reaosn to speak w/him, so I wrote a fic for it. (The ask is here) So here we go, this is my short af fic!

Beyond Perfect

Viktor’s skating felt uninspired.

Sure, he skated all the time, and he skated well, nearly perfectly in fact, but it wasn’t enough. They wasn’t any feeling, any inspiration.

And then the violinist appeared. 

He was a street performer, obviously, and he happened to set up shop across the street from the rink. Everyday walking to and from practice, Viktor heard him playing. It was a good pick in terms of location - the boulevard was always busy as it was lined with shops and featured the home rink of Russia’s top skaters. But Viktor felt blessed by the man’s presence (not because he was cute, though that was certainly a plus) because of the way he played.

His fingers danced across the strings and his bow pulled out melodies from the instrument that set Viktor’s heart on fire. The man seemed to be made from pure inspiration, and he quivered with a life Viktor hadn’t felt in years.

Besides that, he was gorgeous. Stunningly, inescapably, gorgeous. He was slim and a bit shorter than Viktor, and held himself with unearthly grace, swaying like a branch in the wind as he played. Blue, sleek glasses balanced on his nose, framing his unspeakably bright brown eyes. But the eyes weren’t just brown - no, they shimmered with maroon accents. His fingers were slim and pale and beyond talented, never allowing a note to go flat, and his hair, oh god, his hair. It was black and looked so, so, soft, curling over his forehead and flopping down in a way that made Viktor swoon. He was perfect. No, actually. Beyond perfect.

This man breathed life back into Viktor’s routines, but he had never been able to pluck up the courage to speak to the man across the street. Viktor just admired him from afar.

Yuri Plisetsky, his young rinkmate, thought he was disgusting for it.

“God, Viktor, the looks you throw him are disgusting. You just stand outside before and after every practice and stare at him. How on earth has he not changed location yet? I’d be horrified if I saw an ugly old man like you ogling me everyday for months on end.” Yuri’s face contorted in a way that Viktor found hilarious. As if Viktor’s fascination with the man across the street was something abhorrent. Viktor laughed.

“Come on Yuri, I just like his music!” He said with a heart shaped smile. “Besides, I just want to be friends! Slash, put my face on his face…” Viktor trailed off dreamily. At that Yuri visibly gagged.

“Goodbye.” He skated away swiftly, angrily performing a quad salchow just to annoy Viktor.

Time continued to pass, and Viktor continued to admire the violinist from afar. Before he knew it, it was time to choreograph his programs for the rapidly approaching season, and face Yakov’s wrath.

“What do you mean you haven’t considered music!” Yakov’s face was horrified and an angry shade of red. “Vitya! You should have hired a composer weeks ago!” Viktor shifted awkwardly in his chair.

“I… forgot?” Yakov sat back, at a loss.

“You forgot. You forgot.” He threw up his hands. “Dammit Viktor. You had better have a composer by the end of the week or I’ll drop you as a skater faster than you can blink.”

Viktor smiled. “Thanks Yakov! I’ll get on it.” Yakov showed him out of the office, mumbling angrily about irresponsibility and blaming Viktor for his lack of hair.

Later that day, as Viktor skated, he contemplated where he would find a composer on such short notice. As he packed up and showered, he considered the same question. He left the rink, his bag over his shoulders, mind muddled with contacts and musical conservatories, thinking who could possibly -

Viktor’s thought’s were interrupted by the strains of clear, high, violin music. Viktor stopped dead in his tracks.

Of course.

He rushed across the boulevard, making cars stop and honk at him. “Sorry!” He yelled, and kept going. Finally, he reached the other pavement, and stopped in front of the violinist, who had stopped playing in shock. His hands were on his knees and he was panting, but he forced himself to raise his head.

“Hello! I’m Viktor Nikiforov, Russia’s top skater. What’s your name?” The violinist frowned, bewildered.

“I - I’m Yuuri. Katsuki Yuuri, of Japan.” Viktor nearly swooned. Yuuri with that long u sound was a beautiful name for a beautiful man. Viktor told him as much, and a soft blush dusted Yuuri’s cheeks. “But that’s not the point right now!” Viktor yelped, remembering why he’d dashed across the street and risked life and limb to speak to Katsuki Yuuri of Japan. “I had the best idea. Like, literally, the best. Ever. Don’t fight me on this.”

Yuuri raised an eyebrow. “W-What’s your idea?” He asked, stumbling a bit over the words, and flushing a little pink in his embarrassment.

“I have to commission a piece of music for my skating programs this season,” Viktor said breathlessly. And I know the perfect person. Would you…” He found himself to be nervous for no reason. “Would you be willing to write a couple pieces?” Yuuri looked shocked. “Not a whole bunch, just two! And I would pay you for it. I’m really sorry for such short notice, and you absolutely don’t have to do it, gosh I must sound super demanding, I’m sor -”

“How soon?” Yuuri’s voice quietly interrupted his ramblings. Viktor shut up quickly. “How soon would you need the recordings?”

“By the end of the month,” Viktor said breathlessly. Yuuri smiled at him.

“Done, no problem. They’ll be violin solos, though, you must realize. I can’t play anything else well enough to include it.”

“That’s fine,” Viktor squeaked out. “Perfect, in fact. No, beyond perfect.” Yuuri smiled again, and pulled out a card. 

“Here’s my number, for reference.” Viktor was ecstatic. He had not only pretty-street-performer boy’s name, but also his number, even if it was for just business. Then, in a spurt of bravery Viktor didn’t know he possessed, he blurted,

“Can I take you to dinner?” Yuuri’s eyebrows shot up and he blushed, but Viktor thought he looked pleased. 

“Right now?”

“Right now,” Viktor assured him. 

“I don’t want to inconvenience you -” Yuuri’s voice was hesitant, but full of longing, like he couldn’t believe Viktor was asking him out.

“No inconvenience!” Viktor promised, a bit too loudly, as his words brought glances from passersby.

“Well, in that case, I guess I can go on a date with you.” VIktor brightened up at Yuuri’s words.

“A date?”

“I! I meant out to dinner! I’m sorry that was awfully forward of me -”

“No! No! A date is good! A date is great.” Viktor smiled, extremely pleased. Yuuri blushed deeper, his face becoming even redder, somehow. 

“A date, then.” Viktor smiled at him.

“Yep, a date.”

~~~

Cheers echoed through the stadium. The season’s debut performances were beginning, starting with living legend Viktor Nikiforov.

“You know, Nikiforov’s seemed uninspired the last couple seasons, but that could be just me. What do you think, Morooka?”

“No, I absolutely agree. That’s not to say he hasn’t been skating in technical top form, but I’ve felt disconnect from him, so it’s interesting to see where his theme of Life and Love will take us this season.”

“Nikiforov will be skating his short program to Theme of Life, composed by Katsuki Yuuri, and his free to Theme of Love, also composed by Katsuki Yuuri. Katsuki is rather unknown, and speculation as to how Nikiforov discovered his music and chose him as a composer has run rampant after the announcement of his music picks.”

“Ah, the performance is beginning! Spectacular start, really very strong. We can already see Nikiforov starting off strong here, just look at that Ina Bauer. Very impressive!”

“I’ll say! Not to mention, Nikiforov looks much more invested in this music than previous seasons, I’m already sensing much stronger emotion from him than we’ve seen recently.”

“True. Nikiforov’s first planned jump is a quad loop, let’s see - Yes! He lands it cleanly! Not a surprise, considering his track record on the ice, but still lovely to see, considering his age.”

“A spread eagle, into a quad salchow combination - Nailed, just lovely.”

“An approaching step sequence, just look at that feeling! This is a NIkiforov none of us have seen before. I know this isn’t ice dance, but right now Nikiforov’s sure making it seem that way. Just lovely.”

“We’ve passed the halfway point in the program, and Nikiforov’s final jump is planned right after this step sequence is complete. Lovely. Now into the jump, he signature quad flip -!”

“Clean landing! Viktor Nikiforov has landed all his jumps in this program! Astounding.”

“A camel spin, beautiful. Morphing into a sit spin. The music’s climaxing! What does he have planned?”

“He’s moving into his final pose, arms outstretched towards someone standing beside the rink. His coach perhaps -? No! It’s Katsuki Yuuri, the composer of Nikiforov’s music. People are whispering in the stands as to the meaning here, but Nikiforov clearly has eyes only for Katsuki. Wait, what’s happening? Katsuki's on the ice!”

“My god, he’s slipping on the ice trying to get to Nikiforov! Nikiforov’s skating towards him! A hug, perhaps? Surely seeing his music performed to like this on the international stage is a quite emotional experience for Katsuki, it may be -”

Silence fell over the arena as Viktor Nikiforov launched himself into Katsuki Yuuri’s arms and locked lips with him as they fell back onto the ice. Yuuri’s back hit the ground first, the cold instantly seeping through his jacket, but he didn’t care.

It was only them and the ice, Viktor’s dancing to his music. And it was perfect.

No, beyond perfect.

A/N

Thanks for the inspiration @ random anon on @randomsplashes page! If you want credit for the AU message me!!!! It was brilliant. Thanks so much!