Discussion in 'The Trash Can' started by Kwantumleap, Nov 27, 2013.
Strike a pose. Does hitting vogue poses count as choreography under CoP?
It did for Navka.
If it is with the music and reflects the character of it then yes it does.
Voguing should be a required element in the technical program.
I agree. It could definitely be open to levels.
Only Navka could pull off vogueing during any figure skating program let alone a dance to the feeling begins.
So what should skaters get if they do the Macarena?
And for Amodio and Candeloro.
If you are talking about the brief stop and pose moments that sometimes mark a change of music, I am OK with them. OTOH, I do actively dislike the extended dance in place type voguing.
Disregarding the bad taste potential of these moves, my bigger beef is that they are really thinly disguised rest breaks. Since skating is supposed to be a sport, stamina should count, so the vogue in place rest breaks should be penalized somewhere.
Judges could penalize too much posing under the Choreography component, specifically the Utilization of personal and public space and Pattern and ice coverage criteria.
I've always enjoyed a little posing. They're just small breaks in lengthy programs: I actually like a little variety from constant movement.
It's in the code. Level 4 Morozov.
Somebody could have done the Finnstep to Macarena as it is the right amount of bpm.
My coach and I used to do the Willow Waltz to the Macarena. It actually worked really well.
Screw the Macarena, that's level 1 stuff.
Level 4 is the Nutbush.
Nutbush is only Level 2. Bus Stop is level 3 because it has a turn in it.
...I think we may have just moved beyond my generation. Bugger.
These darn old people running our sport...
Well, it would still be reflected if it wasn't with the music/character, just not in a positive way.
If it is done well and not excessively, then I would reward the choreography mark (relative to if they had just been generically skating around). I agree with those who don't mind and even like it a little bit. Sometimes it gives interest and character to the program. I can think of a handful of times where I felt it got to be excessive enough, for example, Florent Amodio's Michael Jackson program and arguably Oksana Baiul's Olympic program, but both were interpreted extremely well. In those cases, I might end up with a similar choreography mark compared to if they had just been generically skating around during the posing sections, because I'd reward their contribution purpose, unity, and phrasing, but take off on the ice coverage and use of space. I would still keep the interpretation mark up very high in those two examples. I'd generally end up having a bigger than average difference between the choreography and interpretation mark (with the interpretation being high) in cases like those.
Pingu && myself were suggesting Cappellini&Lanotte to use it for SD this year. I remain bitterly disappointed.
Nancy Kerrigan wasted a good opportunity to do a full on vogue demonstration...
Fox on Ice (1994)
If Stephane does it, I approve. At least I think it worked very well for this program--created and sustained a mood and was not excessive. And it didn't just appear every minute for an obvious rest break mid-program.
Nancy did it before Maria
ETA: Wow, someone beat me to it lol
Isn't that what plushenko has been doing for years?
Voguing is choreography too. There are many aspects to choreo and poses can be one of them. That being said it shouldn't be overdone in skating imo. You've got to keep moving, keep skating as it were.
He can strike a pose or two
CH is more about the use of space, the way the program is laid out on the ice and so forth.
It counts towards PE and IN if it's done properly and in time and in character of the music.
I would deduct on TR and CH, however, if there's too much of it because you should be skating, not standing in place. Stopping and standing still isn't exactly a very difficult skill to master.
Well, when Amodio is vogueing, my reaction is that he's too lazy to put real choreography.
So it depends. I thought it worked very well in Kostner's Bolero, because it fit the style of the choreography, it built with the music, and drew you in. ALSO, it was some innovative vogueing, not stuff we've seen before.
During Kwan's later years where she just skated around from element to element, I WISHED she'd pose more and express more character in the music. I mean I'm sure it was more of an athletic achievement to be in constant motion, but meh.