Figure skatingChoreographers more important than ever

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Famed choreographer Lori Nicol, right, works with Canadian champion Patrick Chan. (Paul Chiasson/Canadian Press)

There was a time when coaches of figure skaters were responsible for all aspects of their students' skating: everything from teaching, to training, to designing the concept of their programs, to costuming and choreography.

Then, about 30 years ago, a new player joined the figure skater's team: the choreographer.

I've often said that the difference between first and second place can be how a skater does what he or she does, not simply the sum total of the elements.

With the introduction of the current judging system, it appeared as if the artistic aspect of figure skating might be lost while choreographers, coaches and skaters alike tried to figure out how to maximize scores with their programs. But even though there are ongoing adjustments and improvements being made to the scoring system, many of the world's top skaters have cut their teeth on this system and are able to address the artistic as well as technical aspects of their programs.

The CBC's Kurt Browning, a four-time men's world champion, says the difference between choreography before and after the new system is that "before, choreography was about personal choice. Now, it is a matter of necessity where the best skaters have to bring in their personalities."

New rules, new challenges

Many people describe the figure skating events of today as "jumping competitions," in which points are assigned for certain elements, and skaters need only to do those elements. In my opinion, nothing could be further from the truth. Skaters must still come up with new and innovative spin positions and transitions, and don't get me started on the complexity of today's step sequences.

Sandra Bezic, a legendary choreographer and one of the driving forces behind The Battle of the Blades TV show, says that choreography was always controlled by the rules in place for judging. This has become even more the case under the new system, making it extra-important for skaters to get the most from the people who design their programs.

Bezic and other top choreographers love the challenge. Along with their skaters, they've embraced a new way of marrying steps to music on the ice under the new scoring system.

"It's more of a challenge on so many levels to [make sure skaters are] controlled by the music and not the rules," Bezic says.

The more things change...

Tomas Verner, the 2010 Cup of Russia champion from the Czech Republic, is one of the skaters whose history straddles both judging systems. In his opinion, elements like the step sequences used to be more fun to do when the skaters could really express mood and character instead of just focusing on "steps for points."

Still, he doesn't think things have changed much in his world.

"I don't think that with the new judging system the programs have really changed for the skaters," Verner says. "I do think that the programs have changed for the audience, though, especially in the step sequences where it all has to be so focused in order to get the points."

Express yourself

There are, have been, and always will be programs that capture our attention as the audience. Many don't even require the names of the skaters, simply the title of the program: "Love, Story," "Bolero," "Casablanca," or, from today, "Mahler's 5th" and "The Blower's Daughter."

Lori Nichol, the choreographer for this year's Grand Prix Final men's champion (Canadian Patrick Chan) and the 2010 Olympic pairs champions (China's Xue Shen and Hongbo Zhao) says it best.

"It is my job as a choreographer to help the skaters express who they are. I have to find that within them and help them to bring it out."

Indeed, the best skating programs reveal something about the skaters. For that, we have the choreographers to thank.

Got a question for Pj? Send it to pjkwong@pjkwong.com

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