Reviewing the Top two Finishers in the Free Dance Portion of the Olympic Team Event

We received an email request to explain the levels of the top two finishers in the Olympic Team Event Free Dance. We have tried to explain the calls for the levels from what we can see in the videos available to the public. Here is the breakdown of the scores: 

http://www.sochi2014.com/en/figure-skating-team-ice-dance-free-dance 

The various turns you will see in these step sequences have been discussed in this entry:

http://icedanceanalysts.blogspot.ca/2013/11/to-everything-turn-turn-turn-turns-in.html

Let's have a look at the step sequences for these two teams, keeping in mind that the judges are looking for distinct edges (they have to be sure the skater is on the required edge--edge quality is accounted for in GOEs):

We'll first look at the requirements for the circular and diagonal step sequences for the free dance, both of which are done in hold.

Here is the circular step sequence for the team that finished first in this segment of the event, Meryl Davis/Charlie White for which they received a level 3.

Davis /White likely did not receive credit for their rocker. Davis’s blade goes flat on the entry edge when it should remain a right forward outside edge throughout. 

Here is their diagonal step sequence for which they received a level 4:

In the diagonal, White placed his blade on a flat for the exit edge of the first choctaw (beginning of diagonal step sequence) instead of a right back outside edge. We are surprised they received credit for this turn.

On the rocker, it appears Davis’s blade was barely on a right forward outside edge for her exit edge. 

Let's have a look at the lift requirements.

They struggled in transitioning into the rotational portion of this lift, but that would affect GOEs as they still completed the requirements for a level 4 for the first part of the combination lift. The main problem occurs on White’s rotations for the second part of this lift. After 5 rotations, White stops his rotation and therefore does not complete the 6 rotations necessary from the lifting partner for a rotational lift to be deemed level 4. We were surprised they received a level 4 for this lift. 

Virtue/Moir had a bit of a struggle getting into the straight line lift, which resulted in lower GOEs. They did however meet the requirements for a level 4 straight line lift, with Virtue leaning out forwards with her support point being her leg and Moir transitioning from a spread eagle (on a straight line) to a one foot position. The creative/difficult entry is Virtue’s “significant transitional movement…to reach and establish the desired pose”. 

Let's have a look at their circular step sequence for which they received a level 3:

In the circular step sequence, perhaps the panel felt that Virtue did not show a distinct enough forward outside edge which is required as the exit edge for this choctaw. 

And here is their diagonal step sequence for which they received a level 2:

In the diagonal, we believe it was Virtue's counter (entry edge) and her choctaw (exit edge) in the first section of the sequence that caused them to go down to a level 2.

On the counter, perhaps the technical panel felt Virtue didn't hold the right back inside long enough for the entry edge.

On the choctaw, it appears Virtue places her blade on a bit of a flat or barely an outside edge before quickly leaning onto the right back outside edge that is required for this choctaw.

What did you think of the ice dance portion of the team event? Let us know in the comments section!

What's in a Step Sequence?

More precisely, what’s in a level 4 step sequence? 

Let's take a look back at the ISU Handbook for Ice Dance Technical Panels 2013 for the criteria the Technical Panel uses in assigning a level to this element.

Types of difficult turns: 

Double Twizzle, Bracket, Rocker, Counter, Choctaw, Outside Mohawk “skated on distinct and recognizable edges and in accordance with the description in Rule 604”. 

The one-foot turns have been bolded. 

Extra Features (specifically for the Not Touching Step Sequence): 

Spread Eagle, Lunge, Shoot the Duck, Ina Bauer, Toe Steps, Dance Jump, or a combination of those, not exceeding one measure of music.

How are GOEs Determined for this Element?

Let's have a look at the criteria the Judges use in determining the appropriate GOE for this element.

We have selected an example of a step sequence performed by Tessa Virtue and Scott Moir that we feel is the strongest execution of this element. They have elected to do a midline sequence for their Not Touching Step Sequence. Although they received a perfect score for this element at Skate Canada (a level 4 and maximum GOEs from all but one judge, whose mark was discarded in the final score), we have selected their version of this element from the 2013 Grand Prix Final, for which they also received a level 4 and many GOEs of +3.

Here is the protocol from this event. 

Here is a video of the step sequence only:

Below we have broken the step sequence down into its component parts. We have provided gifs slowed to 40% of the original speed for each turn.

They begin the sequence with Virtue performing a left forward inside counter turn and Moir performing a right back inside counter. That means that Virtue is traveling clockwise on a left forward inside entry edge and turns her blade counter-clockwise to exit on a left back inside edge traveling in a counter-clockwise direction; Moir is traveling clockwise on a right back inside entry edge and turns his blade counter-clockwise to exit on a right forward inside edge traveling in a counter-clockwise direction.

They move into a transitional step (dance jump) which is followed by a left forward inside open choctaw for Virtue and a right forward inside choctaw for Moir. That means that Virtue has a left forward inside entry edge, then brings her right foot forward and exits on a right back outside edge; Moir has a right forward inside entry edge, then brings his left foot forward and exits on a left back outside edge.

They then move directly into a double twizzle, with Virtue turning clockwise and Moir turning counter-clockwise.

They use a transitional step (toe step) into a left forward inside counter for Virtue and a right forward inside counter for Moir. Virtue is traveling clockwise on a left forward inside edge and turns her blade counter-clockwise to exit on a left back inside edge traveling in a counter-clockwise direction. Moir is traveling counter-clockwise on a right forward inside edge and turns his blade clockwise to exit on a right back inside edge traveling in a clockwise direction.

They then use a transitional step in which they change direction and enter into a left forward outside swing Mohawk. They enter on a left forward outside edge, swing the free leg forward, and exit on a right back outside edge.

They each stay on the right foot and move from back inside to back outside edge before changing feet into a toe step turn which they exit on right back inside edges that curve clockwise. They then take one toe step into right forward inside brackets, the first turn in their one-foot turn section. They enter on right forward inside edges traveling counter-clockwise, turn their blades clockwise, and exit on right back outside edges traveling counter-clockwise.

They each stay on one foot and change over to right back inside edges (that travel clockwise). These right back inside edges are their entry edges for their next counter turn. They each turn their blade counter-clockwise to exit on right forward inside edges traveling counter-clockwise.

These right forward inside edges traveling counter-clockwise become their entry edges for their rocker turns. Each turns their blade counter-clockwise to exit on right back inside edges traveling clockwise.

They complete the one-foot turn section with double twizzles entered into on right back outside edges.

Some general notes on this step sequence:

They enter into it from dance steps. They have chosen a mirror pattern where they part and then converge in the first section and a matching pattern for the rest of the step sequence. Note the difficult transitional steps between the outside Mohawk and the third counter. Also note how they exit their final double twizzle on right forward inside edges and each stay on one foot to decelerate at the end, gently sliding into a stop, after which they immediately pick up their speed. The long, sweeping curves of their blades (entry and exit edge curves), the deep knee bends, the stability of their blades, the stability of their upper bodies as their knees are doing the work, and the effortless speed they maintain throughout this element make this element worthy of excellent GOEs.

To Everything Turn, Turn, Turn: Turns in Ice Dance

In ice dance you will see various turns, some featured as major steps of the pattern dances and step sequences, and others used to connect these steps and other elements in the program.

The level of a step sequence depends on the number and variety of difficult turns executed cleanly. The turns required for a step sequence to be assessed a level 4 are the following: double twizzle, bracket, rocker, counter, choctaw, and outside mohawk. 

Anatomy of a Turn

Each turn consists of 3 parts:

1) an entry edge curve

2) a blade turn (one-foot turn) or change of foot (two-foot turn), which may or may not include a change of edge and

3) an exit edge curve

Executing a turn requires the skater to shift their weight towards the front or the back of of the blade. The blade has a rocker, also known as a radius, which is a measure of its curvature. Greater curvature means less of the blade is in contact with the ice. This curve feature gives a skater greater mobility, allowing them to better maneuver around the ice. Some people also refer to the apex of the blade’s curve as the rocker.

In ice dance, you want to see entry and exit curves that are smooth and continuous as well as long with large amplitude (ie. big curves). You also want to see entry and exit edges of roughly equal depth. The turns must not be scraped or jumped. Another important feature of a turn is the control of the hips, upper body, and free leg. 

So how do you identify specific turns? The entry edge will be identified as forward or back and inside or outside. The skating foot (right or left) will also be indicated.

forward: the skating direction is forward

back: the skating direction is backward

inside: the edge being used is the one closer to the inside of the boot. Another way to think about this: the inside edges are the ones that face each other.

outside: the edge being used is the one closer to the outside of the boot. Another way to think about this: the outside edges are the ones that face each outward.

The word swing is used to indicate a swinging action of the free foot past the skating foot.

When we talk about a change of direction, we are referring to a change from forward to backward or backward to forward (and NOT clockwise to counter-clockwise or vice versa). We will also discuss turns with respect to lobe. We are referring to circular lobes. Think of two circles joined at one end on the ice. Continuing along the same lobe is like continuing along the outside of the same circle. Changing lobes is like moving along the opposite side of the next circle.

To illustrate each turn we have provided a theoretical example and a slow-motion gif example of a turn from one of the short dances this season.

We’ll look first at one-foot turns. These turns are performed entirely on one foot (ie. you will NOT see a change of foot).

twizzle: This is a continuous travelling turn. That is, it travels across the ice and the rotational action is continuous.

gif example: Here is Bobrova & Soloviev each performing a double twizzle in their Not Touching Midline Step Sequence 

three turn: This turn involves a change of edge (outside edge to inside edge or inside edge to outside edge) and change of direction (from forward to backward or backward to forward). It gets its name from the ‘3’ tracing it creates on the ice: picture an arc with a cusp (little pointy thing) in the middle that points inward. The turn is executed in the same direction as the overall curve of the turn (if the arc is skated in a clockwise direction, the blade also turns clockwise).

theoretical example: The skater enters on a right forward outside edge curving in a clockwise direction. The skater turns their blade clockwise and exits on a right back inside edge, maintaining a clockwise direction of curve. The skater has performed a right forward outside three turn.

gif example: Here is Maia Shibutani (of Shibutani & Shibutani) performing a right forward outside three turn as a transition in their short dance. Note that she is curving in a clockwise direction on a right forward outside edge, turns the blade clockwise, and continues to curve in a clockwise direction on a right back inside edge.

bracket: This turn also involves a change of edge (outside edge to inside edge or inside edge to outside edge) and a change of direction (from forward to backward or backward to forward). It gets its name from the bracket tracing it creates on the ice: picture an arc with a cusp in the middle that points outward. The turn employs counter-rotation. That is, the blade turn is executed in the opposite direction of the overall curve (if the arc is skated in a clockwise direction, the blade turns counter-clockwise).

theoretical example: The skater enters on a right forward outside edge curving in a clockwise direction. The skater turns their blade counter-clockwise and exits on a right back inside edge maintaining a clockwise direction of curve. The skater has performed a right forward outside bracket.

gif example: Here is Davis & White each performing a right forward inside bracket in their Not Touching Midline Step Sequence. Note that each skater is curving in a counter-clockwise direction on a right forward inside edge, turns the blade clockwise, and then continues curving in a counter-clockwise direction on a right back outside edge.

rockers and counters:

Each of these turns involves a change of lobe (ie. each turn starts out on one lobe and changes to a different one after the turn). Put another way, the curve of the entry edge is opposite to the curve of the exit edge. The edge is the same before and after the turns (ie. a rocker or counter with an outside entry edge will have an outside exit edge). The difference between these two turns is the direction of the turn in relation to the directions of the entry and exit edge curves. Their tracings have an ‘S’ shape with a cusp in the middle.

rocker: The blade turn is performed in the same direction as that of the curve of the entry edge and thus the cusp created by the turn points into the first lobe/curve.

theoretical example: The skater enters on a right forward outside edge curving in a clockwise direction. The skater turns their blade clockwise and exits on a right back outside edge, now curving in a counter-clockwise direction. The skater has performed a right forward outside rocker.

gif example: Here is Cappellini & Lanotte each performing a right forward inside rocker in their Not Touching Circular Step Sequence. Note that each skater is curving in a counter-clockwise direction on a right forward inside edge, turns the blade counter-clockwise, and is then curving in a clockwise direction on a right back inside edge.

counter: The blade turn is performed in the same direction as the exit curve and thus the cusp created by the turn points into the second lobe/curve.

theoretical example: The skater enters on a right forward outside edge curving in a clockwise direction. The skater turns their blade counter-clockwise and exits on a right back outside edge, now curving in a counter-clockwise direction. The skater has performed a right forward outside counter.

gif example: Here is Ilinykh & Katsalapov each performing a right back inside counter in their Not Touching Midline Step Sequence. Note that each skater is curving in a clockwise direction on a right back inside edge, turns the blade counter-clockwise, and is then curving in a counter-clockwise direction on a right forward inside edge.

We’ll now look at two-foot turns.

These turns can be either open or closed. These terms refer to the placement of the free foot during the change of foot. In an open choctaw or mohawk, the free foot is placed toward the front or near the middle of the instep of the skating foot. In a closed choctaw or mohawk, the free foot is placed behind the heel of the skating foot.

choctaw: This turn not only involves a change of foot but also a change of edge (outside edge to inside edge or inside edge to outside edge) AND a change of direction (from forward to backward or backward to forward). The pattern created on the ice is very similar to that of a rocker or counter.

theoretical example: The skater enters on a left forward inside edge curving in a clockwise direction. The skater then brings the right foot towards the front of the left foot (skating foot) and places the blade down, exiting on a right back outside edge and now curving in a counter-clockwise direction. The skater has performed a left forward inside open choctaw.

gif example: Here is Virtue & Moir each performing an open choctaw in their Not Touching Midline Step Sequence. They have chosen to do a converging pattern with one partner using the left foot as the initial skating foot and the other partner using the right foot as the initial skating foot, with each curving in opposite directions. Note that the female partner begins by curving in a clockwise direction on a left forward inside edge and brings the free foot forward, placing it in front of the skating foot (such that after the change of foot the new free foot is behind the new skating foot) and exiting on a right back outside edge now curving in a counter-clockwise direction. Meanwhile, the male partner begins by curving in a counter-clockwise direction on a right forward inside edge and brings the free foot forward, placing it in front of the skating foot and exiting on a left back outside edge now curving in a clockwise direction.

mohawk: This turn maintains the edge with the change of foot and involves a change of direction (if it is entered into on a forward outside edge it will be exited on a back inside edge). The pattern created on the ice is very similar to that of a three turn or bracket.

theoretical example: The skater enters on a right forward outside edge curving in a clockwise direction. The skater then brings the left foot behind the right foot (skating foot) and places the blade down, exiting on a left back outside edge and but still curving in a clockwise direction. The skater has performed a right forward outside closed mohawk.

gif example: Here is Pechalat & Bourzat each performing a right forward outside closed mohawk in their Not Touching Midline Step Sequence. Note that each partner begins by curving in a clockwise direction on a right forward outside edge and brings the free foot forward, placing it behind the skating foot (such that after the change of foot the new free leg is in front of the skating foot) and exiting on a left back outside edge and still curving in a clockwise direction.