What's interesting about this Lori debate is that both sides are avoiding the acronym CoP.
Given the restrictive input of the CoP, I would say Nichol, and a few other choreographers do a good job in combining points and movements It isn't exactly creativity but what can one expect from the nature of the CoP.
As to her suspected collusion with the Canadian Fed, it's hard to believe she has the time to create a better program for Patrick and not others. The creative process of choreography comes as a thought and then it works itself out in its application for the skater's program. What I do is accept whatever any choreographer can manage and look for what a performer can do with it. It's the feeling of the music that brings out the nuances of body movements and that's the talent of the competitor, and not the choreographer.
I once watched a skater use Pop Goes the Weasel for his music. It worked because he made it into a serious comedy program using all the body movments the music stated. That tall French skater had that kind of talent. Boys, in general are much more versatile with music than girls who tend to suffer with balletitus.
Patrick is doing very well by the way, and Lori does her best with the restrictive CoP.
"The official ISU seminars on how to judge "presentation" - the key mark in judging - are led by Anne Schelter, a Canadian choreographer, and Lori Nichol, who works with Sale and Pelletier, the Canadian team.
This is really not news in any way and many GS members have known Lori is part of the strong Canadian presence within ISU.
My point is not to accuse Lori of anything and for all I know she could be the most honest and fair-minded person in all of skating.
But it looks bad and most other sports would never put up with such a conflict of interest.
We saw where it lead back in SLC and skating does not need more of this.
I have no idea if Lori is presently working in an official capacity training judges for ISU but see nothing wrong with her doing seminars for the Canadian federation.
Last edited by janetfan; 07-25-2011 at 09:25 AM.
I tend to agree. The CoP is a good system for children learning the ekements of competitive skating. But not so good at the elite level.I’d say that from the middle level and on up it’s much more stagnating. As a choreographer I sometimes really feel like I’m wearing a straight jacket, every time I seem to come up with a really great idea it’s illegal.
The irony is that most contests for beginners still use 6.0 (it is too expensive to arrange for technical callers, etc., at that level), whereas all higher level contests now use the CoP.
Backhand, thank you for the clarification. It is the sponsoring organization, either the national association or the ISU, that could be in violation of its own principles in these conflict of interest cases.
Backhand, thanks for your insights as an expert in a related field. This is the sort of thing that I generally don't have a chance to hear.
Math, it's interesting to hear Lori's complaint about CoP's effect on choreographers, because she's one of the most successful in figuring out how to use it (two OGM winners in 2010!), and if it's tough for her, imagine what it's like for a less gifted choreographer. Can you imagine the mathematical planning that has to take place while devising a program! Hey, maybe you should hire yourself out to help choreographers. Or to help Oda.
I like your point that CoP is probably great for teaching newer skaters but less so for expressing skating at the highest level. I fear you're right. I don't know how things can be improved, though.
COP is challenging, for skaters, choreographers, and coaches, no doubt about it. Is this good or bad? It shows up weaknesses, prompting complaints, but it eventually raises the skating standard starting from the best in the field, with the next generation all elevated. I believe this is good for the sport, at least in the long run. Competitions should be challenging and sports should break new grounds.
Unlike most other sports, figure skating is also a performing athletic art. There is even a gala with exhibition programs after each competition. Skaters have the opportunities and all the freedom to express themselves in such show events without the competition constraints.
It is no news skaters and choreographers, including the current WC team of Chan and Nichol, have said the competition regulations restrict creativity. I am all for tweaking the rules, which is not really all about COP, to allow and even promote innovations and creativities while still emphasizing athletic and basic skills with fairness for all competitors. The regulations and the relatively new scoring system are evolving necessarily with the sport, and I enjoy the ride.
Thank you for all agreeing that the CoP is more restrictive than challenging.
To alleviate the restrictiveness, Bring Back the Free Skate
Can absolutely guarantee you that my DD, who is a judge in Canada, will not be judging at the ISU level in this lifetime - and she was the target market for this particular seminar.
This article mentions it, how upsetting it was to her and also many other interesting thoughts from Lori about choreography, music, the CoP, her thoughts on judges and how much she enjoys training them.
"I do think there are several good judges that do understand the program components. It’ll be a while before we get the majority of them on the panel, but that’s life. But I feel that some skaters are getting what they deserve and that’s very important. I still teach the judges every year which I love to do. It’s very important to me to further their education and motivating them to educate themselves as well. And I am noticing more and more are getting much higher in quality and more serious about spreading the marks. "
Any problems or doubts I have about this concern ISU and not Lori. She has done more good things for skating than I could ever hope to list.
Last edited by janetfan; 07-26-2011 at 08:08 AM.