- Joined
- Nov 19, 2010
Mathman said:Anything else?
Does Zayak rule apply to phantom quad Axels in those phantom sequences?
Mathman said:Anything else?
In fairness Mathman, the ladies who can be that high aren't competing. Lest we forget, Kim and Rochette both outPCSed all the men at the Olympics, and Asada was ranked behind only Lambiel and Takahashi...
Is grace mentioned in the scoring of CoP? Why should it be if some Ladies can not skate to The Ritual Fire Dance?Point taken,
Still, it's kind of depressing to think that according to the IJS ladies are not as capable as men in presenting good choreography, that ladies are not as musical as men, that ladies are not as good performers (lacking in good carriage, less appealing to audiences, etc.), that their basic stoking and edge work is worse than men's, and that they cannot weave three-turns and Mohawks into their routines as deftly as men.
Without looking it up, I think the rules are 8 jumping passes, no more than two types of jumps can be repeated, if a jump is repeated then one of the repetitions must be in a combo or sequence, a sequence counts 80% of the value of the jumps taken separately,
only one combo or sequence can have more than two jumps (and only the first three count if you do 4 or more),
I think there might be something about only the first two jumps count in a three-jump sequence.
Otherwise I think the rules about going right up on the same edge in a combo mean that only a loop or a toe-loop can be the second jump in a combo. (Possibly you could do a deliberate faulty landing on the first jump landing on the wrong foot, and get around the restriction in that way.)
Landing on another foot All jumps may be landed on either foot. The call goes for the jump, independent of the landing foot. Judges will evaluate the quality in their GOE.
There is no penalty in base value for a wrong foot or wrong edge landing, but there is a -1 GOE).
A Walley counts as a toe loop.
Does Zayak rule apply to phantom quad Axels in those phantom sequences?
Is grace mentioned in the scoring of CoP?
The PCs, from what I understand, are how the skater performs his/her program, and the program on itself has to be well choreographed. The Ladies do not choreograph their programs. A professional choreographer does that, to the easy way the skater can execute her technical. There are creative artists (Lori Nichol) and performing artists (Kwan).
I would agree with your summation of the comparison between the Ladies and the Men. The Men are all round better at performance. They are born show offs. Some Ladies - a few - are doing well in performance, while much more males are entertaining even if they do not podium. The List is long on the male side.
The "phantom" jump sequences give (80%) credit only for the jump that's actually executed. There's no base value for the nonexistent jump -- whether you imagine it's a quad axel or a single toe loop, it still adds 0 points to the value of the element. Or 80% of 0 points, if you like.
Actually, it's the two highest-value jumps.
You can deliberately choose to land the first jump on the back inside edge of the other foot. If you do it intentionally and do it well, it's not faulty, it's an alternative landing choice. One-foot axel into triple salchow would be the most likely example.
1) Tradition (in skating culture and in western culture, or human culture, in general) tells us that women are artistic if they are beautiful. So many female skaters who aim to be seen as artistic work at creating beauty with their body line and movement quality but not necessarily at "showing off" or engaging the audience the way many men do. Men, on the other hand, may consider being judged on physical beauty too feminizing, so they choose more active ways of demonstrating artistry.
Ah. I guess it would have to be that way in the case of the half-loop sequence.
Patrick Chan has a 3Lz+half-loop+3S. So if he singled the last jump he would get 6.0+1.5 (for Lutz plus the half-loop) instead of 6.0+1.4 (for the Lutz+Salchpw). :yes:
Would it be easier or harder to land a double or triple loop jump on the opposite foot?
The coolest application of this principle to figure skating (I read this in the book Culture on Ice by Ellyn Kestnbaum, and it has stuck with me as an interesting thought, whether true or not) is this: School figures are masculine, because they represent man imposing his will on nature by carving his initials into the virgin ice.
Is grace mentioned in the scoring of CoP?
The way life started out was that Men are hunters; Women are child bearing. That was the start of yin and yang. How much of that has changed over the millenium? We do acknowldege exceptions in gender bending. (Is Kozuka an example of Men's grace? I would think so and others too. Is Irina an example of Women's will to win? I would think so.)I found that to be true under 6.0 as well. I have two theories why that might be the case.
1) Tradition (in skating culture and in western culture, or human culture, in general) tells us that women are artistic if they are beautiful. So many female skaters who aim to be seen as artistic work at creating beauty with their body line and movement quality but not necessarily at "showing off" or engaging the audience the way many men do. Men, on the other hand, may consider being judged on physical beauty too feminizing, so they choose more active ways of demonstrating artistry.
2) Most of the top male skaters are adults in their 20s, whereas many top female skaters are still in their teens. Adults have more experience and more autonomy to express their own vision than teenagers. That skews the average level of self-expression in the top ranks in favor of the males. And then those top skaters serve as role models for what's expected by others in their discipline.
But there are always exceptions.
It's extremeley limited for top skaters and doesn't exist for juveniles.Choreography is a collaboration between a skater and a choreographer
CHAN...............87.22 GPF