Yuna Kim

[Izabela]

3Lz-3T +2/+1.4 11.7
3F +2/+1.4 6.7
FCSp4 +1/0.5 Nice. 3.7
2A +2/+1 4.63
LSp3 0/0 2.4
StSq3 +1.5/0.75 Beautiful. 4.05
CCoSp4 +0.5/0.25 She barely got her foot of the ice for that feature... I won't be making level calls, so this is all I can give here. 3.75

TES: 36.93

SS: 8.50 good show, but notice how she's visibly pushing through her edges at the end of her step sequence.
TR: 8.00 Good enough, and enough flow out of her jumps to aid this mark.
PE: 8.50 Had a mature performance quality here that sat well.
CO: 8.25 There is a nice overall quality to this routine, but apart from the step sequence, there isn't much creativity. However, the elements all breathe well.
IN: 8.50 Conveys the overall emotion well through her body language.

PCS: 33.4

TSS: 70.33 (It cracked 70!!)

Well, since you know that this is my most favorite Yuna SP (I know I know, El Tango should be but), please allow me to disagree on most of your PCS scores

But first, her step sequence, although she visibly had to put effort to make that one turn around the end, (and not as fluid as KotV I wonder why we skipped this LOL), I would give it a +2 (And forgive her for that one turn). Her turns are so concise and clear, every movement well choreographed to the music, and her edge work is superb here. (And the technical panels just don't give her the benefit of the doubt, as almost always!)

Despite her visible effort at the end of her step sequence, I would still put her SS around 9.0 here. I honestly feel like nowadays, her SS is underrated? She can fight Carolina in terms of skating skills, and would argue that in this specific competition (particularly in AN), she showed the best blade work.

P.E. and I.N. will also be around 9.0-9.25 for me. Her movements drew out the music so well, and one doesn't really need to know the meaning of Send in the Clowns to get an impression of what it means. For me, the fact that that audience is silent throughout almost the entire period of the program is a nod to how this performance was taken seriously. It is easy to rouse an audience with an energetic program, but I think it takes another to silence them and make them invested on a program that is as solemn and as personal as SiTC.

All in all, this program is not strong technically, but in terms of program components it should be around 8.5-9.5 (bar TR).

I already made comments for Adios Nonino, so this is the only thing that should be said: Her Step Sequence should be Level 4 and it is her most difficult and most nuanced Step Sequence ever. (My most favorite part of AN, clearly ).

(I feel like after OS said that our scoring is so incredibly tough, I tried to be not as tough as I could)

 

[chopinskate]

Well, since you know that this is my most favorite Yuna SP (I know I know, El Tango should be but), please allow me to disagree on most of your PCS scores

But first, her step sequence, although she visibly had to put effort to make that one turn around the end, (and not as fluid as KotV I wonder why we skipped this LOL), I would give it a +2. Her turns are so concise and clear, every movement well choreographed to the music, and her edge work is superb here. (And the technical panels just don't give her the benefit of the doubt, as almost always!)

Despite her visible effort at the end of her step sequence, I would still put her SS around 9.0 here. I honestly feel like nowadays, her SS is underrated? She can fight Carolina in terms of skating skills, and would argue that in this specific competition (particularly in AN), she showed the best blade work.

P.E. and I.N. will also be around 9.0-9.25 for me. Her movements drew out the music so well, and one doesn't really need to know the meaning of Send in the Clowns to get an impression of what it means. For me, the fact that that audience is silent throughout almost the entire period of the program is a nod to how this performance was taken seriously. It is easy to rouse an audience with an energetic program, but I think it takes another to silence them and make them invested on a program that is as solemn and as personal as SiTC.

All in all, this program is not strong technically, but in terms of program components it should be around 8.5-9.5 (bar TR).

IDK, I liked her SS in the step sequence a lot, and I would have given her 8.75 if that's all we were judging on, but I feel like she didn't really show too much else? Not too much variation in speed, not the most innovative use of steps in the routine. I do agree everything sat well in the routine.

(you could do KotV. The 2013 ones were "yours" again, but I already did Les Mis... I just don't know how to score KotV anyway.)

Yeah, she lost a level due to one shaky edge. >.> But then, Mao and Caro didn't have level 4s either, and Adelina should've had level 3 (yes, I read through all of that thread. Interestingly, level calls on Yuna's spins were also made, and you wouldn't have liked them. ).

I don't think she could fight Caro in terms of sheer skill, but that's skidding over the matter. Carolina didn't always use her entire range, so Yuna was able to match her on what they each produced in a competition very well.

I just think that the program, apart from the step sequence, sometimes just feels a little too monotonous to me. The steps are beautiful, and her interpretation is good (though for 9 level, I'd say again that her spins are superficial, instead of drawing something out of the music), but apart from that, there isn't something that great here, IMO.

You could score this too!

For me, the fact that that audience is silent throughout almost the entire period of the program is a nod to how this performance was taken seriously. It is easy to rouse an audience with an energetic program, but I think it takes another to silence them and make them invested on a program that is as solemn and as personal as SiTC.

I do agree. I just think that this particular aura is enough to be included in the PE and IN scores I gave her. For a 9+ one, I think what she was doing in her Steps/ChSq in HtK, or indeed all of Les Mis, is what should be happening.

I already made comments for Adios Nonino, so this is the only thing that should be said: Her Step Sequence should be Level 4 and it is her most difficult and most nuanced Step Sequence ever. (My most favorite part of AN, clearly ).

(I feel like after OS said that our scoring is so incredibly tough, I tried to be not as tough as I could)

I think it's her hardest, but I think HtK was more nuanced, in that she was using her feet to acknowledge a few cues, her arms for others, her head for others, her face for others... StSq isn't just about bladework to me, so that beats AN for me.

But I feel that scrutinising them so much has given me a great appreciation for her growth. She was clearly better by the time she hit the final note of AN. And we discovered what her real gems are, and we know why a few of her performances failed.

ETA: (Also, feel free to score whatever you want... I feel like I scored all your faves. And I'd love to read, anyway.)

 

[Miss Ice]

I love how Yuna fans keep it real and aren't marking her +3 GOE on everything. Because they are aware that their favorite has strengths and weaknesses. That's refreshing.

(Oh, and carry on, these are great to read!)

 

[Izabela]

I wouldn’t mind them lowering the level of spins, since I wouldn’t give them any positive GOE anyways. But in SiTC, I do think they bring out the music, particularly her first combination. Nothing is distracting whatsoever.

Perhaps the one part we can’t disagree is the tone of this short program. No part of this program is monotonous for me, utterly solemn in parts yes, but not monotonous. I think it also has to do with my taste in music, because these are the kinds I listen to everyday, so that has affected my reception to this. I remember when watching this I didn’t clap because I was so arrested by feeling of finally finding that ONE program I will always put close to my heart. And I can’t score this objectively at all! haha

I’ll score KotV soon lol

 

[chopinskate]

Hmm. Actually, you're right. It's not "monotonous". That step sequence has a lot of colour and shade to it. And of course you're allowed a connection to a routine!

(You can take this one instead of mine: https://www.goldenskate.com/forum/s...-Short-Program&p=861262&viewfull=1#post861262 Agreeing with you on the StSq and the SS part.)

Back to these:

I will give her higher GOE on her combo because this is a huge jump. She flew into the air and I think that should be given +2.

Will also give higher GOE on her spins.

Will definitely disagree on her performance! I would be giving her 9 here, not only because of how she roused the audience, but in those two minutes she owned the music. It was hers. I don’t know how to explain this well, but this feels like a recital rather than a competition, an SP that feels so free. Would give CO an 8, and IN a solid 8.5.

This is a kind of program that I wouldn’t be focusing so much on fluidity. It’s a program that has so much edge and sharpness. Her distracting Lvl 4 +3GOE arm movements are also so so attractive!

I might value the entirety of the jump a little too much to give that a +2. I do agree it's huge, though.

I think most of Yuna's spins were mis-choreographed. She did a few great positions -- her camel was pretty good. But they were usually used to enhance the music a little superficially for my taste. IDK why she kept doing a Flying sit, when for instance, she could have done a flying camel. And instead of doing a simple entry into her layback, why not an illusion entry? Not that she should've been doing a layback, anyway.

I get your comments on PE. I just think that the focus should have been two-way. Both in her routine, and also to project outwards. She did one really well, the other she slipped in a few places.

I might have used fluidity incorrectly. I more meant it in terms of ease. I can see where you're coming in terms of how you interpret the qualities shown here, though. (Oh, no! TSL reference!)

As for Gershwin, I agree on everything. I thought the PCS was too high, but I also was thinking about it relation to HtK, so maybe that's justifiable.

 

[Izabela]

Hmm. Actually, you're right. It's not "monotonous". That step sequence has a lot of colour and shade to it. And of course you're allowed a connection to a routine!

(You can take this one instead of mine: https://www.goldenskate.com/forum/s...-Short-Program&p=861262&viewfull=1#post861262 Agreeing with you on the StSq and the SS part.)

LOL I actually feel more vindicated that someone is willing to give Yuna's first spin combo a +1 GOE because I thought that was really beautiful to see.

Back to these:


I might value the entirety of the jump a little too much to give that a +2. I do agree it's huge, though.

I think most of Yuna's spins were mis-choreographed. She did a few great positions -- her camel was pretty good. But they were usually used to enhance the music a little superficially for my taste. IDK why she kept doing a Flying sit, when for instance, she could have done a flying camel. And instead of doing a simple entry into her layback, why not an illusion entry? Not that she should've been doing a layback, anyway.

I get your comments on PE. I just think that the focus should have been two-way. Both in her routine, and also to project outwards. She did one really well, the other she slipped in a few places.

I might have used fluidity incorrectly. I more meant it in terms of ease. I can see where you're coming in terms of how you interpret the qualities shown here, though. (Oh, no! TSL reference!)

With regards to her spins, her most beautiful one is in the Moonlight Sonata exhibition. But I think for competitions, they focus more on what position she can be at most in control, since even though she doesn't have the best stretch, she could earn points with control. And I think it's also because she couldn't do more, not only because she doesn't have the flexibility, but I think because spins targets your back and your hips, two areas of Yuna's body where she had chronic injuries. Even in her I-spin you could see how she struggle with that. Particularly in her body state in 2013-2014, the best spin she could do is that first combo in SiTC. So I guess it's not really about mis-choreographed, but this is the best they could do to earn points given her situation. I might be wrong here though.

Thank goodness I don't watch TSL (The only one I did is the interview with Wilson which I have positive and negative comments but will keep it to myself )

ETA: That 2014 SP thread is a mess why is someone arguing about Yuna being plastic

 

[chopinskate]

I gave it +1 too, though I like her camel a lot.

I think Yuna's someone who was hurt by spin levels. She just had to do too many positions for too many turns, when she could've done a few good positions and used her musicality better (like in the Moonlight Sonata EX, as you rightly point out). You're probably right about everything else.

I stopped watching TSL because, among other reasons, they keep bashing my faves.

 

[Izabela]

I gave it +1 too, though I like her camel a lot.

I think Yuna's someone who was hurt by spin levels. She just had to do too many positions for too many turns, when she could've done a few good positions and used her musicality better (like in the Moonlight Sonata EX, as you rightly point out). You're probably right about everything else.

I stopped watching TSL because, among other reasons, they keep bashing my faves.

Ok, so I took another look. I thought you scored her +0.5! Didn't realize it was the SoV.

I also remember she counts her turns when she does the spin and very very particular about it so I guess that detracts something out of it. Also when she returned, she mentioned that more than jumps, it was the spins that she really struggled to get back.

 

[chopinskate]

ETA: That 2014 SP thread is a mess why is someone arguing about Yuna being plastic

Oh, it's a mess beyond all proportions if you check a few pages before, during her warm up. To paraphrase someone: Some opinions aren't worth being taken seriously.

 

[Izabela]

Oh, it's a mess beyond all proportions if you check a few pages before, during her warm up. To paraphrase someone: Some opinions aren't worth being taken seriously.

Her reactions during her warm-up were funny as hell but for her haters that would be like sweet candies so they could drag her to no end. Because of this controversy, Yuna's programs were so overly scrutinised in 2014 that it took away the joy of looking at it in totality. Honestly took me a while to even rewatch AN. As well as Sotnikova's to be honest (I like her SP and FS).

ETA

So here's my score to Kiss of the Vampire

Yuna Kim
Kiss of the Vampire
(I promise to be less tough now)

3Lz+3T / +2 / 11.7 I gave this a +2 for the sake of continuity because this is a better showing of this combo compared to what she did in 2010. I’m also basing it on what I’m seeing first hand, and other than a slight shake on her landing on 3T, the height on both jumps are almost the same. Also, I actually do love how she doesn’t quickly follow her 3Lz with the 3T, and that pause in between IMO makes this more seamless (This may be opposite of what others would normally say I think?)

3F / +1 / 6 - She doesn’t get the usual height she normally has on this Flip and on landing you can see she almost, almost, lost the control there. The way she bended her knee indicated an effort to control her landing, no? I’m only watching one camera angle here and I’ve been reviewing this jump. I don’t see how she got an “e” mark on this and will just blatantly ignore the tech panel.

FCSp3 /+.5 / 3.3 I really can’t ignore her landing on her flying camel to give higher than .5. Again, this is really a nicely looking spin.

2A / +1 / 3.8 / It’s not her best showing of 2A. From the what I saw, she didn’t get the height she normally have on this, and the ice spray on her landing takes 1 away. Am I being stingy on this?

LSp3 / +1.5 / 3.15 - Y’all can fight me on this one but I think this is faster, more dynamic and actually right to the note than she had later on? I’m even willing to give this a +2. I’m actually surprised myself. I love how her spins matches the flapping of the bat sound and the way she accelerated to emphasize those hurried flapping.

StSq4 / +2 / 5.3 - How can this not be at least +2 worthy? For someone who initially doesn’t like this music (I thought it was unskatable), can we say that this stsq saved the notes? And, to borrow some words here, she shows more fluidity here and with much ease. What she can’t do in terms of musicality (I think really the notes are difficult to interpret, she compensated in terms of flow and effortless glide. And look at her upper body movements; they are mostly coming from the core. I particularly love the part when she took a “quick take of breath” when she tapped the ice with her toes. That was really good. In terms of fluidity yes, she is better compared to SiTC.

CCoSp4 /+.5 / 3.75 - I will not drag Yuna further with her spins, which in this case looks like she really just had to do this as a requirement.

TES: 33.3 . I’m surprised by this score myself I thought it would be more or less the same as the official score since I am not calling her supposed “lip” here. I’m partial on her Flip and Double Axel. I try to not to look on other camera angle.

SS - 8.75 - This may also be the score I’ll give to SiTC if not for the fact that I’m totally biased on that short program. I think she showed more variations of movement here (it’s just that her arm movements could be distracting I have to rewatch to check her footwork), and there’s no visible effort on her glide or skating throughout the program. I have to take away points though because of her flying camel, and her jumps on axel and flip. She also had travels on her spins which takes away something in terms of blade control.

TR - 8.25 - She has more varied transitions here particularly in the beginning and going into her 3Flip. Again, she doesn’t have much difficult transitions but I give her the quality and intricacy here. For a music such as this, her transitions are not hurried, actually enhance the feel to the music, and still hold the entire program.

PE - 8.5 - I’m following chopinskate’s here regarding 2 way street. She communicated the meaning of the music well like an actress on ice, and the lines she made are more or less precise to the intention of her program: she is a victim bitten by a vampire. I could give this an 8.75 if we strictly talk about carriage, style and quality, but in terms of projection, I think this music is too abstract for the audience to feel oneness with the skater. But somehow tbh, is this the fault of the skater?

CO - 8.75 I like this choreography? I think this is one of Wilson’s underrated programs. I’m taking the approach of did they check the bullet points under CO and I think they did, originality, unity, purpose, phrasing and form. The only problem with this, and I think the problem with Yuna’s programs at this point, is that the elements are looking the same. And again you’re right that they could have done differently with her spins, but in terms of the totality of program, and despite similar elements integrated in this program, we have to commend this choreography for still looking so different. I mean this more or less has the same elements as SiTC but in their own ways, they still feel different.

IN - 8.5 - Again, this is one of those programs where Yuna’s musicality is a great advantage. Even if the music sounds so unskatable, she made the notes readable through her movements. In fact, I would give this 8.75 because who else interpreted this song? Who are our benchmark to how this should be interpreted? And probably this is a perplexing program to score?

PCS: 34. 2

Score: 67.5 :shocked:

I get the feeling that I could be wrong on this score, because part of me thinks she should get higher score on IN, PE, and CO still. Again, as I’ve mentioned, this program is difficult to score, particularly in CO and IN, because we are comparing this to what exactly? It’s an unconventional and odd program that is just difficult to gauge in terms of program components. We can twitch on the TES in terms of reviewing the jumps, but this is probably why even though I may have scored this lower, choreographically I think this is better? And again, this is one of those hit or miss kind of programs. I can take another review on her TES but I think more or less that's the score I will get. PCS wise, I love that she has included this in her body of work but as a judge, they're may be thinking "I miss warhorses" because of how unconventional this is Personally, I like this program so much in terms of composition. The fact that this music is still in my playlist tells something.

 

[chopinskate]

3Lz-3T: I think it was great, and I think what you're pointing out is fine. Her technique is great. But I did think this was just a +1.5 GOE combo.
FCSp3 Got a zero for just how much she wobbled (and was unable to change to) her inside edge.
2A: I've called it textbook too many times. Her speed and entry, and her exit are too good for me to give it less than +2.
LSp3: Those are bat sounds?! I thought they were her skates. I think Yuna's spins are mostly done to the music (it's not like they didn't choreograph them to the music), I just feel they were CoP spins that were incapable of actually enhancing it? But that's a general complaint really. And of course, when she hit, she hit.
StSq4: Love it.

SS: Fine, and alright I'll change my opinion on SiTC here.
PE: Yeah, these pieces are difficult to evaluate, really. I think she was on the right path with DM, but this was avant garde in a sense, so it's more difficult here. This is what I scored her here. I think if she'd been involved in modern dance, she might have been a lot more successful with it? I don't place it squarely on the skater, as it is also the choreographer's "fault" in some way to not get that feeling out and leaving it on the skater to perform, but I appreciate this piece for being something we'll never see again. Kwan's Miraculous Mandarin exceeds it by far.
CO, IN: Ha! We were discussing a while back about how under-rated KotV was. I like this choreography, but the idea isn't always conveyed through the choreography. If I never knew the name, I wouldn't know what this was about. Actually, I had to read to find out that at some points there is a literal interpretation -- at the beginning she holds her neck, the red beads are her blood, etc. I did like the "evil" glances, though, and in a completely abstract manner, or interpreting it as someone just wanting to dance on this ice, I think this is alright as a score.

 

[Izabela]

For me KotV works well because Yuna clearly attempts to be an actress on ice. Her posture, the lines she made, and all expressions communicated a cohesive take of what they wanted to do with KotV, which is again, to tell a story. I don’t think Kwan’s MM exceeds this, because I also have problems with that one (which I will not mention), but it is far easier to warm up to it. I guess one reason is because in terms of music, the dynamism is clear (and I also love her dress there)

I also love that part where she had to hold her neck to stop her bleeding. Again, if we’re talking about storytelling, I think this is on par with Les Mis, it’s just a more difficult one to register because almost no one knows about this film I guess this is also the limitation of CoP, because Yuna could have done more with this if she is not required to do those combination spins. I wonder how this will work under 6.0.

ETA: Special shoutout to her performance at the Korean Nationals for yolo’ing there and giving us the last glimpse to her amazing 3F-3T combo!

 

[chopinskate]

For me KotV works well because Yuna clearly attempts to be an actress on ice. Her posture, the lines she made, and all expressions communicated a cohesive take of what they wanted to do with KotV, which is again, to tell a story. I don’t think Kwan’s MM exceeds this, because I also have problems with that one (which I will not mention), but it is far easier to warm up to it. I guess one reason is because in terms of music, the dynamism is clear (and I also love her dress there)

I also love that part where she had to hold her neck to stop her bleeding. Again, if we’re talking about storytelling, I think this is on par with Les Mis, it’s just a more difficult one to register because almost no one knows about this film I guess this is also the limitation of CoP, because Yuna could have done more with this if she is not required to do those combination spins. I wonder how this will work under 6.0.

ETA: Special shoutout to her performance at the Korean Nationals for yolo’ing there and giving us the last glimpse to her amazing 3F-3T combo!

Maybe you're right... I think Miraculous Mandarin and this may not be comparable. KoTV had more of a, IDK, that vibe of "I have an evil secret" that she conveyed through the "evil smiles". (Here: https://youtu.be/COXNhoJosHs?t=1m38s). There's a lot of nuance here. I liked it. I think, again, she matured as a skater so much over these years. (I am amped up for the inevitable videos!)

I wonder that, too. I think Yuna would have excelled at both systems, but I do like CoP better. It's just that it has a few fatal flaws that haven't been worked on yet.

Didn't she also once backload a 3Lz-3T after she missed her opening combo?

ETA: Changed my scores on SiTC. But also, Yuna didn't "lip" in KoTV. I think she barely, if ever, "lipped" in her senior career, even during the 2008-09 season, it's more that the ISU rules are too narrow. She did her linear take-off on the Flip to my eyes. Won't say I watched all her "lip" performances though, because I didn't.

 

[Izabela]

For me, both KoTV and Les Mis are reinvention of Yuna as a skater. She knows how to create a character even before this. She is the Lark who ascended, the death in Danse Macabre, the bond girl and all. However, these two are different because here she is not building up a theme or a mood for her character; she is building characters to tell a story. As I've mentioned before re Les Mis, she skated in Acts. In KoTV, she is both the Vampire and the Bitten. This is why she has moments of vulnerability and gothic evil in there. I love, love love her dress there but I would have love it more if it's darker, to better emphasize the gothic in this program. KoTV is an excellent example of her musicality tbh. The way she accents the notes through her movements made an otherwise "dead music" (in terms of familiarity) come alive. When she no longer pushed technically (although having 3-3 in both SP and FS is still a testament of her dedication to be highly technical), she did so artistically. Watching new skaters tells me that she really influenced a great number of them to do this (did Wakaba ever mention that she is a fan of Yuna because she has a Yuna-esque skating even in her originality. I love this girl LOL). Yuna could have been a great professional skater. She has a great presence on ice and has the complete package as a performer. I understand why Wilson felt disappointed when she decided not to skate, but she doesn't owe us anything.

And yup, despite the worship to 6.0 I also like the CoP better. The argument that it takes away artistry has its merits (I voiced them out myself) but to say that you cannot be artistic under CoP is nonsense.

I don't remember her doing a 3Lz-3T at the end of her program, but why am I thinking it probably happened in SiTC at Zagreb.

 

[yyyskate]

@Izabela
I always marveled at how Yuna's fans appreciation/understanding of Yuna's programs converges although we are spread out all over the world.

The duality or dichotomy in Yuna's Kiss of Vampire program is also something I discovered back then.
My understanding of it, is that Yuna is the bitten, and she is transforming into the Vampire, in the beginning there are some escaping, struggling, and in the second half, there is this evil Vampire spirit coming out of her...

Also speaking of story telling, Yuna's Giselle is actually tell the whole story of the ballet. it is not just about the death scene of Giselle,
there is forgiving love, fight against Willy/protection, transcending etc. Also duality in it too.

As well as Yuna's SITC and Adios.

Who said IJS cannot have ART, Yuna is the ultimate example of ART in IJS system. Actually the ART under all figure skating judging system.

 

[chopinskate]

Watching new skaters tells me that she really influenced a great number of them to do this (did Wakaba ever mention that she is a fan of Yuna because she has a Yuna-esque skating even in her originality. I love this girl LOL).

Not sure. But she does have the same fire, yes.

And yup, despite the worship to 6.0 I also like the CoP better. The argument that it takes away artistry has its merits (I voiced them out myself) but to say that you cannot be artistic under CoP is nonsense.

Doesn't prevent it, but gives no incentive.

I don't remember her doing a 3Lz-3T at the end of her program, but why am I thinking it probably happened in SiTC at Zagreb.

Same competition, but AN.

 

[yyyskate]

@Izabela
"Watching new skaters tells me that she really influenced a great number of them to do this (did Wakaba ever mention that she is a fan of Yuna because she has a Yuna-esque skating even in her originality. I love this girl LOL)."
This is absolutely true, In wakaba's case, she has said that on record she idolizes Yuna's skating. Not only Wakaba, Yuna indeed influenced a generation of skaters. Female and Male.
There is no need to say it out loud, the influence is deep rooted, just watch the skating, Her influence is every where.

 

[Izabela]

Yuna’s duality (in terms of program) has been apparent IMO since 2007. Her Tango to TLA, her Danse Macabre to Sheherazade, her Bond to Gershwin and so on. I think from Wilson’s perspective they have always wanted to showcase the range of Yuna’s skating and command on ice. She can excude so much power in the same way she can communicate gentleness.

I’ve been rereading some of her interviews too and was pleasantly suprised that she was actually the one who chose El Tango de Roxanne as her song too. And I admire her philosophy in the skating so much. She had kept saying throughout the years that she didn’t want to focus on records, that she wanted her programs to be remembered, for her programs to touch people’s heart, for them to live for years regardless of what score they received. I think she achieved that so well.

I never realized that Gizelle told the story in entirety, I thought it just focused on the mad scene!

I agree with you regarding SiTC and AN. They both are about longing and tracing memories, but SiTC is about having an unfinished business, about regret and anger, about something she wanted to say forever. And yes, to echo chopinskate here, it’s really about looking back at her career. For example, her opening pose is her ending pose in Meditation de Thais. AN has a different tone because it’s now about saying everything is finished, it’s a proper goodbye. The subtleties of these programs are difficult to pick up in one watch, and they are like old wine: they get better in time.

Part of me wanted to see skaters get influenced by Yuna for the sake of continuity and had pinned my hopes to Zijun Li back then. Now, I’m just happy to know that she influenced the new generation and I can see how her philosophy in skating still lives in others.

 

[chopinskate]

She can excude so much power in the same way she can communicate gentleness.

I never realized that Gizelle told the story in entirety, I thought it just focused on the mad scene!

For example, her opening pose is her ending pose in Meditation de Thais.

Part of me wanted to see skaters get influenced by Yuna for the sake of continuity and had pinned my hopes to Zijun Li back then. Now, I’m just happy to know that she influenced the new generation and I can see how her philosophy in skating still lives in others.

:agree:

I think it is just the mad scene. The beauty of that scene, however, is that it is complex and shows a full range. It was a great choice for Yuna.

Good lord!

I think she has a great legacy in that she inspired many, but I don't see how the philosophy lives on? But then, I don't know what philosophy you're talking about here.

 

[Izabela]

That’s what I thought too. When I watched her Giselle program I wasn’t quite able to see the full range she exhibited there, probably because of the camera angle. I only appreciated this artistically when I watched her exhibition piece and I had to go back and check. TBH, I tend to not like when skaters literally copy ballet movements on ice (probably why it took me a while to like Mao’s Nutcracker), so it also took me a while to like Giselle.

What I meant about her philosophy is that she wants programs that can touch people’s heart, that can be remembered for years. She doesn’t want to focus on scores. She said in one interview that she likes it when the audience reacts to get and she gets better in performing when they do. I feel like that philosophy lives on to other skaters she influenced.

ETA: As someone pointed out elsewhere too, her opening pose for her short routine in PC Olympic was her ending pose in her Imagine exhibition in Sochi.