- Joined
- Feb 4, 2012
On a more serious note (returning from tummies and fatness -- oh wait, tummy is serious; well, anyway):
what we saw looks quite innovative in terms of Shoma's movement in general, and some of his gestures in particular look very fresh, although I clearly recognize two gestures there (note an interesting reversal in terms of position though): 1) the beginning // the end of Winter; 2) near the end, before the final pose (with both arms behind) // the beginning of Loco. I wonder if there's some hidden meaning here, or is it just a coincidence -- a part of Mihoko's choreographic style that you can find in other programs as well.
What I also liked very much is the position of two spins, the way they're incorporated into the music. That's the kind of musicality that Shoma's programs always have.
Can't wait to see the whole thing!
The short program max. time is 2:50 (Shoma and Fluffy probably know this by heart since last seasons GPF) And it is said to be a mix of Stairway to Heaven and PPA. Stairway to Heaven is 4:44 long. I listened to the track trying to figure out how Fluffy cut it. The last 1:20 to of the track is the fastest part, before that it is pretty slow, so idk how much of that is in the program. I think this part is the strongest, but as the step sequence is to PPA, perhaps so the Stairway to Heaven part is the slower part. PPA is 4:11 long.
Concerning the moves, of course, we're going to see repetition. Shoma is still the same skater, Mihoko is still the same choreographer, we're still working in the same system, with steps, spins, jumps and choreo sequences. I think we should wait how this progresses and we'll see the entire program and not just snippets cut together. I think it's unrealistic to expect Shoma inventing figure skating from scratch and interpreting it in new ways. They chose a not-warhorse music, and it's a (dare I say that?) latin style program. It's not like we've NEVER seen something like this from other skaters, but it is fairly creative, imho. Frankly, no skater these days has pushed the artistic envelope in inventing something completely new. I know you weren't saying that, Hronop! No offense.

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