I like fast violin-y music!
And feraina mentioned Caroline being "given" new programs - why don't the skaters have any input as to what their music choices should be?
Tinymavy - Next year is a chronological time. The Olys season has started now. Less than a year away.
feraina, more please! Get it out of Caroline at all costs!
....... Maybe the CIA can help.
Well, to each his own, but if I were skating competitions,and the Worlds has just completed. I would be thinking of the Olys instantly. However, if you want to not think about the Olys, that's ok.Well i wouldn't say that. Skating has an off season from April to July/August and then the season starts properly. I always think it is more like an academic where once you've finished your exams you don't say the next year has started, you have the holidays and come back in the next year.
Ant
Well, to each his own, but if I were skating competitions,and the Worlds has just completed. I would be thinking of the Olys instantly. However, if you want to not think about the Olys, that's ok.
Or Jack Bauer?
I find this not very convincing. Mao and Yuna are both quite flexible yet have sound jumping technique, so was Shizuka Arakawa. Elene G. is also very flexible skater with great jumping technique. It's all about learning the right technique when skaters are young.I don't think you need to be too terrified, at least no more about her jumps than about her spins. Her body is unusually flexible, with no special training at all. If a normal person tries to twist into the Pearl spin, you might worry about her back and hips, too, but for her it's no big deal. Similarly with her jumps. Jump take-offs usually involve some counter-rotation to generate the torque. In her case, b/c her body is so elastic, she has to twist a little more to get the same amount of torque.
I think part of the reason why Caroline skates her exhibitions a lot more expressively than her competitive programs because she has a lot more say over the music choice and choreography. She's great innate sense of musicality, but only for the kind of music that moves her, and the choreographers clearly haven't been choosing good music for her for the most part.
Or is it something that happens as skaters get older?
I find this not very convincing. Mao and Yuna are both quite flexible yet have sound jumping technique, so was Shizuka Arakawa. Elene G. is also very flexible skater with great jumping technique. It's all about learning the right technique when skaters are young.
If this is the case, I wonder why she doesn't get more of a say in her competitive programs? I thought choreography was always something between the choreographer, coach, and skater. Or is it something that happens as skaters get older?
Oh, Caroline IS taking music suggestions. She said neither program is finalized.