I read somewhere that Tarasova had wanted Mao to get a technical coach (perhaps to supervise the jump/tech side of things)? Maybe she did after CoR, I'm not sure. But I do agree with Toby1Dawg's observation about Tat's successful singles skaters. I think she's mainly a choreographer.
Defending Tarasova
- Thread starter FSUSF
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- Aug 18, 2009
There's a difference between disagreeing with an opinion posited in the post and disregarding factual claims made in it (i.e. that Asada chose them and therefore that Tarasova can't really be blamed). If there's a dispute as to the validity of the claim, that's one thing, but that's clearly not what you were doing in the post...
It can be that RumbleFish was regarding to my post ....
Thank you! I was always sick of seeing people heep blame on TAT, who happens to be one of my favorite choreographers. People complain about the choreography of Bells, but TAT also choreographed Sasha's Malaguena, Mao's Ladies in Lavender, Kulik's Rhapsody In Blue and most of Yags programs. She is capable of regal masterpieces, tailored to each skater, which leads me to think Mao's input clearly had an effect. Mao said she wanted to skate to heavier, stronger music because it would empower her. TAT complied. It's not as if TAT was insistent on Mao skating to heavy music -- her first piece for Mao was Ladies in Lavender, my absolute favorite of Mao's programs. I know TAT is to blame too, but does she really deserve the abuse she gets from so many of Mao's fans? Mao should've been smarter. It's not some petty talent she's nurturing.
The thing about TAT is that she focuses on choregraphy, artistic development and tapping into that "champion" mindset. All of her top students came to her with the technical elements. Mao didn't. That's the source of all ill, in my opinion. When Mao saw her jumps deteriorating, she should've received technical help, but she didn't. I really don't get why.
No, I think it was Mao. I saw it on some Japanese program. In 08-09, TAT had Mao start the season with one 3A at TEB. After that, while practicing in Moscow, Mao asked to have another 3A included. It was her idea to start with -- she wanted to achieve historical acclaim and to challenge herself technically after winning her world title. TAT saw that Mao was jumping those 3As very well during NHK Trophy practices and thus gave the OK sign.
The thing about TAT is that she focuses on choregraphy, artistic development and tapping into that "champion" mindset. All of her top students came to her with the technical elements. Mao didn't. That's the source of all ill, in my opinion. When Mao saw her jumps deteriorating, she should've received technical help, but she didn't. I really don't get why.
No, I think it was Mao. I saw it on some Japanese program. In 08-09, TAT had Mao start the season with one 3A at TEB. After that, while practicing in Moscow, Mao asked to have another 3A included. It was her idea to start with -- she wanted to achieve historical acclaim and to challenge herself technically after winning her world title. TAT saw that Mao was jumping those 3As very well during NHK Trophy practices and thus gave the OK sign.
Re: Mao's mom, I once read an interview article with her (a magazine called, Aera). She almost never appears in the media. Very few ppl have ever seen her face in the media. In that interview as well, no photos of hers, just an interview. But it was interesting.
Both Mao's mom and dad lost their parents relatively early so that they wanted to have a warm family. After Mai and Mao started skating, she has been a very dedicated parent for their skating. The coach Machiko Yamada told her that Mao is talented and Mom drove her back and forth between the rink, school, and home.
After Mao entered the Univ, they bought a new apartment near the univ rink so that they can save time. Mom drove Mao everyday to the rink and she was there to watch her practice. Mom really trusted TAT despite all the opinions saying that they should reconsider the programs and the coaching situation.
Now that Mao is reaching adulthood, she wants to retire from the role as a skating Mom.
I think that she has acted like a regular skating Mom at Ms. Machiko Yamada's. Machiko Yamada is known for allowing parents' involvement. Machiko says it's easier of corse to shut them off, but she believes that getting attention is important for the skater's development and skating Moms can be helpful because they give their exclusive attention to their kids. So skating Moms watch their kids practice beside the rink everyday and give them "advice". Mao's Mom played that role longer than usual, but it may be understandable with the unusual media attention and pressures on Mao.
Both Mao's mom and dad lost their parents relatively early so that they wanted to have a warm family. After Mai and Mao started skating, she has been a very dedicated parent for their skating. The coach Machiko Yamada told her that Mao is talented and Mom drove her back and forth between the rink, school, and home.
After Mao entered the Univ, they bought a new apartment near the univ rink so that they can save time. Mom drove Mao everyday to the rink and she was there to watch her practice. Mom really trusted TAT despite all the opinions saying that they should reconsider the programs and the coaching situation.
Now that Mao is reaching adulthood, she wants to retire from the role as a skating Mom.
I think that she has acted like a regular skating Mom at Ms. Machiko Yamada's. Machiko Yamada is known for allowing parents' involvement. Machiko says it's easier of corse to shut them off, but she believes that getting attention is important for the skater's development and skating Moms can be helpful because they give their exclusive attention to their kids. So skating Moms watch their kids practice beside the rink everyday and give them "advice". Mao's Mom played that role longer than usual, but it may be understandable with the unusual media attention and pressures on Mao.
- Joined
- Nov 10, 2009
By 19, she shouldn't be growing anymore...(generally speaking)
IIRC, I think Yuna got new left boot after Skate America and maybe got new boots for the Oly.
I'm not sure if they were unmatched or not, but it's not like she's never skated in unmatched boots before. (her sr debut season)
The 2 3A in LP was first thought up by TAT. She said this in an interview I read during last season (2008-2009). Here's the link to the article http://www.figureskatingmystery.com/2009/02/tarasova-time.html
In that article, she specifically said she suggested the 2 3A in the LP. TAT truly believed the 3A strategy will bring Mao the gold, and it is not surprising since she was used to coaching champions with big jumps. Actually, I don't think Shizuka was that sound technically because she tended to UR her jumps a lot but the rules were looser back then, so she was not penalized as much.
I can NOT trust this youtube video (http://www.youtube.com/watch?v=v1AeYAIoK1Y) - I'm not sure why they would do that though. I have watched and recorded NBC ceremony. I have downloaded SBS version of podium as well.
Here's the snap shot and thumbs that may tell you otherwise:
nbc 1
nbc 2
sbs 1
sbs thumbs
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But doesn't it also apply to Mao? Couldn't she have said the same thing? She is 19 years old and it is ultimately her program. If she really didn't like the costume or 3 3A layout she could have stepped up and say "nope, this ain't working" It just didn't work between them and I don't think all that TAT misleading Mao is true. They are equally responsible.
Ohh OK I never knew that.
Sorry. The Japanese program left me under the impression that it was Mao's idea all along, and that TAT didn't think it was a good idea. I thought Shiz + TAT was a bad combination as well. I was thinking more on the lines of Kulik and Yags. By "her top students" I actually meant students who were able to shine with her spit and polish.
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- Nov 3, 2006
:think: Tarasova's skaters almost always have terrible costumes, so I think that's definitely one problem that can be laid at her door. Mao's costumes were fine when she was with Artunian. So was the choice of music and choreography.
The original post sounds like "Tat should be credited with any and all good results, but never blamed for any bad ones." That's not the way the world works.
The original post sounds like "Tat should be credited with any and all good results, but never blamed for any bad ones." That's not the way the world works.
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- Joined
- Mar 14, 2006
Do you really think Mao doesn't have veto power over her costumes?
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- Sep 10, 2009
Mao is so narrow-minded, like a typical Japanese female. She wants to live only in Japan. She is so scared to live overseas. She has to learn the foreign language. No way! She will stay at home and will see her coach only few weeks a year. Does this girl really believe she will ever win anything with such mentality?
Olympic Silver medal ain't too shabby.
In the case of Tarasova, she is not to blame for everything that has gone wrong for Mao. But she's certainly to blame for those awful programs. (In Arakawa's case, the part time relationship with Tatiana didn't work to well either). This doesn't mean though that Tarasova isn't a good coach or choregraphy, but this year her choregraphy has not been that great. (Accept for Leonova's short maybe). But I agree that Tarasova's best students come to her with the great jumps in place. Its a lot easier to take a student with great technique like Yagudin and polish him up. In many ways Yu-na fit the profile of the students that Tarasova is most successful with than Mao did.
Yes, but why do you define a typical Japanese female like that? Take Miki for example, who has decided to train abroad.
I think it shows how narrow-minded said poster is.
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