Archive of newspaper articles

[Walt FSHunter]

1986
CANDID INTERVIEWEE

THE TALENT OF NATURALNESS, THE TALENT OF TRANSFORMATION

(the article published in russian 'Sovetskiy Sport' on May 17, 1986)​

What was that? A performance where the game was preceded by a pre-game? However, I would not compare it to a warm-up before a performance. Everything was important, indispensable, inseparable from one another, though completely different. And then, after all, I remember perfectly—I remember from former times, when Gaby Seyfert, a young figure skater from the GDR, was not just a champion, but a figure symbolizing the modernity of sports life. She aroused intense interest the moment she barely touched the ice surface with her skate, like an artist touching a canvas. And even her warm-up before a performance was perceived as an anticipation of everything to come.
And yet, so many years after those triumphs, what I wanted most of all today was to imagine, to see Gaby in a new capacity—and not to surrender myself completely to the power of nostalgia for the unreturnable. We expected a continuation from Seyfert and, I will say right away, we were not deceived in our expectations.
What was that? Now I am firmly convinced that in just some hour and a half, I saw several different self-portraits of Gaby. Each was interesting in its own way, and each, what is most surprising, conveyed a talent for naturalness and a talent for transformation.
Now I understand that her current warm-up, just like in the years gone by, was a kind of commentary.
Or maybe a continuation of our conversation?
She conversed with me in the dressing room of the Small Sports Arena in Luzhniki, and in her form-fitting elastic wear, she looked like a speed skater ready for the start. And I expected a performance from her in a strictly sporting, or rather, a sports-memoir key—daring, on the verge of risk. But nothing of the sort: an actress stepped onto the ice, and the character dance in the persona of a cabaret singer, whose elegance stems from the naturalness of behavior, had nothing in common with my perception of the athlete Seyfert.
That evening, under the impression of what I had seen and heard, I felt as if I had attended an autobiographical performance by Gaby Seyfert—soloist of the 'Friedrichstadt-Palast,' multiple World and European champion, and Olympic silver medalist.
– Is there a noticeable difference between sporting success and artistic success?
- Does a difference between them even exist at all?..Yes, yes, you are right, of course, it exists. Although in the feeling of success, there is, of course, much, much in common. What is the difference then? An athlete trains with all their might for the sake of the main and, sometimes, the only moment in their life when they have a true chance to prove that they are the best in the world. Few achieve this goal. The rest are forced to stop competing without realizing their main dream. Yet both groups have to work, generally speaking, equally hard. It cannot be helped: complete happiness in sports falls to the lot of only a few.
An athlete's success is expressed in titles and medals. An artist's success is, above all, an immediate response in the hearts of the audience. Although an athlete is not indifferent to the audience's attitude toward them either. But an artist senses the audience's reaction every evening more professionally—jealously or, better to say, skillfully—after all, they draw the appropriate conclusions from it… An athlete, on the other hand, is forced to react much more sharply to the judges' scores.
- Figure skating competitions are also quite often called a performance. In your opinion, Gaby, is such a comparison justified?
- A competition is always a competition. There is nothing to compare it to. There is the absolute accuracy of the displayed result. True, a competition, just like a performance, always has its own plot. But a sports plot is, to a greater extent, new and unexpected. With a bit of a stretch, one could compare our exhibition performances, which always crown figure skating competitions, to a show.
- In artistic life, just like in sports, there is also its own competition, its own…
…struggle? And what a struggle it is! In a good sense of the word, the competition among artists does not seem any less sharp to me than that among contenders for a sports championship. In both fields, young rivals emerge, capable of asserting their rights by offering something new. It is not enough to remain at your previous level—even if it is quite high. It will still turn out to be painfully insufficient if someone else is now working better than you. If you cannot 'step it up,' as athletes say, it is better to leave entirely.​

- What is the difference between the physical form of a figure skater and a soloist in an ice ballet?

- The difference is very significant. When you train knowing that you have to perform at the World Championships in March, you do everything in your power to peak exactly in March. And not just in March, but on the very day your turn to take the ice falls. I must demonstrate the maximum of my will and everything I have for victory on that day, at that exact hour—not a minute earlier, not a minute later…
When performing on the ballet ice, however, I understand just as clearly that a success not achieved today has not left me forever. I still have a chance to achieve what I want tomorrow, or, in the worst-case scenario, the day after tomorrow. Therefore, the nervous tension of an athlete before the start is incomparable to anything else—there might be no tomorrow at all.
- You know sports life well and understand the psychology of an athlete. Why, in that case, did you not want to choose the profession of a coach?
- Simply because I do not like this profession, although I have tried my hand at coaching.
I have noticed time and again that at the most critical moments, the athlete is left on the ice all alone: they are the only one who knows how they feel right at that moment. Meanwhile, the coach has to stand and wait: at that second, the coach cannot influence what is happening in any way. Most likely, this kind of trial—I mean the coach's lot—is not for me.
On the other hand, in a director's role, I suppose I feel more confident. When I choreograph a dance at my Friedrichstadt-Palast as the leader of the figure skating group, I feel like I am exactly where I belong.
- How do you envision the future of ballet performances on ice?
- Right now, every ballet troupe has its own direction. For example, 'Holiday on Ice' and the Leningrad Ballet on Ice are very different from each other. Inventing new dances is difficult, but no other path to perfection has been found yet. There is no other way but to achieve an impressive effect in dance through technically complex skating elements, and above all, jumps. There is also no escaping the artistic search for the most spectacular costumes.
- And also, Gaby, I would like to hear your opinion on which of your successors on the podium appeals to you the most?
- ...Perhaps," Seifert thought for a moment, "Katarina Witt. What I especially like about Katarina is her strength and expressiveness. She is constantly searching for new means of expression for her program. In addition, her program is a combination of complex jumps and pirouettes.
As for modern women's singles skating in general... There are problems. Women are physically weaker than men, yet their program is built on the same highly complex elements. The beauty suffers from this concentration of difficulty, which is why we suffer irreplaceable losses in terms of showmanship.
- What emotions do you feel stepping onto the Luzhniki ice now?
- This ice reminds me of my first serious successes in figure skating. Here in Moscow, back in 1965, I made it into the top five at the European Championships. This current visit has also been extremely useful and important for me as the leader of the Friedrichstadt-Palast figure skating group.
…In the Leningrad State Ballet on Ice program 'In the World of Dance,' Gaby Seifert performed alongside the famous Soviet figure skaters Lyudmila Smirnova and Alexei Ulanov.
'Gaby has a sports character of extraordinary strength,' says Master of Sports of International Class Smirnova. 'It seems to me that she inherited this character from her mother and coach, Jutta Müller, who raised a whole constellation of brilliant GDR figure skaters.'
'I have always been struck by her athleticism, cheerfulness, and spontaneity,' admits Honored Master of Sports Ulanov. 'Her smile…'​

L. TRAKHTENBERG.​

 

[Walt FSHunter]

1986

Lyudmila Alekseevna PAKHOMOVA

(the obituary published in russian 'Sovetskiy Sport' on May 18, 1986) ​

The bitter news of the passing of the Olympic champion, six-time world and European champion in figure skating, Honored Master of Sports of the USSR, and Honored Coach of the RSFSR Lyudmila Alekseevna Pakhomova has resonated with deep sorrow in the hearts of sports lovers and the numerous admirers of her talent.
An indelible image of a virtuoso master and a charming performer of uniquely creative compositions was created by Lyudmila Pakhomova in every single sports performance. She was a true artist and an innovator of ice dancing. For her and her partner in life and in sports, Aleksandr Gorshkov, the main goal was always to multiply the best traditions of the national school of figure skating and to strive for perfection. Every season they delighted fans of figure skating with new, brilliant programs.
In 1970, Pakhomova and Gorshkov won gold medals in ice dancing at the World and European Championships for the first time in the history of Soviet figure skating. From that moment on, the leaders of the Soviet school of ice dance set the tone on the international arena. It was precisely thanks to their spectacular performances that ice dancing was included in the program of the Winter Olympic Games. In 1976, at the Winter Olympics in Innsbruck, Pakhomova and Gorshkov were awarded the title of the very first Olympic champions in ice dancing.
Creative exploration, high mastery, and a vivid individuality were fully realized in Lyudmila Pakhomova’s pedagogical and coaching activities. She headed the department for training ice-ballet coaches and choreographers at the State Institute of Theatre Arts named after A. V. Lunacharsky (GITIS). Her students performed successfully at world and European championships.
The Motherland highly valued the labor of Lyudmila Pakhomova. She was awarded the Order of the Red Banner of Labor, two Orders of the Badge of Honour.
The bright image of this outstanding athlete, who personified the finest qualities of Soviet youth and was a true patriot of her Motherland, will remain in our hearts forever.

M. V. Gramov, V. M. Mishin, P. Ya. Slezko, V. I. Zarubin, B. P. Goncharov, P. S. Bogdanov, A. N. Kovalev, V. V. Marushchak, N. F. Bestemyanova, A. A. Bukin, E. A. Valova, O. K. Vasiliev, N. S. Zimyatov, G. M. Karponosov, G. A. Kulakova, N. V. Linichuk, A. O. Minenkov, I. V. Moiseeva, T. N. Moskvina, E. V. Petushkova, I. K. Rodnina, R. P. Smetanina, T. A. Tarasova, A. V. Fadeev, E. A. Chaikovskaya, L. I. Yashin.
​

 

[Walt FSHunter]

1986
OUR GUESTS

LESSONS OF THE MAY ICE

(the article published in russian 'Sovetskiy Sport' on May 22, 1986)​

"The surprising goodwill of Soviet coaches and specialists, their generosity in sharing the secrets of their mastery," say our foreign guests, participants in the international seminar on figure skating.

Recently, a seminar of the European Olympic Committees (EOC) for figure skating coaches, conducted within the framework of the International Olympic Committee program "Olympic Solidarity", concluded its work in Moscow. Specialists from Austria, the FRG, Romania, Denmark, the GDR, Hungary, Finland, Sweden, Poland, and Italy took part in the seminar.
For several years now, national Olympic committees of European countries have been participating in the IOC "Olympic Solidarity" program. The essence of this program is to share accumulated experience with representatives of those countries where a particular sport is not yet sufficiently developed for some reason.
The NOC of the USSR traditionally takes the most active part in implementing the "Olympic Solidarity" programs. In the current Olympic cycle, it was decided to conduct sports seminars jointly with all-union sports federations, educational and scientific research institutes of physical culture on boxing, cycling, and figure skating. For each sport, the NOC must conduct at least two seminars over four years.
Such meetings in our country have become a good tradition. In Moscow, coaches have already been grasping the secrets and wisdom of their respective sports in gymnastics, cycling, boxing. Now it is the turn of figure skating.
The vacation period for figure skaters is short—only one month. In summer complex and painstaking work will begin, and new programs will be created. But while the athletes themselves are resting, their coaches replenish their treasury of knowledge and familiarize themselves with the work of leading trainers, attending separate training sessions.
The program of the current seminar in Moscow was very extensive—it included methodological classes, lectures, and practical sessions on the ice. Specialists from European countries were addressed by such prominent trainers of the Soviet Union as S. Zhuk, T. Moskvina, A. Mishin, E. Pliner, T. Tarasova, N. Dubova, and E. Chaikovskaya. Our guests also became acquainted with current issues in the development of figure skating in our country, and with the specifics and features of the choreographic preparation of figure skaters. Add to this a familiarization with the work of a complex of sports facilities, gyms, stadiums, as well as visits to museums and theaters.
The days spent in Moscow formed a tight chain of events, interesting meetings, and acquaintances for each participant of the seminar.
However, let us give the floor to the participants of the seminar themselves.​

Cornel Munteanu (Romania):

"The benefit that participation in this seminar has brought and will bring to me is hard to underestimate or overestimate. Judge for yourself—in our country, figure skating is still poorly developed. There are many reasons for this. But the main one is the weak material and technical base. For the entire country, we have only four rinks with artificial ice. Therefore, at the current seminar, I was intrested primarily in questions of development and organization of this sport in your country, questions of selection of boys and girls in schools. As for mastering the subtleties and wisdom of coaching mastery itself, my wife Gabriela can tell you better about that”.
‘In the past, I was a singles skater,’ Gabriela Munteanu joins the conversation, ‘and now I coach girls back in my country. The lectures by E. Pliner on the methodology of developing the basic qualities of singles skaters, and by A. Mishin on the biomechanics of jumps and the preparation of compulsory figures, were extremely valuable to me. Furthermore, now that not only refined technique but also high artistry is coming to the forefront in figure skating, the classes in the choreographic hall led by E. Matveeva, the choreographer of the USSR national team, were, in my opinion, highly beneficial.’
Claudia Shifer (Austria):
"The delegation of our country turned out to be almost the largest at the current seminar. It seems to me that this eloquently testifies to the fact that a sport like figure skating is, as they say, 'scoring points' in our country, even though alpine skiing is traditionally popular in Austria. And, of course, it is still difficult for figure skating to compete with alpine skiing. However, I hope that our current visit to the Soviet Union, our participation in the seminar, getting to know the world's leading coaches, their practical advice, and their lectures—all of this will yield the most tangible benefits in the very near future. And there is one more thing I would like to mention. What truly won us over in the work of the seminar was the surprising goodwill of the coaches we met, and their eagerness to speak and share their immensely rich experience with us. For all of this, I want to say a big thank you. We hope that the lessons received in Moscow will allow us to meet our teachers again, but next time at international competitions."​

O. POLONSKAYA.​

 

[Walt FSHunter]

1986
GOODWILL GAMES
STARS INVITE YOU

World Champions Natalya BESTEMYANOVA and Andrey BUKIN

"LET US JOIN HANDS, FRIENDS!"

(the article published in russian 'Sovetskiy Sport' on June 21, 1986)​

“Sport is an ambassador of peace. And we are proud to belong to the multi-language and multi-ethnic family, which, together with all people of goodwill, raises its voice today in defense of earth. We want to preserve, save from destruction winter and summer, autumn and spring, we want summer thunderstorms to rumble only in the skies, and forest fires to flare up only from autumn colors,” said the world and European ice dancing champion Natalya Bestemyanova, answering a TASS correspondent's question about the feelings with which she is approaching the upcoming forum of athletes of the world.
"I want my son Andrey and all children on earth to never know what war is, to live on a peaceful land and be happy," adds Andrey Bukin. "Therefore, I am proud and glad that the capital of our Motherland was the first to host the Goodwill Games."
"How do you view the invitation of figure skaters to the Games?"
"We consider it an honor for ourselves to participate in competitions where athletes of summer sports will be represented," said the famous coach of this duo, Tatyana Tarasova. "We view this as a recognition of the great popularity of figure skating in the world and are preparing for the Games with a feeling of immense responsibility. Figure skaters will not compete at the Games—they will perform in an exhibition program, but we are as anxious as before the most important competitions."
"For the first time, we have received the opportunity to personally get to know those whom we cannot see at our own competitions, since they take place in the winter. And we hope that we will make new friends, contacts will be established, and threads of mutual understanding will be drawn—ones that will not break even after the Games, when everyone returns home," Bestemyanova noted.
"How are you preparing for the Games?"
"Our repertoire will feature 5–6 ice miniatures. Among them are 'Kalinka,' 'Andalusian Dance,' of course, excerpts from 'Carmen,' 'Artist and Muse,' and others. As you can see, there are both exhibition dances and fragments from competition programs," Tatyana Tarasova listed.
"Exhibition performances are, of course, easier than competitions, but even here there are difficulties. After all, our main task is to make the spectators our like-minded people. And only sincerity and simplicity find a warm response in people's hearts," Natalya Bestemyanova said after a short pause. "I love exhibition performances: you bring people joy, you bring pleasure, you skate freely and without restraint, without thinking about possible mistakes. You are tired, but they call you back, and you step out onto the ice again and dance once more".
"What do the words 'Goodwill Games' mean to you personally?"
All athletes who come to Moscow, Tallinn, Jurmala will express the will of the peoples for peace, goodness, and happiness. Even then, when people compete, struggle for victory, for supremacy in sports, it is possible to maintain friendship and treat each other with kindness," Andrey Bukin emphasized. "And who knows, maybe the Games will become that ray of light that will pierce the clouds of distrust and hostility darkening the life of our planet, and will mark the beginning of other peaceful initiatives."
"In antiquity, during the Olympic Games, wars stopped," added Tarasova. "Today, we must make sure that wars do not arise, after them there will be no Games at all—neither Olympic nor any others. Sports will simply cease to exist. One can say that sports activity is one of the most peaceful on earth. During the Days of the Games, all of us—people involved in sports—will together say a decisive 'No!' to all those who seek to push the world to the edge of an abyss, beyond which lies catastrophe. We express our will—goodwill."
"Whom would you like to see in your 'single team' performing at the Games?"
"Everyone," Bestemyanova replied without hesitation. "We, figure skaters, have a tradition: after the conclusion of competitions and exhibition performances, all participants take the ice and, joining hands, thank the spectators. Then they make a lap around the ice arena. At this moment, I am sure, each of us feels an indescribable sense of unity. And today, before the start of the competitions with such a beautiful, symbolic name, we say: let us join hands, friends!"​

E. TOKAREVA.
(TASS Corr.).​

Virtuosos of the ice dance, two-time USSR champions, three-time European champions, two-time world champions, Honored Masters of Sports Natalya Bestemyanova and Andrey Bukin and their teammates from the USSR national team invite you to the Luzhniki Sports Palace, where on July 15 and 16, exhibition performances of the world's strongest figure skaters will take place.

P.S. This article sounds like a mockery now after all that ruzzians have done in recent years.​

 

[Walt FSHunter]

1986
GOODWILL GAMES
Introducing the sport

"Katyusha" Enchants

(the article published in russian 'Sovetskiy Sport' on July 15, 1986)

​

A report from the joint training sessions of figure skaters from the world's two leading national teams—the USSR and the USA.

The watchman at service entrance number ten waved politely to the pretty girl who got off the bus near the Palace of Sports. And the ex-world champion Vladimir Kovalev gallantly opened the door, letting her into the foyer. American figure skater Caryn Kadavy, a student of the famous coach Carlo Fassi, has arrived in Luzhniki once again. A few months ago, thousands of Muscovites applauded Kadavy's beautiful performance when she won the international tournament for the Moskovskie Novosti newspaper prize. Now, Caryn is a participant in the Goodwill Games.
“The biggest discovery for me then was the Moscow audience," says Kadavy. " The spectators understood all the nuances of our far from simple compositions with amazing subtlety. I am glad to see Moscow again, and my Soviet fellow figure skaters. I hope that Muscovites will enjoy the programs of my teammates. After all, the entire USA team has arrived for the Goodwill Games here..."
Yes, for the July meeting on the ice of Luzhniki, many special numbers and dances were prepared by world singles champion Brian Boitano, world singles champion Debi Thomas, world championship medalist Tiffany Chin, and US pairs champions Jill Watson and Peter Oppegard.
In the hall of the Luzhniki Palace of Sports, the mirror-like surface of the ice rink has long been shining. A familiar melody plays: "Apple and pear trees were in bloom, mist was rising over the river..." Yes, both the US national team figure skaters and the top Soviet athletes are dancing the famous "Katyusha." The choreographer of the Soviet team, Elena Matveeva, proposed staging a new collective dance for the upcoming exhibition performances within the framework of the Goodwill Games. And right during the very first training session, the Americans enthusiastically began to learn it. Here, a joint parallel death spiral is performed by Olympic champions Elena Valova and Oleg Vasiliev alongside US champions Jill Watson and Peter Oppegard. It turns out synchronous and sharp. Elena Matveeva suggests intensifying the finale and adding another pirouette. Vasiliev immediately invites the Americans to take their starting position again and explains the essence of the new addition in English.
Just a few minutes later, we witnessed an interesting conversation between Merited Coach of the USSR Tamara Moskvina and the American masters of pair skating. The topic of conversation was the modern style in figure skating.
"It seems to me," notes Jill Watson—a petite, elegant 23-year-old blonde—"that in recent years Soviet pairs have achieved noticeable creative progress. This is due to the fact that they bring many new, beautiful elements to their programs and strive to give dramatic, original compositions, close to a theatrical spectacle."
Watson has been training since the age of 11 at the famous school in Colorado Springs—the very place where Peggy Fleming was raised, and where Caryn Kadavy is currently training. For the past two years, Watson has specialized in pair skating together with Oppegard. They are coached by former US ice dancing champion John Jones.
"The influence of the ice dancing coach is already noticeable," notes Tamara Moskvina. "Your exhibition routine features interesting choreographic techniques. Our pairs used to have something similar as well."
"And what do you see as the original feature of the American school of figure skating?" Oppegard asks Moskvina.
"The first important trait is the focus on developing strong singles skaters. Second—the ability to escape clichés,—follows the answer..."
Creative discussions, interest in the novelties of the upcoming season—this is the background of the Goodwill Games.
"Look, Brian Boitano performed an axel with three and a half rotations! And it's only July. This means you can quickly build up your competitive form!"—the voice comes from the edge of the ice rink where many trainers are gathered.
"Why is Caryn Kadavy practicing her routine without music?"
"Nothing of the sort! She put on headphones. A tape player is attached to her waist. An acute find."
The exhibition performances in Luzhniki will take place for two days - on July 15 and 16. Of course, it was no coincidence that figure skating was the only winter sports included in the program of the Goodwill Games. The interest in it is universal. Thousands of people will be happy to see their favorites on the ice arena and on television screens. Skaters from the USSR and USA brought many novelties. The main thing is that they brought an atmosphere of warm friendship to Luzhniki. This was clearly understood by the Americans who arrived in Moscow. Ted Turner, head of the American television company TBS, said in a recent interview made an interesting proposal — to hold the Goodwill Games for winter sports in the coming years and thereby give a new impulse to the new tradition.
"I support this idea completely," stated Caryn Kadavy. "We, the athletes, through our performances in different parts of the globe, can do so much for cooperation among nations for the sake of peace!"
"I would like stadiums all over the world to thunder only with the applause of friends and supporters of peace and friendship," said world champion Brian Boitano.​

A. Shelukhin.​

 

[Walt FSHunter]

1986
GOODWILL GAMES

Silver Flower of Friendship

(the article published in russian 'Sovetskiy Sport' on July 17, 1986)​

A magical festival of ice graces, warmed by the warmth of hearts.

Six death spirals performed simultaneously elegantly graced the ice arena of Luzhniki, forming a silver flower that symbolized friendship and goodwill. This flower was "drawn" by three Soviet and three American pairs of figure skaters. Such was the original finale of a beautiful, truly unforgettable celebration of figure skating held in honor of the Goodwill Games in Moscow.
In this showcase of grace, there was everything — the jubilation of youth, the poetry of a first date, humor, and the energy of people celebrating peace, friendship, and the beauty of emotions! And, of course, there was the heartfelt "Katyusha" that came out to sing her song. A song that brings people closer, helping them better understand each other in this rather complex world.
"It used to seem to me that the audience of spectators in the USA and the audience of sports fans in the USSR were very different," American Brian Boitano said at a press conference. "But now, after the first ice concert of my life in Moscow, I joyfully discovered that both audiences are beautiful in their own way. Now I am at ease and will step onto the Moscow ice with even greater pleasure to perform new routines!"
We, in turn, were curious to find out how the Moscow public perceived the performances of the world's strongest figure skaters — the athletes of the USSR and the USA. Here are a few short statements:
Spouses Elena Shalimova (a civil engineer) and Alexander Shalimov (an officer of the capital's GAI [traffic police]):
"We are captivated by the mastery of the Soviet and American figure skaters. Undoubtedly, every routine by the world champions was a major event. It is heartening that there is talented youth in each national team. Our Viktor Petrenko and the American Scott Williams performed their dances with such temperament and beauty..."
Vasily Barsukov, designer at the "Dynamo" factory:
"The spirit of fellowship, the smiles, a literal rain of flowers, the children congratulating the champions and soloists, the 'Katyusha' dance — all of this gave the ball a new meaning. This is not a traditional show, but a celebration with deep significance, because a single, united family of athletes was performing here..."
Boris Grachevsky, director of the humorous film magazine "Yeralash":
"For many years I have been following the sporting destiny of Natalia Bestemianova and Andrei Bukin. Their dances, especially 'Carmen,' and their sheer daring simply mesmerize me, as well as many other spectators.
World champion Debi Thomas's comic dance was also a surprise for everyone. She is an outstanding artist..."
Liya Pleskach, psychiatrist:
"Figure skating is a sport on the edge of art. We have known this for a long time. But I think that the possibilities of this ice art have revealed themselves now from a completely new side. Figure skating and its finest examples elevate the soul, calling us to the beautiful, to life, and to friendship. How much poetry there is in the "Exercis" dance by Marina Klimova and Sergei Ponomarenko, and in the compositions of world champions Ekaterina Gordeeva and Sergei Grinkov, and the ice dance couple Natalia Annenko and Genrikh Sretenski, or the Americans Jill Watson and Peter Oppegard. Young Viktor Petrenko charmed everyone. There was so much enthusiasm in the performances of the American athletes Debi Thomas, Tiffany Chin, and Caryn Kadavy...
Yes, 34 of the world's best figure skaters stepped onto the ice of Luzhniki that evening, and every single one of them brought a piece of their heart, the warmth of their soul, into the spectator hall. Everyone created an amazing atmosphere of goodwill.
"I realized that on this day I was among friends!" stated world champion Debi Thomas, who sparked an ovation with her sincere and lively dances.
"We were happy to welcome American figure skaters, our old friends, to our land," said two-time world champion Natalia Bestemianova.
It is wonderful when creative competition births a genuine, heartfelt warmth in human relations!​

A. SHELUKHIN.​

 

[Diana Delafield]

1986
GOODWILL GAMES
Introducing the sport

"Katyusha" Enchants

(the article published in russian 'Sovetskiy Sport' on July 15, 1986)

​

A report from the joint training sessions of figure skaters from the world's two leading national teams—the USSR and the USA.

The watchman at service entrance number ten waved politely to the pretty girl who got off the bus near the Palace of Sports. And the ex-world champion Vladimir Kovalev gallantly opened the door, letting her into the foyer. American figure skater Caryn Kadavy, a student of the famous coach Carlo Fassi, has arrived in Luzhniki once again. A few months ago, thousands of Muscovites applauded Kadavy's beautiful performance when she won the international tournament for the Moskovskie Novosti newspaper prize. Now, Caryn is a participant in the Goodwill Games.
“The biggest discovery for me then was the Moscow audience," says Kadavy. " The spectators understood all the nuances of our far from simple compositions with amazing subtlety. I am glad to see Moscow again, and my Soviet fellow figure skaters. I hope that Muscovites will enjoy the programs of my teammates. After all, the entire USA team has arrived for the Goodwill Games here..."
Yes, for the July meeting on the ice of Luzhniki, many special numbers and dances were prepared by world singles champion Brian Boitano, world singles champion Debi Thomas, world championship medalist Tiffany Chin, and US pairs champions Jill Watson and Peter Oppegard.
In the hall of the Luzhniki Palace of Sports, the mirror-like surface of the ice rink has long been shining. A familiar melody plays: "Apple and pear trees were in bloom, mist was rising over the river..." Yes, both the US national team figure skaters and the top Soviet athletes are dancing the famous "Katyusha." The choreographer of the Soviet team, Elena Matveeva, proposed staging a new collective dance for the upcoming exhibition performances within the framework of the Goodwill Games. And right during the very first training session, the Americans enthusiastically began to learn it. Here, a joint parallel death spiral is performed by Olympic champions Elena Valova and Oleg Vasiliev alongside US champions Jill Watson and Peter Oppegard. It turns out synchronous and sharp. Elena Matveeva suggests intensifying the finale and adding another pirouette. Vasiliev immediately invites the Americans to take their starting position again and explains the essence of the new addition in English.
Just a few minutes later, we witnessed an interesting conversation between Merited Coach of the USSR Tamara Moskvina and the American masters of pair skating. The topic of conversation was the modern style in figure skating.
"It seems to me," notes Jill Watson—a petite, elegant 23-year-old blonde—"that in recent years Soviet pairs have achieved noticeable creative progress. This is due to the fact that they bring many new, beautiful elements to their programs and strive to give dramatic, original compositions, close to a theatrical spectacle."
Watson has been training since the age of 11 at the famous school in Colorado Springs—the very place where Peggy Fleming was raised, and where Caryn Kadavy is currently training. For the past two years, Watson has specialized in pair skating together with Oppegard. They are coached by former US ice dancing champion John Jones.
"The influence of the ice dancing coach is already noticeable," notes Tamara Moskvina. "Your exhibition routine features interesting choreographic techniques. Our pairs used to have something similar as well."
"And what do you see as the original feature of the American school of figure skating?" Oppegard asks Moskvina.
"The first important trait is the focus on developing strong singles skaters. Second—the ability to escape clichés,—follows the answer..."
Creative discussions, interest in the novelties of the upcoming season—this is the background of the Goodwill Games.
"Look, Brian Boitano performed an axel with three and a half rotations! And it's only July. This means you can quickly build up your competitive form!"—the voice comes from the edge of the ice rink where many trainers are gathered.
"Why is Caryn Kadavy practicing her routine without music?"
"Nothing of the sort! She put on headphones. A tape player is attached to her waist. An acute find."
The exhibition performances in Luzhniki will take place for two days - on July 15 and 16. Of course, it was no coincidence that figure skating was the only winter sports included in the program of the Goodwill Games. The interest in it is universal. Thousands of people will be happy to see their favorites on the ice arena and on television screens. Skaters from the USSR and USA brought many novelties. The main thing is that they brought an atmosphere of warm friendship to Luzhniki. This was clearly understood by the Americans who arrived in Moscow. Ted Turner, head of the American television company TBS, said in a recent interview made an interesting proposal — to hold the Goodwill Games for winter sports in the coming years and thereby give a new impulse to the new tradition.
"I support this idea completely," stated Caryn Kadavy. "We, the athletes, through our performances in different parts of the globe, can do so much for cooperation among nations for the sake of peace!"
"I would like stadiums all over the world to thunder only with the applause of friends and supporters of peace and friendship," said world champion Brian Boitano.​

A. Shelukhin.​

View attachment 11591

AKA "The Ted Turner Olympics" and pretty much ignored by the rest of the world. Including American sports fans, according to my pairs partner who was studying and working in the US for some of those years. We heard nothing about those games in Canada, except for seeing ads for them when watching American TV channels.

 

[Walt FSHunter]

1986
GOODWILL GAMES
FACT-EVALUATION

THOUGHTS ON THE SEASON’S INNOVATIONS

(the article published in russian 'Sovetskiy Sport' on July 18, 1986)​

Participants of the Moscow gala will meet next winter at the World Championships in the USA.

The final chord has sounded in the cozy arena of the Luzhniki Sports Palace. For a long time, Muscovites and guests of the capital will discuss the details of the unforgettable ice ball, which brought together the world’s strongest figure skaters—from the USSR and the USA. Many of them introduced the audience to their new exhibition programs created specifically for the Moscow meeting.
But few people know yet that the skaters have already started preparing new sports programs for the 1986–1987 season. In March of next year, the American city of Cincinnati will host the next World Championships—it is rightfully called the main rehearsal before the Olympic season. It is clear that interest in this meeting is great, especially since almost everyone who performed just now in Moscow will also set the tone on the American ice arena.
We asked leading figure skaters to answer the questions: "What are your plans for the winter season? Will there be new compositions for the upcoming World Championships?"
World singles champion Debi Thomas (USA):
— Naturally, we have already started creating new sports programs for the 1987 season. In my plans is work on the short program set to rock 'n' roll music, while the free skate will utilize classical music melodies. My preparation will take place in a modest rink in Redwood City, California. My coach, Alex McGowan, believes that we need to keep the direction we chose last season. It is a combination of complex elements and jumps with expressive artistry and danceability. I will try to ensure that my future performances remain flawless...
Two-time ice dance world champions Natalia Bestemianova and Andrei Bukin:
— Together with our coach Tatiana Anatolyevna Tarasova, we came to the conclusion that in the coming winter season, we need to achieve a completely new style. Moreover, a change of style is required. The technical repertoire, choreography, and music selection will be completely revised. We will emphasize modernity, focusing on what is currently close to young people. For now, we cannot reveal all our creative secrets, but we are confident that our new dances will appeal to both Soviet and American audiences.
World singles champion Brian Boitano (USA):
— Men's competitions are always characterized by an exceptionally fierce struggle. The class of participants in the World Championships here is unusually high. I am convinced that this will be no exception, including the upcoming event in Cincinnati. My coach Linda Leaver and I prepare a new program for every winter season, differing from the previous ones. This is a mandatory condition for progress. I hope that the compositions for the upcoming season will definitely feature extremely difficult combinations, including a triple Axel combined with other jumps. I have a very good connection with my coach—Linda has been working with me for 13 years already. In the new programs, we will fully utilize music from the works of American composers, including folklore and contemporary melodies...
Pairs world champions Ekaterina Gordeeva and Sergei Grinkov:
— We are preparing new compositions for the upcoming winter season. However, our mentor can speak about their substance much better than we can.
Honored Coach of the USSR Stanislav Zhuk:
— Today we need to think not only about the 1987 season but also about the Olympic winter. Therefore, we plan to work in two directions simultaneously. Right now, during the summer months, we have begun learning new tie-in elements and new combinations. Our goal is to significantly complicate future compositions and maintain the "sporting spirit" of these programs. Currently, melodies for free programs have been selected in two styles: one with classical music, and the other with folklore melodies. Time will tell which option turns out to be closest to the figure skaters...
And in conclusion, we present the opinion of US team coach Linda Leaver:
— The ice ball in Luzhniki is a tremendous event. Its essence lies in the fact that it will help strengthen peace on Earth!
​

 

[Walt FSHunter]

1986
GOODWILL GAMES
MEETING HOUR

In the Arena — Debi Thomas

(the article published in russian 'Sovetskiy Sport' on July 19, 1986)​

It is hard for a beginner on the ice, especially on figure skates. And to top it off, the spirited "Sabre Dance" is playing. Oh, it is not easy to stay in time with the music here. But the character, brilliantly played by world champion Debi Thomas, doesn't mind at all. There she speeds up... A jump right at the edge of the ice—nowhere to go, and Debi flies at full tilt right over the rink's boards. Another attempt—into a spin. But somehow the skates won't turn, and her legs won't cooperate. Debi uses the last of her strength trying to keep up with the furious rhythm of the music, but in the end, she simply lies down on the ice to rest...
There are many witty touches in this comedic routine. The silhouette of the costume is well thought out, and they even found a specific style of body movement characteristic only of a beginner.
— Want to know one of the secrets behind this success? — smiles Debi Thomas. — I felt right at home on the Moscow ice. I saw that I was surrounded by friends. This created an excellent mood and inspired me.
Thomas turned 19 years old. She was born in New York. She has been figure skating for 12 years already. She talks about herself with pleasure:
— I study at Stanford University. My future major is microbiology. Every single day of mine is literally scheduled by the minute. In the summer, I spend 36–40 hours a week on the ice at the rink in Redwood City. In the winter, even more. Besides that, I ride a bicycle and do aerobics.
Before stepping onto the Luzhniki ice, I was very nervous, but then all my anxieties vanished into thin air. The Moscow public is highly knowledgeable about all the subtleties of figure skating. And I am glad that I was able to bring pleasure to Muscovites.
Like my US national teammate, world champion Brian Boitano, I warmly support the idea of holding the Goodwill Games. The celebration in Moscow allowed us to feel an amazing atmosphere of friendship and warmth...​

A. ANTONOV,
N. YAROSLAVTSEV.​

 

[Walt FSHunter]

1986
GOODWILL GAMES
CURRENT INTERVIEW

PEGGY FLEMING:​

“I Am Not Parting with My Skates”

(the article published in russian 'Sovetskiy Sport' on July 19, 1986)​

During the exhibition performances of the figure skaters in Luzhniki, the hottest spot — the television commentator’s table right by the edge of the ice — was occupied by the 1968 Olympic champion, American figure skater Peggy Fleming. She was broadcasting a report for television viewers in the USA. Immediately after the conclusion of the ice celebration, Peggy eagerly gave an interview to “Soviet Sport”.
— Peggy, which visit is this for you to Moscow?
— I am here for the fourth time. Twice I came to perform in exhibition shows by the world's strongest skaters after the conclusion of the World Championships. I remember having the opportunity to perform in the arenas of Moscow, Leningrad, and Kyiv. Even back then, I fully appreciated the hospitality and warmth of Soviet audiences. The trip to Leningrad was especially memorable. People recognized me there even at the Hermitage and asked for autographs. In 1973, I came for the third time. A documentary film titled ‘Peggy Fleming in the USSR’ was being shot in Moscow and Leningrad. Back then, I visited the famous Soviet figure skater, now national team coach, Tamara Moskvina.
— Many sports fans still remember your performances in 1968. Back then, you looked like a very elegant and even fragile athlete. Many wondered where you got your strength. Perhaps now, years later, you will reveal your secret?
— With pleasure! By the way, I haven't given up figure skating and continue to skate to this day, conduct training sessions, and periodically perform in various American shows. I am constantly improving my ice programs. I really love an active lifestyle and traveling. I am often in the choreography studio. All of this is exactly what gives me a great boost of energy.
In Moscow at the Goodwill Games, I was lucky enough to attend a magnificent rhythmic gymnastics tournament. I saw many brilliant world-class ‘stars’ all at once and am looking forward to the day when I can try myself in a new role on the ice — in dances with a ribbon, a ball, and a hoop.
— How do you evaluate the holding of exhibition performances within the framework of the Goodwill Games?
— In my opinion, this is a wonderful idea! I only regret that for a number of years, regular sports contacts between athletes of the USSR and the USA were interrupted. And, of course, I am happy for the opportunity to meet again with figure skaters who in my time were participants in World Championships and Olympic Games. There were many very interesting meetings with coaches of the current USSR national team. It was very pleasant to meet the young choreographer of the USSR national team, Elena Matveeva, who performed on the stage of the Bolshoi Theater.
— At which competitions have you worked as a television commentator?
— My debut took place back at the Winter Olympic Games in Sapporo in 1972. I approached my work very conscientiously and watched the practices of the Olympians from early morning until late evening. I was, as they say, in the loop of all events and updates. I have remained true to this rule to this very day. Arriving in Moscow for the Goodwill Games competition, I spent two days straight on the ice of Luzhniki just to familiarize myself with the program.
Naturally, it is hard to hold figure skating competitions in July. But nevertheless, I am a supporter of figure skaters continuing to meet at the Goodwill Games in the future, primarily for participation in tournaments. At least in the mini-program.
I dream that I will get to commentate on the figure skating competitions at the Goodwill Games again...
— Do you have a big family?
— I have a son growing up. He is nine years old. My husband is a doctor by profession, a big enthusiast of sports, including figure skating. He actively participates in sports, especially summer multi-events.
— What are your forecasts regarding the further development of figure skating?
— In my opinion, it is necessary to expand creative contacts. To raise figure skating to a completely new level, we should conduct coaching seminars and exchange specialists more often. We have a lot to learn from each other. I am for the mutual enrichment of the traditions of the Soviet school and the American school of figure skating!​

The interview was conducted by five-time USSR champion in ice dance,
V. RYZHKIN.​

 

[Walt FSHunter]

1986

COACH AND STUDENT

FINDING A SECOND WIND

(the article published in russian 'Sovetskiy Sport' on August 10, 1986)​

Vladimir Kovalev’s path to the world crown in figure skating was difficult, but his development as a mentor was even more complex.

You won't mistake Kovalev for anyone else; he is easily recognizable in a crowd by his gait and the specific tilt of his head. He tilts it just a tiny bit forward and slightly downward, as if before another jump forward. You instantly understand: for many years, this man had a single goal—to break through the dense 'screen' separating him from the coveted pedestal of honor. The composition of this 'screen' included astonishing masters; every single name was a star: the Englishman John Curry, the Canadian Toller Cranston, and the GDR figure skater Jan Hoffmann. And what a constellation there was in the USSR men's national team—Sergei Chetverukhin, Sergei Volkov, Yuri Ovchinnikov! And yet, no one could stop Vladimir Kovalev’s momentum: in 1975 he became European Champion, in 1977 he won the World Championship, and in 1979 he received his second gold medal of the world championship. You cannot call such a stride a leap from obscurity. No, it is rather the continuous attack of a man accustomed to measuring everything in sports to the absolute maximum.
The great German painter Albrecht Dürer wrote in his treatises: 'For the common good, it is necessary that we all learn something and pass all of this on to our successors, concealing nothing from them.'
To lead masters of the new generation — many former champions rush toward the coaching bench with this dream, but rarely does anyone manage to realize it fully.
Kovalev walked a long and difficult path here as well. In 1981, after ten years of competing for the USSR national team, Vladimir took a risk and undertook the training of national singles champion Kira Ivanova. A skater with a well-known name, a participant in the World Championship, she was experiencing a sensitive failure at that moment: on the ice of Hartford, she took 13th place in the 'school' (compulsory figures), and 12th place overall. And this was after Elena Vodorezova was winning competitions in the free skate at world tournaments. And yet, it was Kira Ivanova who was honored to be called Vodorezova’s successor, after she brilliantly executed the Olympic tournament in 1984 and won the bronze medal — the first ever in the history of our women’s singles skating!

AND DOWNCAST HANDS WERE RAISED

Since ancient times, doctors have recommended figure skating to children as a medicine. And so a five-year-old Kira Ivanova, having suffered from pneumonia, came to build up her health at the Moscow stadium 'Nauka' in a subscription group. She skated and received treatment. Once, artificial ice was rented for the toddlers' group at the 'Kristall' rink, and there Kira was noticed by the young coach Irina Anikanova. The quick and light girl caught her eye, and as a result, Kira ended up in Anikanova's group, where she trained for nine years.
Kira herself considers this a stroke of massive luck (and in sports, this is a necessary thing). The thing is, nowadays it has become fashionable among some specialists to direct training sessions not from the ice, but from the stands. They pick up a microphone and command loudly: 'And now a lap from the left foot, kids!'. The result is a superficial kind of learning.
'Recently I was asked to help two ranked skaters improve their "school" (compulsory figures) technique,' Kira said. 'I stood on the ice for half an hour, telling them this and that. But I quickly realized that it was all useless. After all, they need to be taught from scratch, from the very basics. But with Irina Anikanova, we learned with such meticulousness that we didn't need to correct anything later.'"
And in Vladimir Kovalev's group, the principle turned out to be the same — our coach stepped onto the ice every single practice and spent three hours drawing 'school' right alongside us. We saw the 'mechanics' of the eights and paragraphs with our own eyes. To the skills I had already acquired, knowledge was added, a deep understanding of every single movement. Prior to this, I had struggled with the triple loop jump for five years, constantly stumbling in the exact same spot. But here, in just four months, a one-hundred-percent stability was achieved...
Nine years with Anikanova, three years with the famous coach Viktor Kudryavtsev, and three more years in Kovalev's group: that is how this winding path of Kira to the bronze medal of the Olympic Games unfolded. She survived the toughest season of 1981 (12th place at the World Championship) easily. Paradoxically, failures acted on her as an excellent stimulant — she worked with even greater inspiration. But the most successful season of 1985 (world championship silver medal, small gold medal for 'school') was hard-won. For eight weeks, she could not put her skates back on her boots, she was that tired. But when she came to the rink nothing works. Like a novice.
But she didn't get scared. She got angry with herself: 'Now I will find out what my true value is as an athlete!'.
Over the five years of training in Kovalev's group, Kira managed to perform five short programs and three free skate compositions. And not once, in any aspect, did she repeat herself. She judges herself by the strictest internal court: 'Right here, I skated worse than Katarina Witt. And not because I stumbled on a spin. No, I simply couldn't see everything in my skating with a clear vision. Katarina Witt stands out with her aplomb; she knows how to look closely at every single spectator if she needs to, and how to see herself as if from the outside. Aplomb is a sign of the highest mastery!'.
There is a special relationship with music. The figure skater is most deeply captivated by classical pieces. For example, Beethoven's 'Egmont'. And that is why her first reaction to new music is wariness.
Kovalev brought a new cassette for a listening session. In Kira's eyes, there was a cold chill: 'The public will not accept me with this kind of music!'. And yet, tilting her head, she glides to the center of the rink, begins a dialogue with the music, checking every single beat.
'It is incredibly difficult to guess your own music! To make it like your own personal confession! In my life, I had dozens of programs that I have completely forgotten,' says Kovalev. 'But there is one that always stands before my eyes — the music from the entrance aria of Mister X. I remember, in the spring of 1977, Elena Anatolyevna Chaikovskaya and I listened to it at the "Dynamo" rink and immediately began to compose the program. Movements, turns — everything flowed from this melody naturally, simply. The entire pattern of the program was found in just one training session. What was that? Inspiration? A chain of continuous successes? I don't know. But the program was received everywhere stormily, with a standing ovation. I searched for such insights myself when I became a coach.'
'En route, a couple more words about the nuances of creativity,' Vladimir continues. 'In those happy years when I skated, the six-time world champions in ice dance, Lyudmila Pakhomova and Aleksandr Gorshkov, trained with me in the same group. Mila and Sasha, as we called them back then, composed a new program every autumn. They were very sorry that they were parting with the discoveries of the past season, but then they would fall in love with the new creation, forgetting about the old one. In my opinion, this is a precious quality — being able to break away from old baggage. The strength of Lyudmila Pakhomova as a coach was evident in the fact that for her students, she created dances where nothing recalled the patterns of her own fantasies. She did not want to live in the past. In this lay her main victory.
'In the first season, working with Kira Ivanova, I tried to map out her entire new program down to the second, involuntarily recalling what I had experienced myself. Fortunately, I realized on my own: all of this is not the main thing. By forcing a figure skater to act according to a rigid scheme, we doom ourselves to failure above all. Kira strived to comprehend the task, caught the thought on the fly, and immediately gave her own interpretation. This was better than a scheme. Brighter, more artistic!'
Any unjust label (and Kira heard quite a few of them) is terrifying not because it is false, but because it erects a barrier between the champion and everyone else. It creates an illusion of the champion's intangibility. And five years ago, it seemed that Ivanova would never catch up with Katarina Witt in mastery. But the year 1985 already proved the opposite: twice Kira beat the invincible Witt in the 'school' (compulsory figures), and was second in the short program."

'AN EXAMPLE OF IRON DISCIPLINE'

Once, Kira Ivanova was asked: 'Which coach is better — kind or strict?'. She hesitated with her answer, remembering something from previous years, and said: 'Strict. We have the kind of sport where you cannot leave anything half-done. If you thought of something, bring it to completion. And if a coach takes pity on you, another one, then everything is finished.'
Kovalev commented on this answer quite unexpectedly:
'Understand that in life everything turns out very complicated, a whole tangle of contradictions. Therefore, a coach's strictness can also be different. For example, when I was preparing Kira Ivanova for the match of the strongest in 1981, I thought that it was necessary to apply pressure all the time. Three hours before the start, I kept reminding the figure skater: "Well, how is it with the triple toe loop? Will everything be fine? Remember, it's the whole problem. Complete it — and you'll be on top." As a result, there was no triple toe loop at all. Since then, I say nothing to the athlete on the day of the competition. Strictness is needed not in small details, but on a large scale...'
To work on a large scale in Kovalev's understanding means to engage in building the athlete's personality. And in essence, there is already nothing in common between the figure skater Ivanova of the 1981 model and today's Ivanova, who is capable of competing with such 'stars' as Katarina Witt, Debi Thomas, and Tiffany Chin.
For five days in July of this year, the figure skaters of the USA and the USSR met on the ice in Luzhniki. Kovalev did not miss a single training session. And not because Kira Ivanova was skating during those hours. He simply did not want to miss a single detail that sheds light on modern figure skating. This new world is starkly different from the one he experienced in the seventies. Figure skaters have sheltered themselves from crackling frosts and whistling winds under the roofs of palaces, where you can sometimes see marble staircases, halls with armchairs, and luxurious saunas. It is cozy, warm, and comfortable. Here they train for seven hours a day — three in the morning, four in the evening. Any step you take will be recorded on a video camera. In the choreography hall, they will show you all types of character dances. 'Carmen' will be played for you in exactly four minutes, as if without cuts!..
'...Everything is at the service of the figure skater, and therein lies the main danger,' notes Kovalev not without slyness. 'Comfort relaxes, dulls thought and attention. Yet the task — to step onto the pedestal — has become immeasurably more difficult. Luxurious conditions must be accepted not as a given, but as an advance. The debt must be paid back! A full set of triple jumps, expressive choreography, inspiration, passion — all of this is born only through will and intellect.'
Once, Kira was reproached for a perceived coldness in her performance. But you should see how she transforms now, working together with choreographer Alla Kapranova! The language of looks and gestures has become close to her. She hasn't missed a single film, not a single ballet featuring Ekaterina Maximova. She has visited dozens of performances, saw 'Spartacus' featuring Maris Liepa, and later the performances of his son, Andris. Recently, she happened to participate in an ice concert in Birmingham, where 'stars' of figure skating from the last ten years gathered. Everyone, of course, admired the 'Bolero' dance by Jayne Torvill and Christopher Dean. But Kira expressed her impressions in a single phrase: 'I wanted to train three times harder when I saw Robin Cousins' last dance. That is where the true flight of an Olympic champion is!...'.
A warm August day. At the new rink of the 'Olimpiyskiy' sports complex, the temperature is minus eight. Clouds of white fog hang in the corners of the hall. And in the center of the rink, there are six figure skaters and Kovalev in a winter jacket. Six eights are traced on the ice, and Vladimir walks from one pattern to another, looking for imperfections. He has already tried on his 'iron discipline' gloves. Watch out, newcomers, you are about to get a taste of it from the world champion.
The face of Kira Ivanova is calm, focused. For her, everything is going according to plan: the lines of future programs have already been traced. Music has been selected, and competitions have been scheduled for the autumn. She knows the faces of her rivals well. She looked very closely at the American Caryn Kadavy, who visited Moscow in July, because she was one of the few figure skaters who brought compositions for the upcoming season. 'Caryn's nerves are not made of iron either, she can be beaten,' — such a conclusion she drew from this meeting. 'And generally, the situation now is such that any of the top six can become the world champion. The main thing is to bring your plan to completion. In iron discipline gloves...'.​

A. SHELUKHIN.​

 

[Walt FSHunter]

1986
WEEKEND

AFTER THE HOLIDAYS

(the article published in russian 'Sovetskiy Sport' on August 10, 1986)​

"What could be more romantic than a trip to the mountains?!
Fifteen-year-old Muscovite Katya Gordeeva, the 1986 World Champion, has just returned from exactly such a journey. She shares her story:
— Mountaineering is exactly what we, figure skaters, need. From the mountain peaks, such beauty opens up... This summer, Seryozha Grinkov — he is my partner — and I spent several weeks on the shore of Lake Issyk-Kul. We listened to stories about the travels of Nikolai Przhevalsky and about the lake itself.
Our coach, Stanislav Alekseevich Zhuk, a master of spear-fishing, treated us to the most delicious fisherman’s fish soup.
We had a great rest! We listened to music for future programs, prepared new elements, and went for cross-country runs. And the mountains were constantly calling us. In the end, we couldn't resist and went on a hike. Our goal was the Budenny Helmet peak. It was hot; we all left in light t-shirts. But in the mountains, a storm suddenly hit. A snowfall started, then rain. We hid under bushes, in crevices. There were plenty of adventures. And yet, we returned to the lake happy.
We flew to Moscow in an excellent mood, and four days later we were already performing in Luzhniki at the festival in honor of the Goodwill Games.
— And what attracts you besides figure skating? What do you do after classes at school?
— I love literature and music. I often read poems and long poems by Pushkin, and I re-read the novels of Dumas.
— Seryozha is five years older than you. He is a student at the Institute of Physical Culture. Does he probably look after you?
— Not really. Rather, I look after him. I make sure he isn't late for the bus during competitions, or for lunch. In our pair, I have the role of the housekeeper...
...The champions have returned from vacation. The working weekdays are beginning...​

A. ANTONOV.​

 

[Walt FSHunter]

1986

BETTER TO SEE ONCE

(the article published in russian 'Sovetskiy Sport' on August 17, 1986)​

“French television invites you to the ice arena in the city of Megève.”
— this is how a French TV commentator began his broadcast on one of the August days. Then he introduced the guests from the USSR to the audience — masters of figure skating Ekaterina Gordeeva and Sergei Grinkov, Aleksandr Fadeev, and Honored Coach of the USSR Stanislav Zhuk.
Joint training sessions between the Soviet athletes and the figure skaters of the French national team were a huge success. One of the leaders of the French Figure Skating Federation — Jean-Claude Letessier — spoke in detail about how the Soviet masters conduct their sessions in the gym and on the ice, how they work with music, and how they practice complex elements. He emphasized that getting to know the 'ice laboratory' of a coach like Stanislav Zhuk is always instructive for specialists of any level.
Together with Aleksandr Fadeev, the French singles champion Fernand Fédronic trained on the ice. By the way, he speaks Russian well and recites Pushkin's poems from memory.
Hundreds of Megève residents attended the Soviet masters' exhibition lessons.
Afterward, the Soviet figure skaters moved to the small town of Morzine, where they took part in festive exhibition performances together with the French national team.​

V. RYZHKIN,
Honored Coach of the RSFSR.​

MEGÈVE—MOSCOW.

 

[Walt FSHunter]

1986
SPORT — AN AMBASSADOR OF PEACE

WE ARE DISCOVERING AMERICA,

AMERICA IS DISCOVERING US

(the article published in russian 'Sovetskiy Sport' on August 23, 1986)​

1. A House on the Outskirts

Honestly speaking, we did not know how it would all be. We were flying into the unknown. And although we, athletes, with our eternal nomadic life are no strangers to moving around — to switch between hotels, state-owned furniture, and even state-provided soap, there was still some anxiety: how will it all turn out?
Let us explain right away: we were flying to America with two goals. The first was to participate in the traditional Olympic Festival in Houston. The second was an invitation to work for a few weeks in his famous figure skating center in Colorado Springs by Carlo Fassi, the trainer of such famous and brightly shining 'stars' as Peggy Fleming, Dorothy Hamill, and John Curry...
Houston was the final destination of our long flight, where we were to take part in the National Olympic Festival.
Generally, this current season for figure skaters was unusual and remarkable. For the first time, our sport — figure skating — went out, so to speak, onto the summer arena. First, we took part in the Goodwill Games in the very middle of summer, in mid-July. And immediately after the performances in Luzhniki, Marina Klimova and Sergei Ponomarenko were invited to Houston.
— Are you Russian? — a customs official asked us, and in his eyes flashed a whole gamut of emotions (mostly positive, as far as we could tell) which, in all probability, possessed the soul of the young man at that moment. He handed back the passport, smiled, and said:
— Glad to see you in Houston.
And then, wherever we went, Americans always met us warmly and cordially, one could even say with an open soul. We saw, we felt the Americans' desire to communicate, to talk with us, to try to understand our problems, our 'mysterious Russian soul'.
One meeting stood out. A young American woman, Leslie Lanes, learned from the newspapers that athletes from the USSR were coming to Houston and offered her services as a guide to the festival organizers. We visited Leslie at her home. She is a sociologist by profession, and her husband is a professor at a local university. It was very interesting for us to learn how simple Americans live, what problems concern them.
The Lanes' house stands on the outskirts of Houston. Generally, for every American, the level of wealth and prosperity is determined by whether they have their own home or not. The attachment to land is in the blood of Americans, and during our entire stay in the country, we never met a person who said: 'I want to live in a skyscraper.' But land is expensive nowadays, which is why two more young families live in the Lanes' house.
Houston is a relatively small city. Its population has only just crossed the 2 million mark. Of course, a great influence on its appearance and the character of its residents is exerted by the proximity of the National Aeronautics Center, and Houston is also home to the largest cardiovascular center in America. Houston is a business city. There are practically no entertainment venues here that are so characteristic of other American 'cities.' A few movie theaters, a couple of traditional theaters, and mostly — roller-skating rinks and discos for the youth...
Speaking of discos. Once, while walking around the city, Leslie suggested going to a dance club. A cozy dim light, fresh air (smoking is not allowed inside the hall). It was pleasantly surprising to see that young Americans dance really well. And when it comes to rock and roll, they simply have no equals. By the way, alcohol is not sold to the youth at the disco.
— The Houston municipality, just like in many other cities, — Leslie explained, — demanded that the owners of such establishments remove all alcoholic beverages.
Mostly, ordinary Americans prefer to pass their evenings in front of their TV screens. And so, when we came to visit Leslie Lanes, the television was quietly murmuring deep in the room, drawing attention to itself. However, even this 'tele-magnet' could not outweigh the immense interest that was visible in the eyes of our American friends. They wanted to know absolutely everything: what Russian cities look like, what kinds of cars drive on the streets, how many theaters and movie theaters there are in Moscow... And we never tired of being surprised by how shockingly little Americans still know about our life.
— Yes, — Leslie admitted, — the newspapers are far from always objective and kind when they write about your country. There is too much accumulated 'ice' of distrust in our relations. Perhaps such meetings can help melt it?
We told our friends (and now it was their turn to be surprised) about the fact that our athletes train for free, get ice for free, and that the cost of skates is cheap, and that even the performance dresses embroidered with sequins are completely affordable for everyone.
We talked about many things that evening. Outside the window, a July night was settling, stars were twinkling, and the evening breathed tranquility. And that is probably why a conversation about the future naturally arose. Wealth and poverty, the high development of ecology and environmental pollution, brilliant achievements of medicine and the natural desire of ordinary people for peace versus the accumulation of deadly weapons — we live on such an Earth. This quiet evening outside the window suddenly seemed very fragile and unstable. Only together, with joint efforts, as we said, can the peoples of our countries prevent the path to catastrophe. Disarmament, will free up vast resources — material, technical, intellectual — that will be directed toward creative, humanitarian goals. 'Your government has already repeatedly proven and demonstrated its good will to the world,' — Leslie said. — The turn is ours.
We were leaving the house on the outskirts of Houston and thinking that, who knows, perhaps our very brief, very minor meeting would bring its own fruits, would lay down, if only as a small brick, into the building of mutual understanding, of bringing our countries and peoples closer together.
On the next day, Marina and Sergei were to perform with an exhibition routine in the Houston Sports Palace. To tell the truth, at first we were somewhat disheartened by the fact that for all seven-plus minutes of their exhibition dance 'Exercise,' not a single introductory clap was heard. We were sitting in the stands and internally were already prepared for a cold reception.
Marina and Sergei finished their performance. A deathly silence... And suddenly the hall erupted! The spectators stood up, applauding our figure skaters. A US NOC member Dick Able walked up to us, shook our hands, and said:
— This was a real Bolshoi Theater on ice. Interpret this phrase however you like — the Bolshoi Theater. Thank you.
And the next day, an article appeared in a local newspaper with the headline: 'The Russian couple cast the ‘cold war’ onto the ice.'​

N. DUBOVA,
Honored Coach of the USSR.
E. SHEVALOVSKIY,
Master of Sports of International Class.​

 

[Walt FSHunter]

1986
SPORT — AN AMBASSADOR OF PEACE

WE ARE DISCOVERING AMERICA,

AMERICA IS DISCOVERING US

(the article published in russian 'Sovetskiy Sport' on August 26, 1986)​

2. How much does an Invitation to the Dance cost?

From Houston, where we participated in the National Olympic Festival, our path lay to Colorado Springs, a famous figure skating center where Carlo Fassi works. This name hardly needs any additional comments. It is enough to name his students: Peggy Fleming, Dorothy Hamill, John Curry, Caryn Kadavy...
Last autumn, Fassi came to our country for the international tournament organized by the newspaper Moskovskie Novosti (Moscow News). And for no one was it a sensation that the main award among the ladies' singles went to his 17-year-old student, Caryn Kadavy. Fassi's authority in the world of figure skating is unconditional. All the more pleasant was it that he invited us to work for a few weeks at his center.
We anticipate the question: why did a coach of singles skaters turn for advice and help to a "dance" coach? Indeed, our fields seem to be very different. However, working with Fassi at his center in Colorado Springs once again confirmed our shared view on the role that the art of ballet should play in figure skating, and indeed on figure skating in general.
For no one is it a secret today that figure skaters compete not only in technical mastery, the ability to control one's body but also in the expressiveness of the artistic images created by them. In other words, the art of expression—is increasingly breaking into the field of sports.
We talked a lot about this with Fassi himself and with his students. Let us make a clarification: our task included teaching American single skaters the basics of ice dancing, teaching them methods of creating an image on the ice. And, it must be said, our students proved to be remarkably capable and, what was pleasant, well-prepared. If among our single skaters it is difficult to find an athlete with good choreographic preparation, with well-placed arms, sufficient, as they say, for ballerinas, "turnout" of the feet, then we had no complaints against the Americans in this regard.
Working together, arguing, rejecting some things and agreeing on others, Carlo Fassi and we nevertheless reached one common conclusion: even the most brilliant acting talent of a male or female athlete cannot replace technique. Everything that is connected with art in our sport is a superstructure. Anyone who tries to replace sports training with artistic flair is knowingly losing.
Collaborating with Carlo Fassi became, in our opinion, an example and proof that figure skating is moving forward, improving, expanding the boundaries of the sport. That is precisely why Carlo Fassi was interested, as he admitted, to look at his students through the eyes of a dance specialist.
Fassi is a collector by nature. He collects everything in the world—from coins to Olympic champions he has trained. In his house, there is a whole library of books written about his students, and in the most prominent place stands an elegant figurine of a figure skater, in which we easily recognized Peggy Fleming. Carlo caught our look and, as if making an excuse, said:
"Coaches are sentimental people. After all, we measure our whole life by the milestones of our students: these were the times of Peggy, and these were the times of Hamill... Isn't that right?"
He, of course, loves his students. But, nevertheless, today his centre is considered one of the most expensive in the world, and his "favorite students" are forced to pay him round sums from their pockets. An "Invitation to the dance" does not come cheap. To judge Carlo for this is difficult—he lives by the moral laws of his country.
Every time we arrived at the rink for training, we stopped by a marble plaque erected in memory of the team of American skaters who died in a 1961 plane crash. And past us on a bicycle coasted Brian Boitano. At first, this activity of the new world champion surprised us. But gradually, we began to get used to everything here and stopped being surprised. The thing is, sometimes there is not enough room on the ice even for a world champion, where 18 or even 20 people train at the same time. And so, Brian gets on a bicycle—pumping up his muscles and gathering strength.
There is also nothing surprising in the fact that sometimes on the ice of the Colorado Springs center, you can meet beginners who can barely even stand on skates. The main thing here is to pay the money.
And there is one more meeting I would like to talk about. A reception was hosted in our honor by Mr. and Mrs. Tutt. Thayer Tutt is a prominent public figure in the city, and his wife is a former figure skater. Therefore, this family is deeply passionate about figure skating. Although 'in our honor' is not entirely correct to say. The reception was, absolutely, hosted in honor of our country, whose plenipotentiary representatives we were here.
Upon entering the house, the Soviet and American flags were displayed. And once again, the conversation turned to what concerns our peoples the most right now. The pace of military potential development, the accumulation of mountains of deadly weapons—as terrifying as it is, these facts have become commonplace to our ears.
"We no longer realize the reality of that danger which hangs over our world, over all of us," our hosts said. And it is strange that not all politicians understand what such a tool of such a means of achieving goals as war has already outlived its usefulness. War will lead to the destruction of civilization. Therefore, first and foremost, our countries—the USA and the Soviet Union—must extend their hands to each other and step onto the path of creation and progress...
Here, after all, is everything we wanted to tell you in these travel notes. Of course, many things did not make it into the text, but we said the most important things. Yes, politics is conducted by politicians, state figures. But trust between nations can probably be born from just such brief, fleeting encounters and conversations, which help people get to know and understand each other better.​

N. Dubova, Honored Coach of the USSR
E. Shevalovsky, Master of Sports of International Class​

COLORADO SPRINGS — MOSCOW.

 

[Walt FSHunter]

1986
HOW ARE YOU LIVING, NATIONAL TEAM?

UNDER THE RUSTLE OF THE LEAF FALL

(the article published in russian 'Sovetskiy Sport' on September 11, 1986)​

The Moscow hills, small forests, and groves are wonderfully beautiful in autumn! The wind swirls golden foliage over the earth. From the windows of the ice palace of sports in Novogorsk, one can see lush rosehip bushes with crimson seed-like fruits. Off-season! This is how many athletes talk about this time, but definitely not the figure skaters; for them, even the beginning of autumn is a hot time.
Once, Elena Vodorezova was asked: "What do you feel when you watch the figure skaters' performances from the stands?" She replied:
— There is only one thought—to tighten the laces on my boots as quickly as possible and get onto the ice! To show what I am capable of!
It is with this feeling that the leaders of the USSR national team greet the season, having arrived in Novogorsk to polish their new programs.
An employee of the local Ice Palace, Aleksandr Stiagailo—an excellent specialist in his field, who goes out on a resurfacer to prepare the ice—says this about his guests: "Fanatics! You barely have time to leave the arena, and they are already running along the edge. But the grateful people will definitely say 'thank you' for the ice..."
And here is the Honored Coach of the USSR, Igor Moskvin, who arrived from Leningrad with two pairs of skaters. He always occupies the same position at the rink—next to the blue window of the videocassette recorder. The kids skate, and he keeps casting glances at the television, because the device has a wonderful quality—slow-motion playback. The moment the duo finishes a combination, Moskvin immediately calls the skaters over:
— Oleg, Larisa, over here. You argued that your turn was synchronous. Look, nothing of the sort. I’ve been telling you for two days now that the mistake is the partner's. You can't argue with the television!
Larisa Selezneva and Oleg Makarov, Olympic medalists and two-time champions of the USSR, have their time scheduled down to the minute, and they don't want to "hold rallies" over minor details. They immediately repeated the element and corrected the mistake.
— In the new free program, Selezneva and Makarov took an important step toward changing their style, — explains Moskvin regarding his concept. — We decided to create a bright theatrical spectacle. To bring the spirit of dance into the performance, and it is no coincidence that the composition uses both modern melodies from the musical "The Life and Death of Joaquin Murieta" by composer Rybnikov, and motifs from the works of de Falla. I think the program will allow the figure skaters to better express their individuality, breadth, and power of skating.
The Leningrad skaters on the ice are replaced by a Moscow duo. A familiar girl's hairstyle—smooth hair with a ponytail at the back. Of course, this is Katya Gordeeva. Next to her is her stately partner with a good-natured smile—Sergei Grinkov. The 1986 world champions face a very difficult task—defending their title.
— September has just begun, but we already have something to show, — says Katya Gordeeva. — We made the short program for the new season and have been skating it for three weeks. Of course, the pattern will still be refined. The main thing is that it has a cheerful spirit and a joyful rhythm.
— The kids will certainly have a very responsible season. The pre-Olympic winter requires utmost thoroughness in preparation, psychological adjustment, and the selection of elements, — emphasizes coach Stanislav Zhuk. — Go into the choreography room, look at the pairs warm-up, and you will understand that Gordeeva and Grinkov have taken an important step forward in mastering the most complex elements. In their future program, there will be two peculiar "peaks"—a four-revolution twist lift and a unique combination with the intricate name of a "hop combined with a crossed lift and a one-handed spin."
In front of the mirror, the 1985 world champion in men's single skating, Aleksandr Fadeev, was practicing his spins. Visually, he has changed noticeably—he has become leaner, and his face has acquired a sharp, "adult" profile. Aleksandr is 23 years old. Out of those, he has been competing for the USSR national team for six years.
— Sasha, what do your fans write to you about?
— In the letters, they ask a lot of questions—where I started training, what my hobbies are. But sometimes there are letters "with a bit of spice." Recently, one sports enthusiast reproached me: why I decided to take a risk and attempt a quadruple jump at the World Championships in Geneva, when it would have been more reliable to perform just a triple? I answered this way: every master has their own goal; for one person, three revolutions are enough, while for another, four are absolutely necessary. For me, this direction is for the long haul.
— Your wife Svetlana is a Master of Sports in synchronized swimming. Do you listen to her comments?
— Listening is always interesting and helpful. But still, I must admit, in our sport, the perspective of a specialist is always weightier. It tips the scales...
— What new things are you preparing?
— The short program has already been set to music with a Ukrainian flavor. A lively Hopak. Vasily Muntyan, a soloist of the State Folk Dance Ensemble of the USSR, is helping me with the choreography. I am making my free program more difficult; I hope it will once again be enhanced by combinations with a triple Axel. Finally, I have also put together an exhibition dance of a lyrical nature. Overall, the mood is combative.
Yes, for the majority of spectators, figure skating is a beautiful spectacle—a perpetual holiday, as they say. But for the figure skaters, it is a perpetual ascent, the discovery of new horizons...
Take, for example, how effectively the World Junior Champions from Moscow, Elena Leonova and Gennady Krasnitsky, trained this summer. Practically all of their compositions are ready, and they will already debut at an international tournament in October. Modern trends have also been taken into account—there is showmanship and flair in the programs, which their choreographer, Marina Zueva, loves so much. A "Cha-Cha-Cha" dance melody sounds in the short composition, while fragments from the works of I. Dunaevsky are used in the free program. The course is set toward a cheerful, upbeat style.
Maturity. This trait is also evident in the staging of complex routines for the Sverdlovsk sports duos trained by Sverdlovsk coach Ardo Rennik. "I am expecting a breakthrough from my Urals skaters, Yulia Bystrova and Aleksandr Tarasov," Ardo notes. Meanwhile, a vibrant duo, Lyudmila Koblova and Andrei Kalitin—who certainly know how to spring surprises—is now training in the group of the Honored Coach of the USSR, Elena Tchaikovskaia.​

WHERE WILL WE SEE OUR STRONGEST PAIRS? Here is the calendar of the main figure skating competitions for the 1986–1987 season.
Moscow Open Championships (October 23–27);
International Tournament for the Prize of the USSR Trade Unions (Lipetsk, October 27–31);
USSR Junior Championships (November 13–16, Dnipropetrovsk);
International Tournament for the Prize of the "Moskovskie Novosti" Newspaper (Moscow, December 2–7);
World Junior Championships (December 2–7, Kitchener, Canada);
USSR Championships (January 5–10, Vilnius);
European Championships (February 2–7, Sarajevo, Yugoslavia);
World Championships (March 9–14, Cincinnati, USA).

A. SHELUKHIN.​

 

[Walt FSHunter]

1986
SKATE AMERICA

Figure Skating

(the article published in russian 'Sovetskiy Sport' on October 18, 1986)​

NEW YORK. At the "Skate America" international figure skating tournament taking place in the American city of Portland, the women's compulsory figures ("school") competition was won by T. Chin (USA), bronze medalist of the last world championship.
The second result was shown by a little-known American figure skater T. Damigella, the third by P. Schmidt (Canada). The 16-year-old world junior champion, Kyiv resident N. Gorbenko, currently holds ninth place.​

(TASS).​

 

[Walt FSHunter]

1986
SKATE AMERICA

FIGURE SKATING

(the article published in russian 'Sovetskiy Sport' on October 19, 1986)​

NEW YORK. Moscow figure skaters Lyudmila Koblova and Andrey Kalitin took third place in pairs skating at the "Skate America" international tournament taking place in the American city of Portland.
First place went to the American duo Katy Keeley и Joseph Mero. The second result was shown by Denise Benning and Lyndon Johnston from Canada.
​

 

[Walt FSHunter]

1986
AN UNEXPECTED ANGLE

"PLAYER-COACH" IGOR BOBRIN

(the article published in russian 'Sovetskiy Sport' on October 19, 1986)​

Honored Master of Sports, 1981 European figure skating champion Igor Bobrin is a public favorite. Many fans remember his brilliant ice miniatures like "The Cowboy" and "The Musician." In recent years, he has performed as part of the famous ice show "All Stars."
But 1986, judging by everything, opened a new chapter in the biography of the famous figure skater. Bobrin is a "playing director" in a new ice theater created at the Chelyabinsk Philharmonic.
"Right now, we are finishing work on our first ice performance, 'Silent Cinema,' based on a script by Ilya Reznik," says Igor Bobrin. "The premiere is scheduled for November 28 in Leningrad. We recently performed individual fragments of the show on the ice of the Tallinn Palace of Culture and Sports."
— What will this performance be about?
— The idea seems very enticing to us; we have the opportunity to combine retro and modern styles. I will play in the performance... no, not the role of Charlie Chaplin, but his image. An image that embodies his kindness, his pure love, and a touching, honest attitude toward people. My Charlie falls from the era of silent cinema into the world of robot-people who are only fond of themselves, too occupied with their trendy clothes and fashionable manners. There is no point in retelling the plot. The viewer will see everything and understand for themselves...
— What problems arose for you during the transition to the complex role of a director-choreographer?
— I didn't experience any psychological difficulties. Many familiar figure skaters, my friends, and assistants work with me. I love the theater. And I come onto the ice rink like it's my own home. It is very important that I am now studying by correspondence in the department of variety direction at GITIS named after A. V. Lunacharsky. The workshop of the excellent educator Vyacheslav Shalevich gives me a lot...
— And how is the specificity of figure skating combined with the problems of theatrical directing?
— Athletic skill is maintained at a high level in the show as well. But it is enriched thanks to the art of directing...
— You were a public favorite...
— But I never managed to become a favorite of the judging panels. I was European champion only once. However, I didn't chase laurels. My task has always been to remain myself.
— What do you dream of as a director in the new theater?
— About having a large, diverse repertoire. To release three or four new shows. Our plans include the play "Faust of the 20th Century". A staging based on Bazhov's fairy tale. In short, the work continues.​

B. SANDRATSKY.​

TALLINN.

 

[Walt FSHunter]

1986
SKATE AMERICA

FIGURE SKATING

(the article published in russian 'Sovetskiy Sport' on October 21, 1986)​

NEW YORK. Figure skater Viktor Petrenko from Odesa took second place at the traditional "Skate America" international tournament, which concluded in the city of Portland and gathered 67 athletes from 18 countries. He lost only to world champion Brian Boitano (USA). Another competitor from the host country, Daniel Doran, became the bronze medalist. Rounding out the top five were well-known figure skaters Grzegorz Filipowski (Poland) and Heiko Fischer (FRG).
In the women's singles competition, the winner was the 19-year-old American Tiffany Chin, a bronze medalist at the world championships. Experts noted an excellent performance in the free program by 15-year-old Tonya Harding (USA), who confidently landed four triple jumps and ultimately finished in second place. Agnès Gosselin from France came in third.
The hosts of the competition conceded victory to their guests in only one discipline—in the ice dance tournament, success went to the French siblings Isabelle and Paul Duchesnay, who managed to finish ahead of the top US duo, Suzanne Semanick and Scott Gregory.​

(TASS).​