Yes it's him
Elena Ilinykh & Ruslan Zhiganshin
- Thread starter OrdinaryDreamer
- Start date
Yes it's him
- Joined
- Feb 26, 2014
The name is correct but th picture on his profile looks different from the one I posted. Whatever, I was just curious.
Najarro: Love you! See you soon!!!
https://instagram.com/p/1p33H0qBjx/?taken-by=blackswanei
That answers our questions about the choreographer. :dance:
https://instagram.com/p/1p33H0qBjx/?taken-by=blackswanei
That answers our questions about the choreographer. :dance:
- Joined
- Feb 26, 2014
eheheheheh I put my money on him. :dance: I think he's doing the FD.
- Joined
- Feb 17, 2010
- Joined
- Feb 9, 2009
I am excited to see what he can do with a free dance!!!
- Joined
- Feb 26, 2014
Me too. I know he is a choregrapher and he studied classic and modern but he is more focused on flamenco, spanish dance. So him doing their FD is intriguing.
I didn't like the FD he did for Carron&Jones to be honest. But It also depends from the skaters, the music choice and the style each couple has. I love the way he thinks and speak about choreography&skating, so I'm confident.
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Me too. I know he is a choregrapher and he studied classic and modern but he is more focused on flamenco, spanish dance. So him doing their FD is intriguing.
I didn't like the FD he did for Carron&Jones to be honest. But It also depends from the skaters, the music choice and the style each couple has. I love the way he thinks and speak about choreography&skating, so I'm confident.
Its gonna be so good. I can sense it in my bones!! Enjoy your vaca guys.
- Joined
- Feb 26, 2014
"I try to treat skaters as real dancers. I work with them a lot in a studio, away from the ice. And I think the audience sees the difference; that the skaters are not only doing a few steps or some movements, but they move like real dancers. And I study the personality of each skater because they are completely different. "
"I think a good choreographer is one who can identify the style of each skater, and then create a flamenco program, or something else because I also do other styles, specifically suited for his personality. This is what makes a good choreographer. Not the ones who create steps and arm movements and positions, but do the same thing for all the skaters. You have to know the skater: his personality, his style of moving, his capacity and then create the right choreography for him."
"I try to help each skater develop the emotions inside of him. I always start with movements. Movements, movements, movements. On the third day I start to work on the emotions. Each movement must have an emotion, movements without emotions are nothing. But emotions without technique are nothing either, all must be put together."
"Before I say "yes" to skaters who want to work with me, I check what kind of skater they are. If they are very similar, I won't accept, or maybe I will chose only one to work with."
"Of course costumes are very important. I cannot choreograph and not care about the costumes. All must be in the same package. I'm not the kind of choreographer who comes, does the choreography and leaves, no. I like to come, speak about music, costumes, hair style, about everything. If I start the work I like to see the results and improve them."
"I have a "dancer's vision". I work with skaters on a very high level and who, I think, don't need a skater to show them the choreography. This is my opinion. They will progress much better with a real dancer, a real dance choreographer. There are amazing choreographer-skaters, of course. I don't want to say that they are not... But they will always see the choreography in a "skater's vision". They will always put the movement in according to the skating steps. They will always think: "That's a very difficult step, so I can't put something difficult for the arms", while I always take that risk. For example, when I see a step sequence, I think about the upper part of the body and add the movements I would for a real dancer. It's extremely difficult for a skater, because there must be a lot of coordination of the arms. But the result will always be: "Wow, he is a dancer on the ice!"
"Ballet is good for the body, for presentation; it's very important! And you can immediately tell if a skater took ballet classes or not, it's very evident. I think it's a culture, a way of teaching from the very beginning."
"I push a lot and I also talk a lot to the skaters to make them believe in themselves. And to go, go and go with more difficult movements. I think this can bring an evolution to skating. If we have rules, the same rules for every skater, the same jumps for every skater, in the end you'll see carbon copies. And I think it's important to have diversity: in skaters, in choreography, in movements, to enrich the skating world. That's what I work for!"
Have you ever refused a skater because you believed your dance style wouldn't suit him?
No, never. I can do many things. I am a choreographer, not only a flamenco choreographer. Flamenco is my first language, but since I was five I've studied classical dance and contemporary dance.
http://absoluteskating.com/index.php?cat=interviews&id=2010antonionajarro
"I think a good choreographer is one who can identify the style of each skater, and then create a flamenco program, or something else because I also do other styles, specifically suited for his personality. This is what makes a good choreographer. Not the ones who create steps and arm movements and positions, but do the same thing for all the skaters. You have to know the skater: his personality, his style of moving, his capacity and then create the right choreography for him."
"I try to help each skater develop the emotions inside of him. I always start with movements. Movements, movements, movements. On the third day I start to work on the emotions. Each movement must have an emotion, movements without emotions are nothing. But emotions without technique are nothing either, all must be put together."
"Before I say "yes" to skaters who want to work with me, I check what kind of skater they are. If they are very similar, I won't accept, or maybe I will chose only one to work with."
"Of course costumes are very important. I cannot choreograph and not care about the costumes. All must be in the same package. I'm not the kind of choreographer who comes, does the choreography and leaves, no. I like to come, speak about music, costumes, hair style, about everything. If I start the work I like to see the results and improve them."
"I have a "dancer's vision". I work with skaters on a very high level and who, I think, don't need a skater to show them the choreography. This is my opinion. They will progress much better with a real dancer, a real dance choreographer. There are amazing choreographer-skaters, of course. I don't want to say that they are not... But they will always see the choreography in a "skater's vision". They will always put the movement in according to the skating steps. They will always think: "That's a very difficult step, so I can't put something difficult for the arms", while I always take that risk. For example, when I see a step sequence, I think about the upper part of the body and add the movements I would for a real dancer. It's extremely difficult for a skater, because there must be a lot of coordination of the arms. But the result will always be: "Wow, he is a dancer on the ice!"
"Ballet is good for the body, for presentation; it's very important! And you can immediately tell if a skater took ballet classes or not, it's very evident. I think it's a culture, a way of teaching from the very beginning."
"I push a lot and I also talk a lot to the skaters to make them believe in themselves. And to go, go and go with more difficult movements. I think this can bring an evolution to skating. If we have rules, the same rules for every skater, the same jumps for every skater, in the end you'll see carbon copies. And I think it's important to have diversity: in skaters, in choreography, in movements, to enrich the skating world. That's what I work for!"
Have you ever refused a skater because you believed your dance style wouldn't suit him?
No, never. I can do many things. I am a choreographer, not only a flamenco choreographer. Flamenco is my first language, but since I was five I've studied classical dance and contemporary dance.
http://absoluteskating.com/index.php?cat=interviews&id=2010antonionajarro
- Joined
- Feb 17, 2010
Me too. I know he is a choregrapher and he studied classic and modern but he is more focused on flamenco, spanish dance. So him doing their FD is intriguing.
I didn't like the FD he did for Carron&Jones to be honest. But It also depends from the skaters, the music choice and the style each couple has. I love the way he thinks and speak about choreography&skating, so I'm confident.
Carron & Jones didn`t have the technical abilities or the musicality of Ruslan and Elena, therefore I`m not worried about that. Jennifer Swan, who choreographed Pink Floyd and Carmen for V/M, also helped Aldridge/Eaton with their Carmen SD this year, whereas V/M`s programs were masterpieces, A/E`s SD was very generic. I think this shows that the choreography can only be as good as the skaters.
If it's the program I think you're referring to for Carron and Jones, I loved it, they just didn't have the skills. Ruslena, totally different story. Though we had our reservations about their FD this year, one thing you can say about them is that technically they have great skating skills. There are a few challenges with lifts and spins but I sense they will overcome these. Super excited for them.
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- Joined
- Feb 26, 2014
Yep. I fully agree. That's why I'm confident.
Besides, I think you are always inspired when you have a good material available, right? I know I would be.
- Joined
- Feb 9, 2009
I think a waltz can at to their strengths. They have great edges. I have no doubt they can pull it off!
So happy for them, I could cry. When I remember all the Russian experts who wrote them off, and look at what they've achieved in a year. I'm getting teary eyed just thinking about it. But none of that.
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- Joined
- Feb 26, 2014
So happy for them, I could cry. When I remember all the Russian experts who wrote them off. and look at what they've achieved in a year, I'm getting teary eyed just thinking about it. But none of that.
You are making me cry now.
- Joined
- Feb 17, 2010
I actually think they could have an advantage in the Waltz compared to the other couples, since the Ravensburger Waltz needs a very strong girl. I`m just glad that they have with Najarro someone who really WANTS to work with them. With Averbukh I had the feeling as if it was an obligation for him.
