Choreographer Phillip Mills, right, has developed the footwork for many of the sport’s best skaters, including 2014 World silver medalist Tatsuki Machida of Japan.
by KAMA KORVELA In many skating performances, there are elements that are
showstoppers — explosive jumps, blinding spins and high-fly- ing lifts. But there’s a lot of excitement in a great footwork or step sequence as well. Expertly executed footwork has the abili- ty to captivate the audience and further draw it into a program, garnering big scores from the judging panel, too. “Te footwork, as underrated as it is, is the element with
the highest value and the longest duration,” ice dancer Madi- son Hubbell said. “Footwork is composed of the same steps, in different sequences, like a puzzle.” But it’s not enough just to include it in a routine; it has to
be done well. Skaters today in every discipline strive to reach Level 4 for each element. According to the International Skat- ing Union (ISU) rules, a Level 4 footwork sequence for singles skaters consists of five different types of turns and three differ- ent types of steps, and each must be performed at least once in both directions. A skater must also execute rotations in both directions, with full body rotation and use upper body move- ments for at least a portion of the pattern. In addition, two dif- ferent combinations of three difficult turns must be performed with a clear rhythm. Ice dancers have their own requirements for footwork, explained ice dancer Zach Donohue, who is partnered with Hubbell. “A Level 4 step sequence (in ice dance) consists of nine
Novice men’s champion Jonah Barrett showcases his step sequence in Greensboro.
clean turns from each partner,” Donohue said. “You have to complete a footwork sequence with both partners displaying clean turns, no scratching on their toes, or wavering of their edges — it’s much more difficult than a Level 4 lift, which is done in six seconds.” A well-done footwork or step sequence can make or break
a competition result, explained Lyndon Johnston, an elite coach based in Ellenton, Florida, who is known for teaching these particular elements. “In reality, one of the toughest things for skaters to realize
is the value of Level 4 footwork,” he said. Johnston, who coaches with Jim Peterson, shared an ex-
ample from the novice men’s event at the 2015 U.S. Champi- onships. “Jonah Barrett won both the short and long programs at
the event,” Johnston said. “His footwork in the short program was Level 2. Te long program footwork was musically better and his turns were cleaner. Te footwork in the long was Level 4, and he received Grade of Execution (GOE) marks of +1 and +2 across the board. He earned 4.74 points for the sequence — more than a triple toe jump.” Te International Judging System (IJS) puts a great deal of emphasis on edge quality, not only when it comes to foot- work and step sequences, but other moves as well. “Te IJS is very strict about edge changes; the skaters
have to step up their game and understand that it’s not just about completing the footwork element,” Johnston said. Compulsory figures, which have been absent from singles competition since July 1990, gave skaters a solid foundation for edge quality. With the elimination of figures, it can be more difficult for them to learn these skills. “Te compulsory figures provided those deep edges and
taught skaters proper technique,” Johnston said. Choreographer Phillip Mills has seen the consequences of
the elimination of figures, and its subsequent effects on other skills on this group of skaters. “When they (the International Skating Union) were thinking of taking out figures, I championed keeping them in because of the quality of edge and glide,” Mills said. “Te older generation of skaters, like Jill Trenary, made a choreographer’s
30 MAY 2015
JAY ADEFF/U.S. FIGURE SKATING
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