job much easier. I understand from a television and financial standpoint the school figures were not interesting enough for the public, but from a skating quality standpoint they were a 10.” Many skaters view footwork elements as a chance to connect deeper with the audience and maximize their overall performance value. “I find that skaters really look forward to that moment when they can let go and express themselves and the music with full abandon,” Mills said. “Personally I feel a step sequence really gives interest and excitement to the programs. If the skater is really into their steps, you can hear the crowd light up with excitement.” Music choice and selection play a big part
in where to highlight these elements in a routine, Mills said. “Te composer determines my compass for
the ‘it factor’ in a step sequence,” he said. “I like to use the nuance and impact moments to get the audience and judges interested and engaged in the performance. I try to find that special little something that every skater has in their step se- quences.” One of the challenges with ice dance is translating some off-ice dance styles and steps to the ice. Hubbell and Donohue decided to stretch themselves this season with some nontraditional choices. “One of the most difficult styles to put onto the ice is hip-hop,” Hubbell said. “We knew this
when we chose to put “Back to Black” (a Beyon- cé and Andre 3000 collaboration featured in the 2013 movie Te Great Gatsby) into our free dance this season. Te sharpness of movement, synco- pation of timing and separation from each other are all things which aren’t typically seen in com- petitive ice dance.” In ice dance and pairs, unison is an import- ant characteristic for excellent footwork sequenc- es. In past years, unison was a major factor in judging footwork, but today’s standards require much more diversity from the skaters. “Footwork used to be strictly 100 percent about unison but now it’s also about body move- ment,” Johnston said. “One-third of the foot- work now is in complete mirror image, and other times the skaters may be doing completely differ- ent steps. If a team wants to achieve a Level 4 in footwork, it can’t be in unison at all times.” A brilliantly executed step or footwork
Lyndon Johnston
“Footwork used to be strictly 100 percent about unison but now it’s also about body movement.”
- LYNDON JOHNSTON ADVERTORIAL MK-ing it happen on the ice
Mitchel & King blades (better known as MK Blades), manufactured in Sheffield, England, shot to fame in the latter half of the 20th century as it became renowned for quality and consistency. Nearly six months ago, Mitchel & King came un- der new ownership and regained focus and drive to reestablish itself as the No.1 brand in skating. The MK Dance blade remains the
premier blade for those wishing to seri- ously compete in this field. And new im- provements have been implemented in MK’s new brazing process that will significantly improve the aesthetic of this blade, as well as other iconic blade profiles like the Phantom, Gold Star and Professional. In recent months, the company has sought advice from elite-level
coaches, athletes and retail owners to gain a deeper understanding and awareness of the requirements of a modern-day blade, with the results forming a revolutionary research and development project. Adrian Pearce, MK production manager, said, “We are on the verge of unleashing a new product that will unequivocally gain the attention of elite athletes.” But where did these elite-level athletes start their careers, and which blades did they wear
while learning a waltz jump? The Club 2000 and the MK21 are still heavily sought-after for intro- ductory sets, but come August 2015, MK will unveil the world’s greatest introductory blade. The blade — designed and styled from the feedback of hundreds of coaches throughout
the world — will meet the exact criteria of the entry-level skater looking to purchase their first boot and blade combination set. And, unlike most other competing brands, all manufacturing is undertaken at the company’s HQ to ensure the continuation of quality and perfection.
combination can undoubtedly add an exclama- tion point to an already terrific performance and create truly special moments in a program, Mills said.
“Tere are so many layers to any footwork
or step sequence,” he said. “For me, it is a cumu- lative process of starting slowly with clarity and gradually adding in distinct musicality, upper body, and rotation to add difficulty and complex- ity to the sequences. It’s like building a custom home.”
32 MAY 2015
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