"The
8 Components of the presentation mark".
(As
presented by the 1993 ISU rule book, The 1995 ISU Video, and notes on the 1998
Lectures given by Lori Nichol to the ISU)
"Presentation"
is the act of preferring or acceptance, introducing or bringing to notice.
The Presentation Mark is judged by 8 objective requirements and not on subjective emotions or personal preferences of the judges.
All
of the 8 components of the Presentation Mark are required of the skater and are
equally weighed and evaluated during the skater�s program.
The
8 Components are:
1-
Harmonious Composition
2-
Variation of Speed
3-
Utilization of Ice Surface
4-
Easy Movement and Sureness In Time To the Music
5-
Carriage and Style
6-
Originality
7-
Expression of the Character of the Music
8-
Unison (for dance, pairs & synchro)
**Some
of the component descriptions will overlap as they are interdependent upon one
another to create the whole.
1-Harmonious
Composition:
The
skating must conform to the structure, feeling, and phrasing of the music. (This
requires listening carefully to your music!) Your program should be a cohesive
involvement of Ice/Skater/Music/ and movement in creating a whole. The movement
is because of the music not just because you needed to put an element somewhere.
Find the place in the music where your skating elements and footwork logically
fit in. For example a crescendo and loud crash in the music indicates a jump
prep. and landing. Flowing music calls out for long lines in the arms, legs and
whole body with flowing ice coverage. Staccato notes in the music call out for
interesting footwork (and possibly head and arm movements as well). Phrasing of
music should be indicated in the phrasing of your skating. Avoid
�telegraphing�. Let your footwork and elements flow together as one with the
music. Don�t allow your body language to become �dead� in setting up for a
jump. Vary your connecting steps! Avoid the monotony of endless crossovers to
gain speed. Have a clear vision of your program as a whole. Keep the movements
simple and clear �with follow through�, one part of the program flowing into
the next. �In a good program, the interest of the spectators is maintained by
a continuous sequence of movements, wisely interspersed with surprising and
striking features.
In
judging the composition of the program the judges shall ask himself the
following questions:
1-
Does the skater achieve his/her interpretation of the music with a well balanced
program, as regards to it�s chronological sequence?
2-
Are the difficult features laid out in a certain specific order on the whole of
the ice surface?
3-
Does the skater give the impression of utilizing the entire ice surface?
4-
Are there empty and dull moments in the course of the program?
5-
Does the skater achieve his/her effect by frequent repetition only?" (ISU
Judges manual)
2-Variation
of Speed :
Interpreting
or �communicating� the music through the variety of speed in footwork as
well as variety of speed in ice coverage. Quickness of footwork (also movements
of head, torso, hands and arms) and ice coverage needs to be in direct relation
to the music being played at the moment. This requires listening to and
understanding what is going on in the harmony, melody, tempo of your music at
every given moment. For example soft intimate portions of music requires less
ice coverage and smaller upper body movements than do expansive, or loud
portions. If two different things are going on in your music simultaneously
(bass and treble lines) you would want to feature just one of those lines in
your program composition at a time. You also would not want to do the same
movements with the same quality and speed when there is an obvious change in the
speed or quality of the music.
3-Utilization
of the ice surface:
Play
to the full ice surface not just in front of the judges. There is an
exhilarating and �complete� feeling at the end of a program when the whole
ice surface has been used effectively. Jumps, spins and footwork should be
distributed artistically over the entire area and interesting pattern
compositions should emerge from ice usage (ie. Not just back and forth/round and
round on the ice!).
Lori
Nichol also adds �space� to the criterion of ice coverage as the skaters are
skating in �3D�. This requires a good utilization of a variety of body and
arm movement levels throughout the program.
4-Easy
Movement and Sureness in Time to the Music:
This
has everything to do with good basic skating and edge quality! Quiet edges, flow
across the ice�the appearance of flying or floating over the ice surface with
you skating never looking labored or jerky. The better quality skater you are
the greater your chances of being able to skate in time to the music. Stroking,
connecting steps, good balance, and quality edge control all give you this
ability toward �Easy Movement�. Sureness (confidence) requires practice and
familiarity with all the components of your program. Practice enhances �muscle
memory� and the �mind body connection� so that sureness and flow can be
expresses as second nature.
�Both
the position (body lines) and movement are taken into consideration because from
the artistic aspect they are both based upon the principles of dancing� (taken
from ISU Judges Manual).
The
experienced skater expresses the music with a co-operation of body, legs, arms,
head, and blade on the ice with phrasing and flow. Lack of timing shows either
not enough practice time and/or lack of understanding of the music chosen to the
judges!
"In
judging the movements and attitude, the judges should ask himself the following
questions:
1-
Does the skater, in his/her movements, flow evenly over the ice?
2-
Do the movements of the skater express the melody, the rhythm or the beat of the
music?
3-
Do the movements of the various parts of the body create the impression of
natural harmony and easy flow?" (ISU Judges manual)
5-Carriage
and Style:
Carriage
= Correct body alignment Flexibility = Carriage extended so that you have more
variety in movement (Lori Nichol)
�This
(carriage) can easily be appraised by the judges, as general rules of good form
apply. Graceful positions of the body and of the head, arms, hands, legs and
feet (toes pointed, legs stretched) add much to the pleasing quality of a
performance. They are a distinct part of the whole and their relative value and
effect should be carefully noted.�
An
artistically adequate movement of the arms always compliments the movements of
the skating or free foot (spirals, spins, steps or jumps). Movements more or
less restricted to the arms often create the impression of �showing-off�,
and are suggestive of variety show effects not meriting credit. (taken from the
ISU Judges Manual).
In
other words �movements which originate and extend from your center and are in
harmony with the rest of your body lines� NOT flailing or �stuck-on�
gestures!
TEST:
If you video tape your entire program and then play it on �slow-mo� would
you ever be caught in an awkward or ungainly position? A proper body line
creates a clear picture and expression at all times, vague or incorrect
movements create a blurry and incomplete picture.
�Style�
refers more to the skater�s ability to communicate or interpret the style of
the music chosen (which is objective) rather than the skaters own personal style
(which would be more subject to the personal preferences of each judge).
Interpretation of the music through the entire body, facial expressions, and
execution of skating elements is what the judges are looking for. Of course, in
part, the expression of the style will relate to both the choreographer�s as
well as the skater�s personalities and interpretation of that style.
Again,
the judges are asked to view this with �open mindedness� as personality in
interpretation of style can add greatly to the whole of a given program.
�Skating
has it�s own distinct style, we borrow from other styles but they must be
utilized correctly and in relation to good skating technique� (Lori Nichol)
6-Originality:
�Originality
is the spice that adds to the flavor of a free skating program� (ISU)
�Originality
is the presence of creative thought�(Lori Nichol)
Whether
it is introducing a new element or just �thinking out of the box� by
presenting an existing element in a new way or in a new context, judges are
encouraged to give credit to originality as this is what furthers expands the
artistic as well as the technical aspects of the sport.
7-Expression
of the Character of the Music:
�Expression
of the character of the music means expression by the skater of the mood and
feelings created by the music he/she has chosen. In the playing of an
instrumental composition, there can be made grades of shading and color. When
this shading of tone is unusually beautiful to the ear, it is the mark of a true
artist and becomes the expression of individual temperament. In a free skating
performance, the same thing can be true, and it is a feature for which
additional credit is given. With true expression the skater is part of the
music, instead of merely marching along to it�s beat. It requires a great deal
more skill than ordinary timing, because every movement must be under excellent
control throughout so that the skater is free to concentrate on expression. The
skater will always be doing what the music seems to call for, and the moods of
the skater will conform to the moods of the musical composition. The expression
of individual temperament will be recognized by it�s quality of being a
continued source of pleasure and sheer delight, and this kind of free skating
will be �free�. (ISU Judges Manual)
Now
the movement is no longer just stuck on or used as �filler� but the skater
becomes completely one with choreography , music, and ice. Where the skater
seems to get right inside the music and project it with every part of their
being. It is at this point of complete involvement in the expression of the
music style, the blade on the ice, the choreography, and the elements so that
audience is drawn in to that involvement which Lori Nichol calls �Fully
Realized� or being �In The Zone�.
She
asks �Are you living it while you are doing it? Are you doing what your
teacher told you to do or are you believing in the music and in that
character�if you don�t believe it no one else will."
In
order to express the character of the music well it helps to study your chosen
piece of music, the structure of the composition, the composer, and the style it
was written in. Study the story line (if there is one, even if you do not choose
to portray that story line it helps in understanding the qualities and intent of
the piece). Study artworks, attitudes, and dance styles associated with the
style and time the music was composed. This all helps to form the artist within
you and your ability to express that artistry with accuracy and intelligence to
the audience.
"In
judging the choice of music and the musical sense of the performer, the judge
should consider the following questions:
1-
Does the piece of music require an expression of the rhythm, or an
interpretation of the melody and does the skater comply with these requirements?
2-
Does the music chosen correspond in it�s character to the technical maturity
and skating personality of the performer?
3-
Is the skater capable, on the basis of his technical skill and body control, of
expressing the music?
4-
Does the skater know that he must emphasize the highlights of the music by an
adequate arrangement of the difficult features of the program?
5-
Is the music expressed merely by movements of the arms and head, or is the
skater capable of it�s interpretation through the use of genuine skating
movements?"
(ISU
Judges manual)
Lori
Nichol�s analogies:
Melody
is musical line
Harmony
is musical space
Rhythm
is musical time (dimension)
Tempo
is musical pace
Dynamics
is musical volume
Form
is musical structure
8-UNISON (DANCE, PAIRS & SYNCHRO)