Interview With Kate McSwain

A senior level figure skater and choreographer, Kate McSwain is one of the most important names you're going to need to remember when you're talking about the artistic revolution of the sport of figure skating which is now underway. An immensely talented choreographer, her own background as a skater earned her 3 gold medals at the National Showcase Artistic Competition and a bronze at ProSkater's Virtual Skate Off original performance competition. She has worked as a yoga, pilates and dance instructor for the last 6 years in addition to traveling the country working with VERY talented skaters including Jeremy Abbott, Caydee Denney and John Coughlin, Piper Gilles and Paul Poirier, Adam Rippon, Rachael Flatt, Alex Johnson, Drew Meekins, Wesley Campbell and many others. Her Sk8tivity program and work with Young Artists Showcase (YAS) and American

Ice Theatre (AIT) cement the fact that Kate is a skater and choreographer with the RIGHT vision about where the sport needs to be heading and I hope you'll enjoy Kate's answers to my questions as much as I did!
 
Q: Tell me about your background in skating, what first drew you to the sport and what drew you to choreographing for other skaters.

A: I began skating late - around age ten - but quickly became serious, moving from my hometown in Kentucky to train and compete for 10 years out of the Detroit Figure Skating Club, followed by the Dallas Figure Skating Club, and finally the Broadmoor Figure Skating Club in Colorado Springs. When I retired from competition, I began pursuing a Theatre degree from the University of Colorado in Colorado Springs, which I obtained in 2008. I have known I wanted to be a choreographer since I was thirteen, so for half my life now. That is why my parents and I continued the difficult path of travelling and living apart so I could train; we all wanted to prepare me for a career in skating. Through the five years I spent working with my coach Allen Schramm - an artistic pioneer in skating in the seventies and eighties - my artistic skills and movement vocabulary were moulded and refined. Since I have graduated, I have been continuing my education and shaping my artistic philosophy by doing a Master Choreography Techniques (MCT) class with Jodi Porter of American Ice Theatre, who has also become my mentor. I also learned from Audrey Weisiger and through my participation in Young Artists Showcase (YAS). It is now my personal mission and passion to educate young skaters about how to create quality movement while skating, using tools and terms that allow them to identify the muscles they use to move with their core bodies. This is why I choreograph: I really want to help revolutionize the way skaters are being taught to move.

Q: What do you like most about the YAS project and why should more people get involved? In what capacity will you be involved with YAS4?

A: YAS is an innovative and challenging platform and opportunity for aspiring skating choreographers. There are not a lot of places a choreographer can have the freedom, support system, or professional feedback that YAS offers its contestants. As more young choreographers participate in YAS and more people watch and support it, only then will skaters, coaches, judges, and audiences begin to see the difference between high-quality, full-body movement, versus more simplistic skating. This concept is what we YAS alumni and other supporters of the education and promotion of quality artistic movement have begun to call the "artistic revolution." We believe a fundamental change is needed so that genuinely artistic skating - or the ART of skating - is understood and appreciated by professionals, taught to young skaters, and performed by trained artists. I hope to participate in YAS4! The last time I participated in YAS was the inaugural year (2010), and I hope to challenge myself and continue to develop my craft through the five challenges in the competition this summer. I always want to keep myself sharp, and make sure I am staying fresh with my movement and choreo choices, and I believe YAS4 will inspire me and help me refine my skills.

Q: What skater would you most like to meet that you haven't yet? Choreograph a program for?

A: I would love to meet and talk to Toller Cranston or the late John Curry. I would like to pick both of their brains and know what millions of ideas they have to expand the art in figure skating. They were the beginnings of the artistic movement, and I wish I could have the opportunity to learn from them in person. Jeffrey Buttle, Stephane Lambiel, Joannie Rochette, and Meryl and Charlie are the skaters I wish I could choreograph for! All of these skaters are legends, and watching them skate is an experience that one will never forget. They are the types of skaters that will continue to push the artistic envelope in skating.

Q: What is the most overused piece of music in figure skating?

A: There are so many! "Carmen", "Ave Maria", "Firebird", "All That Jazz", "Phantom of the Opera"…and I could go on because, unfortunately, there are lots. It’s time for change. And I hope the new rule permitting lyrics after this season will really help widen music choices and increase creativity in choreography, both of which will hopefully significantly expand figure skating's (sadly) dwindling audiences.

Q: What can you tell us about your choreographic process?

A: My process is different depending upon the piece, the audience, and the amount of time I have to prepare. When time allows, I choreograph everything in my head beforehand and draw it out on paper with all the counts and formations so I feel prepared when teaching it to the skaters. I definitely prefer to have the spatial design and highlights of a piece outlined first, and to fill in the movement later using improvisation and work with the individual skater to identify his/her unique strengths.
Sometimes, though, especially when I am on a tight deadline, I create by improvisation and trusting my gut. Overall, the integral part of choreography that inspires me the most is allowing my body to be completely free and move to the music as if my movements were playing the notes as I hear them.

Q: Who's your skating idol? Who's one skater you love that not many people may know about?

A: My idol is Michelle Kwan because she is the whole package, both on and off the ice. She moved audiences through her musicality and fluidity, and at the same time, she is as classy, positive, and polished as they come. She is a wonderful role model for young skaters. Currently, my favorite skaters are Meryl and Charlie. Their level of artistry in skating is, in my opinion, absolutely flawless.
As for lesser-known but also excellent skaters, I love Wesley Campbell, Alex Johnson, Hannah Miller, Jonathan Cassar, Garrett Kling, Adam Blake, Piper Gilles and Paul Poirier, Kim Navarro and Livvy Shilling. (I can’t just pick one!) These skaters are all talented, passionate, and eager to learn. With these skaters’ energy and enthusiasm—and many others like them—we will be able to continue to move the “artistic revolution” further along.

Q: What are your goals these days and where do you see yourself in five years?

A: My goals are to continue choreographing for elite competitive skaters, ensembles, and large productions, always challenging myself by being open to growth and development and constantly working to improve, never plateau. In addition, I would like to establish a company branch of American Ice Theatre (AIT) on the East Coast, opening another venue for professional skaters to perform and for young choreographers to present their work. This branch of AIT would also educate young training skaters on how to move their bodies using classes and resources such as my “Sk8tivity” artistic clinics, the newly re-launched Ricky Harris Clinics, as well as the Master Choreography Techniques online class I mentioned, put on by AIT. Above all, I hope I help move the level of artistry in the sport higher, because I am just very passionate about making the effort to supply skaters from a young age (as low as Pre-Preliminary) with the tools they need to skate properly, using their full bodies and understanding movement that starts from the core. Only then will we see the next generation arise, both expecting and executing higher standards of artistry.

Q: What are your thoughts on professional figure skating? It was MASSIVE in the 1990's and professional figure skating competitions are few and far between these days.

A: I think professional figure skating is a wonderful outlet for spectators of the sport and I would love if it had a resurgence! However, I think there should be a lot more outlets for amateur skaters to pursue success and accomplishment through skating as well. In addition to professional skating competitions, I would like to see more emphasis overall on other possible future paths for skaters—such as synchro, professional ice theatre companies, show skating, and test track. I think that if parents and skaters approached the sport with fewer expectations of the Olympics and greater awareness of the many opportunities and benefits to the other avenues as well, the sport would have many more participants and spectators. As a side note, I also think a reality TV show such as "So You Think You Can Skate" could be hugely popular, since it would have already professionally trained skaters competing on an artistic level. I really hope we can turn over a new leaf with the popularity of the sport and I think the first step is envisioning and popularizing more paths than just the classic competitive track.

Q: What's your favourite song and why?

A: The answer to this is constantly changing because I think it’s really important to stay connected to fresh, contemporary artists in order to keep skaters and audiences interested. I try to find new artists and different sounds all the time, but that requires ongoing research and keeping my library up-to-date, both of which require time and money! I will say that some of my all-time favourite artists are Xavier Rudd, Mika, Beyonce (she never gets old!), Amy Winehouse, Yann Tiersen, Paloma Faith, Mumford and Sons, Miss Li and - of course - Barbara Streisand.

Q: What has been the most memorable experience you have ever had on the ice?

A: The opportunity to skate this past March at the Rockefeller Center in New York City with the New Voices in Figure Skating show presented by YAS and Ice Theatre of New York was absolutely a dream come true for me on every level. I had the chance to perform with one of my best friends and fellow choreographer Garrett Kling, and at the same time got to showcase some of my choreography at the most famous rink in the world. I will never forget taking my beginning pose and looking up to see the famous New York City skyline—it gave me a joy and an excitement I have never experienced before.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on Facebook, Twitter, Pinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

Madge Syers, The Mother Of Figure Skating

Long before Yuna Kim landed a triple Lutz/triple toe combination, before Michelle Kwan mesmerized audiences with her interpretation of the music of Eva Cassidy; long before Katarina Witt, Dorothy Hamill, Janet Lynn, even Sonja Henie, came a woman who single handledly changed ladies figure skating as we know it with her determination and pioneering spirit. The very first woman to strike Olympic gold in figure skating was also the very first woman to compete in an ISU Championship.

Florence Madeline 'Madge' Syers changed the course of history in 1902, when she bravely entered the world of competitive figure skating, competing against the men and winning the silver medal behind Ulrich Salchow, who ironically stands alongside Madge in the record books as the first men's Olympic gold medallist in 1908.

Madge was one of fifteen children of a disgraced and bankrupt property developer from Kensington and was a distinguished swimmer and equestrian before taking up the sport of figure skating. She was introduced to the less rigid Continental Style made famous by skating pioneer Jackson Haines by her future coach, husband and pairs partner Edgar Morris Wood Syers when she was but a teenager. In 1899, the couple married and began competing both individually and as a pairs team. They wrote their first two books about the sport together, one of them instructional and the other a volume of poetry.

Madge and Edgar Syers

Discovering that the ISU's rules did not specify the gender of the participants, her 1902 trip to the World Championships would not have happened without the urging of her husband and coach Edgar. Officials were surprised by Madge's grand entrance to a sport dominated by men but her skating ability spoke for itself. Helping her cause was the fact that Edgar and Madge were influential members of Great Britain's National Skating Association, the hosts of the 1902 World Championships.

Madge and Edgar Syers

Dressed to the nines in a full length skirt, satin blouse, pearl necklace, hat and leather gloves, Madge took on three men and was only topped by one, the eventual ten time World Champion Ulrich Salchow. As the legend goes, Salchow apparently presented Madge with his gold medal. What you have to keep in mind about all of this is that although the women's suffrage moment was alive and well in Great Britain at the time, it wasn't until 1928 that the Representation Of The People Act was passed, allowing all women over the age of twenty one in the United Kingdom to vote was passed. The first large procession or demonstration by the National Union Of Women's Suffrage Societies wasn't held until 1907, so that certainly gives you an idea as to how daring what Madge was doing really was in that time period in her country.

Madge and Edgar Syers

Following her iconic first visit to the 1902 World Figure Skating Championships in London, the ISU was prompted to discuss and debate the topic of women competing against men at their 1903 Congress. The main concerns were that a woman wearing a dress as opposed to pants prevented the judges from seeing the feet, that a judge might judge or favour a woman he was involved with romantically and "it is difficult to compare women with men". In a vote of six to three (all men, of course), the ISU Congress voted in favour of barring women from competition completely.

Madge wasn't daunted by this sexist decision though. It only seemed to empower her. She shorted her dresses to a mid-calf length to show her skates fully and dispel that particular concern. In doing so, she started a new fashion trend. By 1988, Katarina Witt took it a step further and only wore a sequined bodysuit decorated in blue ostrich feathers.

Madge competed elsewhere, winning the 1903 Swedish Challenge Cup against a mixed field. She won again the next year, beating her husband and coach Edgar. She also entered the 1904 European Championships, but was forced to withdraw following the compulsory figures due to injury. Long story short, Madge wasn't going anywhere.

The topic of women in competition was revisited in 1905, and with the lobbying of the National Skating Association things went differently this time. A separate event was created known as "the Ladies' Championship of the ISU" and was held at a different date and location from the men's World Championship. Who else but Madge won the first and second ladies titles, finishing first in Davos in 1906 and Vienna and 1907. These events would later be recognized as World Championships.

Madge Syers

The very first time figure skating was contested at the (Summer) Olympics, Madge was ready and raring to go. The figure skating events were held in London in October 1908 at the Princes Club. She both the compulsory figures and free skating with first place ordinals in both segments from all five judges and became the first Olympic ladies champion. Official reports described her as "in a class all by herself" and as having "excelled in rhythm and time-keeping, and her dance steps, pirouettes" and also stating that "the wonderful accuracy of her figures, combined with perfect carriage and movement, was the chief feature of the morning's skating." Remarkably, her very well received skating in the singles event was coupled by a bronze medal in pairs skating with her husband Edgar.

Madge and Edgar Syers

Not long after the 1908 Summer Olympic Games, Madge retired from competitive figure skating due to her failing health. Madge and Edgar co-wrote a third and more influential book, "The Art Of Skating (International Style)", which was published in 1913. Conflicting contemporary sources alternately claim she died of heart failure caused by acute endocarditis or that she died while giving birth. What we do know with certainty is that her date of death was September 9, 1917 and she was only thirty five at the time. She was survived by her husband, who passed away in 1946 at the age of eighty two. He lovingly penned the poem "To My Lady's Skates": "The praise of glove, of fan, or shoe, full many a ode relates; May not my muse, with theme more new, Commend my Lady's Skates? Eff little feet to guide these blades My Mistress fair provides; And, sweetest of our glacial maids, On them serenely glides."

Madge Syers

Posthumously, Madge was inducted to the World Figure Skating Hall Of Fame in 1981. We can't look at where we are without looking back at skaters like Madge who changed the face of the sport as we know it. Just as times were so very different then, they are so different now from how they were even 20 years ago. In 1993, who would have predicted the IJS system, the rise of social media, YouTube, the complete eradication of professional figure skating competitions, multiple quad jumps in one program... times have changed and they will continue to but one thing that has been consistent throughout the history of the sport has been change, and Madge made one of the first and most instrumental ones.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on Facebook, Twitter, Pinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

Interview With Anita Hartshorn

I'll never forget the first time I saw them skate. It was 1995 and I was doing what any self respecting skating fan in 1995 did on a Saturday afternoon: channel surfing skating. That's right... You had to choose between which skating event you wanted to watch on television back then. More often than not, you'd have to videotape one channel while watching another, and you'd still be missing at least one or two events altogether.

CBS was broadcasting the 'Riders Ladies Figure Skating Championships', a professional competition where twelve women competed in two qualifying competitions and the top four skaters in each group advanced to the final round. The first qualifying event (held in Mankato, Minnesota) also featured a pairs competition pitting Barbara Underhill and Paul Martini, Christine Hough and Doug Ladret, Calla Urbanski and Rocky Marval and a fourth pair I wasn't familiar with at the time, Anita Hartshorn and Frank Sweiding. Performing their dramatic "1492: Conquest Of Paradise" program where Anita portrays a a ship and their masked program to Enigma's "Sadeness", I was instantly in love with this pair's skating. It was what resonated to me as interesting, creative, entertaining and what I thought skating should be. With programs that were jam packed full of unique elements, interesting choreography and that had concepts, that told stories, and had the costumes to go with them... that was the whole package.

Over the coming years, I'd watch them tell the "Titanic" story, perform with a torch on the ice to Vangelis' "Voices" and earn their place among the world's best professional skaters by winning the Legends Of Figure Skating Competition. Their "Mustang Sally" program was even referenced on FOX's American Dad. World Professional Champions, U.S. Open Champions, Trophee Lalique champions... What always made Anita and Frank so special was the fact that they always have and continue to push the envelope and make entertaining audiences their first priority. Their skating was instrumental in influencing my own skating. I learned that while jumping wasn't my forte, I could hone other moves like spirals and hydroblading and make feeling and interpreting the music number one. When I first got it in my head I was going to blog about figure skating, interviewing this team was definitely at the top of my bucket list! I was fortunate enough to catch up with Anita in between "Relight My Fire" shows at Phantasialand park in Brühl, North Rhine-Westphalia, Germany, where Anita, Frank and their production company Glacier ICE are performing straight through until November.

Q: I must confess I don't know a lot about your early careers (as amateurs) though I know that you and Frank teamed up as professionals and got your start doing events like the U.S. Open  & World Professional Championships in Jaca, Spain. Can you tell me about your own start in the sport, turning professional and how you two met?

A: We have known each other since we were children! Originally, we were both from Chicago, Illinois. In the 60's there was only one main indoor rink in Chicago that had competitive skating sessions - Rainbo Ice Arena. We both skated there. I was a singles skater and Frank was doing singles as well as pairs with his sister, Beth. We lost track of each other when Frank moved to Colorado Springs to train and I moved to Milwaukee to go to college. We met again in 1987. I was the rink director of a small outdoor rink in Racine, Wisconsin. I had enough money in my budget to hire another "act' besides Elaine Zayak for the grand opening of the rink. I found Frank and asked him to pair skate with me and told him I would give us our first paying 'gig' together. He had a long list of terms that I had to agree to before he would skate with me! After a few months of skating together, we started dating and became engaged in May 1988. Now I like to say that we have been 'happily unmarried' for 25 years.

Q: What about the early part of your career and your own individual backgrounds?

A: Frank was a national senior competitor in both singles and pairs.  He was the silver medallist at the U.S. National Championships in senior pairs with Gail Hamula, finishing right behind champions Tai Babilonia and Randy Gardner. Frank and Gail represented the U.S.A. at 2 World Championships. Frank is also a graduate of University of Northeastern Illinois and he was a competitive swimmer before ice skating took all of his free time. My family lived an hour from the ice rink, so I was a "test"  skater, as I did not skate much in the winter but would attend a skating camp for the entire summer to train and pass my tests. I have my gold level in freestyle, dance and pairs as well as my Canadian gold freestyle test. I started coaching when I was 18 years old and attended the University of Wisconsin in Milwaukee. I was in the Fine Arts program with a major in dance and I used my schooling at the university to increase my skills as a coach. I passed my PSA master rating exam in figures and freestyle back in  1988. I love coaching and both of us are still members of the PSA and keep our CER ratings up as well.

Q: You have so many iconic, incredibly  creative programs that have pushed the boundaries of artistry, theatre and  entertainment - Voices, 1492, Enigma, Titanic.. So many others!  What have been your favorite programs to skate and  why?

A: I think that our Enigma - "Sadeness" and “1492” are audience favorites. When we presented these numbers at the pro competitions most of the other pairs teams were doing sexy or lovey dovey programs, so the audience and the TV  directors were really ready to see something different! We had been living and working in Italy for 3 years and I fell in love with the masks from Carnival and the theatrics of the live operas, all of which we incorporated into these programs. "1492: Conquest Of Paradise" won us 1st place at the Trophee Lalique in Paris, France. We performed a new program this past winter in Germany to "Hallelujah" by Alexandra Burke. She won the English TV show "X- Factor" with this song. The audience reception to this program was fantastic.

Q: Who are your role models in figure skating and among today's skaters, who are your favorites to watch and cheer on? 

A: I love skating PERIOD! I cheer anyone who has a good skate and I feel bad for those that don't have a good day.

Q: You were complete stars of the professional skating boom of the 90's, competing in many professional  competitions and winning events like the Legends competition. Has the lack of professional competitions hurt the sport or just pushed it in a different  direction?

A: In my opinion, the lack of pro competitions has really hurt the popularity of our sport. Most of the skaters who are ready to leave the 'eligible ranks' but still would like to compete have nowhere to go. All professional skaters have less possibilities to expand their untapped potential of theatrically slanted competitive programs. Now that the ISU has approved the pro-am Japan Open, there is at least one competition for the audience to see their favorite skaters like Kurt Browning and Surya Bonaly compete. It doesn't matter how many shows you do, the feeling of doing a competition is different and everyone prepares harder for an event where you get judged.

Q: What was the experience of creating some of your most amazing programs with Brian Wright like?  

A: Brian  was a genius! We would arrive with 2 choices of music and concepts and play them both for Brian, then he would select the choice he preferred. It was team process with us coming up with the music and concept, Brian doing the choreography, with costume designers from Los Angeles, and music editing done in San Diego. We had competitions such as the U.S. Open, World Professional Championships in Jaca, Spain, Miko Masters in Paris, Trophee Lalique, Legends Of Figure Skating Competition, Riders Cup and others to show off our work.

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Anita, Frank and Brian Boitano

Q: Who do you work with now? 

A: In terms of ice choreographers, lately we have worked with Simone Grigorescu, Lori Benton and Doug Webster. We have worked with dance and theater choreographers as well. While we were in Berlin, we worked with World renowned dance choreographer and director Marc Bogaert. Marc helped us with our company's ice portion of the "Winter  Traume" spectacular at Friedrichstadt-Palast. Last year in Eilat, Israel we performed two comedy numbers as "Big Girls". We loved the ability to make the audience laugh and the children smile! I see us doing more on ice comedy in the near future! On these performances we worked with famous Israeli director Hanoch Rosenn, 'the prince of mime'.

Q: You have performed in Guam, Israel, Europe, North America and everywhere in between. What was your favorite  place you've traveled to and what are some of your favourite memories?

A: Hard questions as we have performed in over 8,000 shows and traveled to more than 17 countries for our work. Frank has been to every state in the U.S.A. except Louisiana. We have been in many interesting locations but we do have some favourites! Performing at Friedrichstadt-Palast in Berlin was AMAZING. This theater has the largest stage in the world! We shared this huge stage six nights aweek for 18 months with 100 dancers, musicians, singers, comedians and acrobats. Our company co-produced the ice section of "QI" with the theater. Performing on the outdoor rink in the summer in Sun Valley, Idaho is always magical. We share the ice with so many amazing skaters. The Sandcastle Theater on the island of Guam was amazing as well. We could walk to work via the beach every night. Performing at the Royal Garden Hotel in Eilat, Israel was also something. We lived one block from the Red Sea! Our  favourite arena would probably be Bercy which is located in the heart of Paris where we won Trophee Lalique the only year they sponsored a pro competition. The French loved our "1492" number! We skated in the ceremonies at the 2002 Salt Lake City Olympics - LIVE TV for millions of people, in a stadium that held 80,000 energized and screaming fans! Just thinking about it gave me goosebumps! Skating outside in front of Caesar’s Palace in Las Vegas for NBC's “Too Hot To Skate”...  performing at the Shubert Theater in Boston in “Footloose On Ice” with Nancy Kerrigan and Scott Davis... I could go on but I'll stop.

Q: How challenging has having your own production company been and what have you learned most from  the experience?  

A: You are responsible for everything and the last ones to get paid. We love show business, so spending countless hours on the  production process is rewarding for us when we see the end product on opening day. Fortunately with Frank’s past experience as treasurer of Ice Capades and assistant manager of “World Cup Champions On Ice” he understands production economics very well.

Q: What are  your thoughts on the ISU's 'new' judging system and how can it be improved or changed?  

A: The IJS system changes every year. I think today's skaters have better spins and footwork sequences but it has also stifled creativity. Our concern is that the general public still does not understand the current judging system and thus they do not watch the skating competitions.

Q: The headbanger... The Detroiter... The leap of faith.. The neck spin. When you are doing these incredibly difficult and gravity defying adagio moves, what's the closest call you've had?

A: While  performing in a Sun Valley show we were entering into a bounce spin (headbanger) and right as Frank took that hard back inside edge to pull me off my feet he stepped onto a gum wrapper that had blown out onto the ice! We  both fell hard but fortunately we came out of it with only some bruises as well as bruised egos. One other scary moment was when a helicopter tried to land on the ice while we were performing in a show on the Sun Valley outdoor rink! Turns out the helicopter pilot thought the rink was the landing pad for the  hospital. Fortunately, we have never had a bad accident. We try to be a proactive as possible by trying out things in advance, training programs, as well trying doing dress technical and lighting rehearsals. Frank is checks the ice conditions before every  show!

Q: What's one thing about you most people don't know? 

A: Mmm.. that I'm really ninety nine years old and just look really good?

Q: What has kept you motivated on the ice for so many years (and still at the top of your game)?  It's really honestly quite incredible.  

A: We love to skate, including the sometimes boring process of training and we love to skate together. And I must say, we have been blessed with good luck and good health all these years.

Q: What is your motto or mantra in life?  

A: Move it or lose it!

Q: What would you tell someone that wanted to pursue what you are doing in life?

A: Work hard, utilize every opportunity that comes to you, be verbally thankful to all of the people that help you along the way  and show true gratitude to the Ice Goddess as she commands respect for the slippery surface we call our stage.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on Facebook, Twitter, Pinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

Interview With Ami Parekh

With countries like Russia, Canada, the United States, France and Japan dominating figure skating for so long, it's easy to forget that figure skating is very much a worldwide sport. Skaters from the last countries you would expect are represented in competition and come from recognized ISU federations in countries like Grenada, Argentina and New Zealand. A relatively "new kid on the block" is India, and Ami Parekh made history by becoming the first skater to represent India at an ISU Championships. This ground breaking skater has fought through injury to continue her career in the sport and it was my pleasure to have the opportunity to interview her and learn more about her career, skating in India, her education and her goals for the 2013/2014 season, which she has stated will probably be her last one:

Q: You were born in New Jersey and started your career skating within the United States but moved on to represent India. What made you decide to make this change?

A: I won Regionals in the U.S. twice, competed in U.S. Junior Nationals (top 7 one year) and Eastern Sectionals. Then, India became a provisional ISU member. Figure skating and India are completely new to each other, and my family is from India. I felt I was capable of bringing my favorite Olympic sport to India and vice versa. I really hope to be the one to bring India to the Olympic figure skating scene.

Q: In representing India at the 2007 World Figure Skating Championships, you made history by being the first skater to represent India at an ISU Championships. What did that experience of competing at the World Championships mean to you? How did it differ from your second trip, in 2012?

A: I had received a lot of attention at the 2007 World Championships because it was India's debut at a Senior Worlds and there were a lot of awesome Japanese figure skating fans! This was also my second Senior championships ever, and the first time I had to compete in a lot of pain due to a new injury that I would have to often manage. So that was a challenge in itself, and so far I've been succeeding. I was thrilled to experience what the World Figure Skating Championships were all about--all the best in skaters in the world and all the world skating fans in one ice arena. To meet and see all of them skating live, and to skate on the same ice as they did was amazing. In 2012, I had matured as a skater and I was not as nervous because I knew what to expect. Also India's participation at Worlds was not as much of a surprise to the skating community. Finally, there had been major judging system rules changes since 2006, so it was interesting to prepare for and watch others prepare. It was really cool to see many new faces as well as a couple of old ones - and they hadn't aged one bit!

Q: What can you tell us about the skating scene in India?

A: Skating has been around for quite some time in India, though it was either in the form of roller sports or at a recreational level. I think there are several reasons why India may be interested in competitive ice skating. First it is an Olympic sport unlike roller skating. Also, there are many pretty, natural ice rinks up north, and there could be plenty of opportunities to build skating rinks where the climate is colder and more temperate. Finally, in the hotter parts of the country, who wouldn't want to be on the ice as long as there was a way to efficiently build and maintain the rink? In addition to the above, I think there is so much Indian art, culture and talent that could shine on the ice and the world could enjoy it too! With a solid means and support system in India all people could learn skating at any level. Maybe one day all the top figure skaters in the world could go to India for major international competitions just like they currently can go to many other countries. They would get to experience the country and vice versa! However before any of this can happen, a wide scale recognition and dedication to the sport in the India would be necessary. When I went to India to perform and teach seminars in 2010, skating programs seemed a bit more developed than when I last visited the skating scene in 2004-2006. More ice rinks have been built in more cities, and many have rental skates for figure skaters. Unfortunately, there is a lack of qualified figure skating coaches and judges in the country. Also the hotter parts of the country are figuring out an energy efficient way to keep the small rinks running smoothly all year round.

Q: Do you do all of your training in the U.S. or do you train there as well? Does India have a National Championships or is their selection process different?

A: Yes, I have lived and trained in the U.S. for most of my skating career. There are solid skating programs here. People from all over the world come to the U.S. to train because of its top coaches and skaters. From the times I participated and won the Indian National Championships in 2004-2006 until now (2010-2013), things have changed in India. Now, the Indian Ice Skating Assoication does not require me to participate as frequently (it's almost as if I get a bye).

Q: What skaters do you most look up to (past or present)?

A: There are SO many amazing skaters out there, even the ones that are not well-known. Everyone brings something great to the ice! Michelle Kwan, Xue Shen and Hongbo Zhao, Philippe Candeloro, Tanith Belbin and Ben Agosto, and Akiko Suzuki are some of my favorite well-known skaters.

Q: What do you enjoy doing with your time outside of skating?

A: I enjoy dancing, working out, and studying outside of skating. I graduated University of Pennsylvania with a degree is neuroscience and am figuring out what I will do next once I'm completely finished with competitive skating (probably at the end of this upcoming season). So far, I am very interested in sports and rehab medicine. I am also interested in teaching skating in my free time and tutoring kids in basic science, english, and math. Most of all I like to chat and hang out with friends and to meet new people!

Q: What are your goals for next season? Have you already started working on new programs?

A: I just finished rehabbing an injury since January and things are looking great. My biggest goal is to to get the triple flip and triple lutz into my programs and to complete clean programs more often. I aim to keep learning and improving at a fast rate, however, I would need some kind of sponsorship to pay for coaching and training. I would like to participate in the Olympic pre qualifiers this September 2013 as well as the World and Four Continents Figure Skating Championships in February and March 2014. And, of course, it's the exciting Winter Olympic season! So hopefully, I can qualify to represent India in the February 2014 Winter Olympics too.

Q: When you look back at your years in skating, what do you love most about the sport? What makes you enjoy being on the ice every day you train?

A: I was and have always been a big fan of skating. I love pushing myself mentally and physically every day. Taking 5+ years off from high level skating and then coming back and improving more quickly than before has really given me a new perspective on learning and training. Also, skating is so empowering. It makes me feel so expressive, free, and larger than myself. It keeps me fit too! I hope to continue to share its beauty and athleticism with others.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on Facebook, Twitter, Pinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

The Other Olympic Gold Medallists, Part 2

One of the most fascinating aspects of figure skating is its rich and complex history, layered with stories of triumph against diversity, personal sacrifice, judging scandals and record breaking "firsts". I am and always have been a huge believer that every skater, judge, coach and fan that has ever become involved in the sport has added something to its history that can never be taken away. It's all part of an intricate web. Earlier this month I spent an afternoon in a library with a microfilm scanner, a stack of dusty reference books and a mission: to tell the stories of the Olympic gold medallists in figure skating that we know little about. I started with a short list but ending up compiling more information about other Olympic Gold Medallists as well. In my May 9 blog article, "The Other Olympic Gold Medallists", I shared the story of 6.0 Olympic Gold Medallists we as the mainsteam masses may not know a lot about. I decided to continue this research and share the stories of another 6.0 figure skaters who won Olympic gold. From jail sentences to pistol shooting to winning an Olympic gold medal while pregnant, this group has it all!

WOLFGANG SCHWARZ

It's hard to believe the story of an Olympic gold medallist once revered by rinkrats could take such a horrific and dramatic twist but Wolfgang Schwarz's story has. After finishing 2nd to his Austrian teammate Emmerich Danzer at the World Championships in 1966 and 1967, Vienna's Wolfgang Schwarz put it together when it counted and won the Olympic gold medal at the 1968 Winter Olympic Games in Grenoble, France ahead of American Tim Wood and France's Patrick Pera, who also won Olympic bronze four years later in Japan. After his Olympic win, Schwarz turned professional and toured with Ice Capades and Holiday On Ice. In 2002, Schwarz was making headlines decades after his Olympic win, but these were certainly not headlines of celebration. Accused of plotting to kidnap the daughter of a wealthy Romanian businessman and of trafficking eastern European women for prostitution in Austria, Schwarz first denied then confessed to his actions in court and is currently serving his prison term. In his court admission, Schwarz admitted he was motivated by money and stated "I admit it was my idea to kidnap the woman. I cannot explain it," After a delay in his sentencing due to treatment for skin cancer, he was sentenced to an 8 year term in 2006. He has bigger worries these days than dropping to the ice on a double axel. His main worry is not dropping the soap.

NIKOLAY PANIN-KOLOMENKIN

Born in 1874, Nikolay Aleksandrovich Panin-Kolomenkin was not only Russia's first Olympic champion but a jack of all trades. In winning the first and only 'Special Figures' competition held at the 1908 Summer Olympics in London, England, the athletic Russian not only excelled at figure skating, but was an accomplished shooter as well, competing in the 1912 Summer Olympic Games in Stockholm, Sweden and finishing 8th in the 50 meter pistol competition. He was also an avid rower, cyclist, gymnast and track and field athlete. His career was remarkably unique in that he was a well known and respected skating coach both before and after his win at the Olympics, defying the terms of "professional skating" today, where coaches are grouped with professional athletes. Panin-Kolomenkin was definitely a figures specialist as opposed to a strong free skater, and did not place in the men's figure skating competition at those same 1908 Summer Olympics, which comprised of compulsory figures and free skating. With his Olympic gold medal and medals at the Russian, European and World Championships to his credit, Nikolay retired from athletics and focused on writing several biographical and reference books, continuing to coach and judging international competitions until his death in Leningrad in 1956, at the age of eight three.

MAGDA JULIN

Magda (Mauroy) Julin was born in France and moved to Sweden with her family when she was a girl. What's very fascinating about her skating career and many of the skaters of her time was her lack of international experience, owing to the difficulties of traveling worldwide to major competitions at the time.

Available records show that Julin competed in many Nordic figure skating events during her era, but only competed at one World Championships, in 1913, some seven years before her trip to the 1920 Summer Olympics where she won the ladies figure skating event while pregnant (!) over Sweden's Svea Noren and America's Theresa Weld Blanchard.

Julin, who was born in 1894 and lived until the age of ninety six, could be seen skating at the public outdoor ice rink in Kungsträdgården in central Stockholm at the age of ninety. If that's not love of the sport, I don't know what is. Julin had two sons and spent the last years of her life in an old age home in Stockholm.

ANETT PÖTZSCH

Before Katarina and Debi, Nancy and Tonya and Michelle and Tara, it was Annet Pötzsch and Linda Fratianne. They traded titles in the late seventies; Linda winning the world titles in 1977 and 1979 and Annet winning in 1978 and 1980. Both Annet and Linda were strong free skaters, but the catch was that Linda never finished lower than Annet in either the short program or free skate; her compulsory figures scores were always far back behind enough to ensure Annet the victory. When the rivals met in Lake Placid in 1980, Annet took a commanding lead in compulsory figures ahead of West Germany's Dagmar Lurz and Linda Fratianne. Although Linda won the short program with a very strong performance, Annet assured her win by losing in free skating not to Linda but to Switzerland's Denise Biellmann, who won the free skate with the performance of the night but had been considerably behind in compulsory figures. Although she was extremely well known in her day for her healthy rivalry with Linda Fratianne, Annet Pötzsch took a different road with her life following her 1980 Olympic win than most and did not seriously return to skating in the 1990's to pursue the many opportunities available for professional figure skaters of the time. She did however skate in the "Skates Of Gold" shows of 1993-1995, even landing double axels after years away from regular performance. She was coached throughout her career by Brigitte Schellhorn, Gabriele Seyfert and later Seyfert's mother Frau Jutta Müller (well known to skating fans as Jan Hoffmann and Katarina Witt's dedicated coach). Annet was a well rounded, athletic skater who competed in 8 World Championships, winning the 1978 and 1980 World titles in addition to her 1980 Olympic gold medal. Retiring in 1981, Potszch was actually reinstated by the ISU in 1994 alongside many other professional skaters, but did not ultimately return to competition like her former training mate Witt. She opted not to judge as originally planned or skate herself and instead focused on coaching. She admittedly missed skating. Her connection to Witt was even more intense than the fact they shared a coach - she married Katarina's brother Axel, but they divorced in 1990. Their daughter Claudia Rauschenbach is a former partner of Robin Szolkowy. She is currently married to former German champion and Olympian Axel Rauschenbach and is the mother of 2 and a figure skating coach in Chemnitz, Germany, as well as an ISU technical specialist.

SISSY SCHWARZ AND KURT OPPELT

1956 European, World and Olympic Champions Elisabeth "Sissy" Schwarz and Kurt Oppelt hailed from Austria and were rivals of 2 time World Champions Frances Dafoe and Norris Bowden of Canada during their skating career. Schwarz and Oppelt were both no strangers to the Olympic Games, having competed and placed 19th and 11th respectively at the 1952 Winter Olympics as a singles skaters before focusing their attentions on pairs skating. With a performance in Italy at the 1956 Games to "Banditenstreiche" by Franz von Suppe, they narrowly defeated the reigning World Champions who faltered late in their performance to claim Olympic gold and their respective place in the history books. There was some hoopla at the time of their win, as the audience and journalists of the time both felt Dafoe and Bowden should have won despite their mistake. Schwarz and Oppelt had in actuality won on a majority of 2nd place ordinals. Following the Olympics, both teams met again at the World Championships in Garmisch-Partenkirchen, West Germany, where Norris and Bowden arrived to issues with their room reservations and had their music repeatedly interrupted. Without a coach or a team leader, they were left to face the tactics on their own. Schwarz and Oppelt again skated well at Worlds, but Norris and Bowden gave a much stronger performance, and when Schwarz and Oppelt were again named the victors, the audience pelted the judges with oranges and anything else at arm's length. Following their Olympic and Worlds wins, Schwarz and Oppelt turned professional and skated in shows in both Europe and North America. Sadly, Kurt Oppelt passed away September 16, 2015 in Orlando, Florida. Schwarz resides in Austria.

HELENE ENGELMANN AND ALFRED BERGER

Helene Jaroschka (then Engelmann) and Alfred Berger were another Austrian pair team who rose to prominence in early pairs skating and claimed an Olympic gold medal at the 1924 Winter Olympic Games in Chamonix, France. Engelmann was the daughter of Eduard Englemann Jr., a three time European Figure Skating Champion (1892 to 1894) who had a rink named after him in Vienna and was therefore exposed to the sport early in life. She won the 1913 World title with Karl Mejstrik at age 15 then teamed up with Alfred Berger and won the World title with in 1922, a success she duplicated in 1924 following the Winter Olympic win.

Photo courtesy Bibliothèque nationale de France

Berger passed away in 1966 at the age of 71 and the younger Engelmann passed away in Vienna (where she was born) in 1985. They were certainly pioneers of pairs skating as we know it today and one of the many teams that helped shape the history and standard of pairs skating as we know it.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on Facebook, Twitter, Pinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

Interview With Adam Blake

One of the most refreshing, organic and interesting young choreographers I've seen in recent years is Adam Blake, who got his proverbial start in choreography as a competitor in YAS (Young Artists Showcase) during season 1 of the program, and went on to WIN the second season with truly diverse and exuberant choreography and performances. In perhaps one of the most compelling interviews yet, I was thrilled to have a chance to ask Adam about his background, concepts, choreography and opinions on the sport. I am absolutely certain you will find his responses as interesting as I did:

Q: What first drew you to the ice and what can you share about your experience as an amateur skater? What prompted you to turn professional?

A: I, essentially, grew up at my skating rink. It was hockey that I had my heart set on at first, but it became evident that I needed to learn how to ice skate. So, I then started figure skating and haven't stopped since. My amateur experience was not typical though. In all my years of being an amateur, I never competed.  Weird, I know.  I started skating for the art of skating. I trained as more of a trick skater, trying to infuse my style with acrobatics. I tested up to freestyle 9 in the ISI testing system but without the thrill of competition or agony of defeat, my style remained sort of untouched from the realm of ISU order; I was able to skate for myself and really understand my relationship with the audience as a performer. With that, turning professional seemed like the only way that I could stay true to myself and my style of skating. Skating professionally in a show was a dream come true.

Q: You have toured as a principal skater with Disney On Ice. How would you describe the Disney On Ice experience? What goes into putting a show like this together and did you find the traveling and constant shows grueling or were they something that didn't phase you?

A: The Disney On Ice experience... it's really up to you as to what you make of it. For me, it has been one of the most essential experiences to have influenced my career. For a good majority of skaters, you say, "Disney on Ice" and it's amazing how fast their faces turn green. A lot of coaches look down on shows, figuring that it distracts from "the big picture". For me, Disney is a huge part of my big picture. I have grown in many ways as a skater, performer, choreographer, and professional through working with the mouse. Anyone who has ever worked with Disney On Ice can attest to the time, money, and heart that is put into every production. Ingredients are: 1) Renowned Choreographer/Director/Set Designer/Lighting Designer/Costume Designer 2) At least 35 professional level skaters, 8 of them principal 3) The means to put all of these artists onto one ice surface with the props/set/lights ($$$$$).  It really does take a town to produce an ice show. It's completely and utterly invigorating to travel all around the globe, meet new people, and on the weekend, play ice show! I don't know of any job quite like it. It's one of those jobs, where if you are bored it's because your eyes have been glued shut! It has its days where you miss home or that third show at the end of a Saturday doesn't seem possible but you'd be amazed on what you are able to accomplish in (and, for that matter, out of) a fish costume!

Q: In competing against 12 other talented skaters and choreographers, you won the second Young Artists Showcase in 2011 after being a finalist in the first season of the event in 2010. How did you first decide to become involved in this fantastic program and competition and what do you think YAS brings uniquely to the sport? 

A: It was Doug Webster who introduced me to the Young Artists Showcase. At that point in time, I was really starting to find my style and voice as a choreographer. The Young Artists Showcase gave me the tools and the confidence to pursue and refine my craft and turn "numbers" into "pieces". This competition is revolutionary to the sport. As you've said, programs nowadays are as cookie cutter as they come. What this competition is doing is bringing the creative artists of our sport out of hiding.

Q: One thing I noticed in watching your performances with YAS was your versatility both in style and movement but also your ability to project and reach out to your audience. Is this something that comes naturally to you or has skating professionally really brought that out?

A: I've always lived off of the performer/audience relationship. For me, I started out just being aware of the relationship and seeing what I could pull, but through being a professional I've learned so much about learning who my audience is and what they enjoy (and what I can get away with!).

Q: Where did you get the concept for your "Propeller Seeds" piece? I think it is brilliant and portrays such an ethereal quality.

A: Thank you! For me, it all starts with the music. I am an avid Imogen Heap fan, and I came across her song "Propeller Seeds", which was a song about Imogen meeting her soon-to-be husband. But for me it was that airy, almost nonchalant beauty through the very minute details in the music that sold me on the concept. The tinkling notes acting as the thousands upon thousands of seeds falling in eerie synchronization, the sweeping vocals taking control as the large gust of wind takes the seeds as their consequential master. The feeling just made perfect sense to me, and it just seemed like the perfect dance to take to the ice.

Q: How did you learn the cantilever?

A: The cantilever!  I actually learned it at my home rink.  I came back from a Disney On Ice show, where I saw the Genie do the trick. I thought it was the COOLEST thing ever, so I asked my coach and we got to work. But for the longest time I had to deal with all the ridicule during it's adolescent phase. When you first start learning one, you look like you are simply "sitting on the…" Yeah... And my mom gave me the biggest flack on learning it! It's one of those things where you just have to keep at it, while in the meantime telling everyone, "Trust me, it'll make sense!".

Q: How do you think Young Artists Showcase has evolved since the first season? It's getting bigger and bigger, with Kurt Browning acting as a guest judge this year. How can it continue to grow and why should skaters and aspiring choreographers push themselves and take on this great challenge?

A: The Young Artists Showcase is figure skating's reclaiming of artistry.  It has evolved to this highly celebrated competition where artists of the ice can finally have a voice again.  It has grown to an international level where choreographers, judges, and YouTube personalities are corresponding with each other from all across the world. Audrey Weisiger, Doug Mattis, and Sheila Theilen made history in creating this competition. For me, it was one of the hardest undertakings I have ever done, and I miss every second of it. The exposure that these young choreographers are getting is HUGE and is still growing. It's the Project Runway, or So You Think You Can Dance of the ice. You fall in love with these choreographers, and you learn about your style and voice.

Q: You started doing choreography for other skaters at the age of 16. Who has been the most compelling person you have worked with or met in figure skating and what has been your favourite piece you have choreographed? 

A: For me, it's Yebin Mok. The vibe that is present when we are feeding off of each other is unreal. She has this ability to completely lose herself to the ice, and she believes in every single movement I give her knowing that it is there for a reason and surrendering herself completely to the choreography, the ice, and the music. As to my favorite piece, it has to be "Some Nights" at Rockefeller Center. It has to be one of my favorite memories of my life. To have skated that with such an amazing group of professionals and to have done so on the world's most famous frozen stage was incredible.  It was everything I could have imagined, and everything that I choreograph for.

Q: Tell us about one idea that you have conceived for choreography but have yet to translate onto the ice.

A: Oh Geez! There's quite a few! I have a concept of a group number where half of the skaters are blindfolded. I'm working on using Spoken Word artist Aaron Samuels poetry to dictate the movement. But the one that is coming soon is my next big project and could be slightly controversial; (A commentary) faceless skaters behind the most known face in figure skating….

Q: Who are your favourite figure skating choreographers and what are some of your favourite pieces?

A: My favorite figure skating choreographers are Simone Grigorescu-Alexander, Robin Cousins, Lorna Brown, Cindy Stuart, Kurt Browning, Sandra Bezic, and (of course) Sarah Kawahara. Robin Cousins' "Satan Takes a Holiday" was pure genius!  It was subtle, smart and extremely effective. Kurt Browning's "Nyah" was f-ing* brilliant.  It was a dance. Pure and simple.

*Note to Adam: We say 'fucking' here, we're all adults, and I talk like a sailor. A really gay sailor.

Q: What was the opportunity of working with the Ice Theater Of New York like and why do you think ice theater has really taken off in the last several years?

A: It was magical. Getting the chance to perform live at Rockefeller Center was something I will treasure for the rest of my life. Moira North and Doug Webster have really taken the Ice Theater to new heights. They have expanded their productions to the Dollywood theme park, and have made recent appearances in television and in the celebrity world that is making figure skating RELEVANT! Ice Theater of New York is the celebration of art in skating. You don't have to be a bloody mathematician or IJS technician to feel like you are a part of their world, because with Ice Theater, you just need watch and listen. It's just that easy.

Q: Speaking of the Ice Theater Of New York, I recently read that choreographer and World Professional Champion Lorna Brown is encouraging skaters to work together to revive a World Professional Figure Skating Championships. Is this something you feel the sport needs right now and/or something you'd get involved with?

A: Well, anything that Lorna is for, I'm totally behind! She is a brilliant, brilliant artist on and off the ice.  I really do think we need a World Professional Championship. I'm down to see a program that doesn't look like a coach/choreographer is checking off a grocery list of needed points. And it would be fun to see what ex-competitors do without the IJS noose around their necks! Oh the stories they could skate!

Q: What's one thing about you most people don't know?

A: I love Taylor Swift... Hate me if you want! I think she's great! I don't care what anyone says, I think she's a strong and talented young lady!

Q: If you were to be stranded on a desert patch of ice with three figure skaters past or present, who would those three skaters be and what would you choreograph?

A: It would have to be Yebin Mok, Kimmie Meisner (always had a huge crush on her), and Ilia Kulik. Discarded Toys… Kimmie is the Sad Ballerina, Yebin is the Blackbird with the Broken Wing, Ilia is a Jack-in-the-Box, and I'm the stepped on G.I. Joe. A kinda Breakfast club Of Misfits.

Q: What's the biggest life lesson that figure skating has taught you?

A: Nothing happens if you don't put yourself out there. I would not be half the skater/performer/choreographer I am today if I didn't take those risks and put my work out there. I bombed the first YAS, so I tried again! It's amazing what persistence and drive can do. Don't be afraid of what others might think of you or your work. Dare to be different and own it. Make your voice known.

As a final note, I want to make a suggestion. If you're not familiar with Adam's work, check out http://www.adamblakeice.com or on Facebook at http://www.facebook.com/adamblakeice. If you're not familiar with YAS, check out http://youngartistsshowcase.net. Check out choreographers like Adam, Garrett Kling, Kate McSwain and Mark Hanretty (and too many more to name) who have choreographed in and skated in this program. There's no much positive energy going on with both Adam's work and YAS to allow negativity about IJS/CoP to rent space in your head long term. So don't be sour - spend an hour watching some great skating.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on Facebook, Twitter, Pinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.