Tech Analysis: P/C Fudging the Ravensburger Waltz (Part 2)

This piece is long overdue, so sorry! You may have gathered by now that I have a weakness for starting new projects before I finish old ones. It definitely doesn't help that the pace at which ice dance churns out blatant corruption keeps accelerating.

source

So having realized how unsustainable it is at the moment to try to keep up with coverage of everything, I'm aiming the next few weeks to complete more stuff, and have decided that for the time being my coverage of the NHK showdown between Virtue/Moir and Papadakis/Cizeron will be limited.  I can publish more things by not letting work I've already done go to waste, but more importantly, I think focusing on the battles that don't involve V/M can be more fruitful in the end. If discussions of corruption revolve mostly around V/M's superiority, it can leave the mistaken impression, like happened to some extent with the Davis/White situation, that V/M are a special case and that the teams that unfairly beat them are otherwise deserving. But by explaining the principles behind why the Shibutanis (and others) are stronger than P/C, or why Paul/Islam (and others) are stronger than Gilles/Poirier, it becomes all the more obvious why Virtue/Moir have the strongest technique and why being challenged by the likes of P/C and G/P is so outrageous.

Previous Entries:
Part 1: Versus the Shibutanis, Steps #1-6

Part 2: Versus the Shibutanis, Steps #7-19

This entry will examine the steps of the remainder of the Section 1 element. I'm going to recopy the following passage quoted in Part 1 in every subsequent post, as a reminder of how clearly and explicitly proper technique is defined in International Skating Union materials.

The following excerpts from the "General requirements" section of the Handbook for Officials for Pattern Dances [1], which is used to judge international novice competitions, gives a good idea of what one should be looking for in good compulsory skating. Pay particular attention to the part about Skating Skills - emphasis is mine.

"a) Accuracy – The steps, edges, elements/movements and dance holds must be in accordance with the dance description and the Rules. Subject to general conformity with the basic requirements, some latitude is given to allow a Couple to demonstrate their own individual style. This is usually accomplished by the use of a variety of arm and/or leg movements. Movements or positions of arms and/or hands, which differ from those specified in the descriptions of the required dance holds are permitted, provided that the Leading Hand of the Man remains in the prescribed position for the hold"

"c) Skating Skills – Good basic skating quality is required: Deep edges should be skated with speed, flow and easy glide in an effortless manner. Cleanness and sureness of steps, edges and lobe transitions should be evident. The Skater must carry the weight over the skating foot. Footwork must be neat and precise. Two-footed skating must be avoided except where it is required. Good and equal technical ability are required for both partners. The knee of the skating leg should be flexible with a rhythmic rise and fall.  On Chassés and Progressives the the feet should be lifted a small distance from the ice"

"e) Style - Carriage should be upright but not stiff with the head held up. All actions should be easy and flowing and performed in an elegant manner. The Dance Holds (see Rule 605), should be firm and the fingers neither spread nor clenched. There should be no apparent struggle for speed and speed should not be obtained at the expense of good style. The free leg should be extended, the foot turned out and pointed down;

f) Unison - The Couple should skate as close together as possible keeping a constant distance between them. All movements such as leg swings, knee bends and lean should be equal and well coordinated and their performance should be balanced.  The partners should move as one. The Man should show his ability to lead and the Lady to follow"

Steps #7-8
At the end of Part 1, the teams were in the middle of step #6 [2], with the man on a LFO and the lady on a RBO, facing each other in Waltz Hold. They will hold these edges for a 2nd beat, and then perform Chassés in unison on beat 3, stepping onto a RFI for the man and a LBI for the lady.  They complete the Chassés by stepping back to the LFO and RBO respectively, and they will skate a 6-beat swing roll on these edges.

Steps #7-8 (.5x)

Below are shown the step #7 Chassés at a slower speed. For a refresher on Chassés, see Part 1. 

Step #7 (.25x)

S/S execute their step #7 correctly and in lovely unison, whereas it is unclear if Papadakis takes her free foot off the ice at all. Cizeron appears to make no attempt to keep his feet parallel but rather steps forward instead of executing a Chassé. Next, step #8 at a slower speed.

Step #8 (.25x)

Once again, the differences in posture, elegance and unison are immediately apparent. The teams are supposed to remain in Waltz Hold during this section, but as noted in the "Accuracy" requirements above, P/C are doing an allowed variation because Cizeron's leading hand [3] remains placed on Papadakis' back. From the broadcast replay, you can see that Papadakis does take her right foot off the ice ever so slightly during the Chassé. 

Step #7 (P/C) and Step #8 (both) (.5x of replay speed)

You may notice the teams start to change to an inside edge near the very end of the swing roll. Although not specified by the pattern, this is allowed and necessary in order to push onto the next step [4].

Steps #9-12
These steps occur over the course of 6 beats. The man (having unofficially changed to a brief LFI) will push onto an RFO and hold it for 2 beats, perform a LFI Chassé on the 3rd beat, and then repeat the same steps for the next bar.  The lady (having unofficially changed to a brief RBI) will step onto a LBO for 2 beats, followed by a RFO for 1 beat - the outside edge will be brief because once again a change of edge will be necessary to push onto the next step, but the right foot should still be held for the entire beat.  She will then change to a LFI for 2 beats and peform an Open Mohawk ending on a RBI for the 3rd beat.

I suggest you watch the Shibutanis to make sense of this table.

Steps #9-12 (.5x)

As you can see, and as I have already pointed out on Twitter and in my last post, P/C are neglecting to pick up their free feet resulting in a very muddy set of steps. Below is step #9 at a slower speed.

Step #9 (.25x)

Papadakis' posture makes it appear as though she's hanging on to Cizeron for stabilization. Maia S.'s back is gorgeous here; also note the difference in leg extension. After holding step #9 for 2 beats, the ladies step around onto their right foot and the man performs his Chassé, as shown next.

Steps #10-11 (.25x)

Maia steps clearly onto her right foot for a beat, only placing her left foot down for step #11 as she makes the next stroke. From this angle she appears likely to have achieved a shallow outside edge briefly, while Papadakis does not appear to have done so. But far more concerning is that Papadakis immediately and incorrectly places her left foot down on the ice beside her right, and appears to push with both skates firmly planted on the ice. Cizeron's Chassé looks questionable. Below is the broadcast replay of steps #9-11.

Steps #9-11 (.25x of replay speed)

Alex S.'s foot touches down to begin step #9 a little earlier than Maia's, but they actually place their weight on the new skating foot almost in sync. Papadakis' method of starting step #9 is oddly sluggish - rather than placing her LBO down and immediately pushing off, she slides it in beside her RBI and strokes only after she's firmly settled on the edge. As noted above, she then merges step #10 and 11 into a laughably two-footed mess.  The contrast with Maia's sure clean change of feet is rather startling.  And although Alex's LFI Chassé could be a little neater, he clearly picks up his right foot. Cizeron takes his weight off his RFO enough to rock the blade back and forth a little, he doesn't take it visibly off the ice.

Below are two sets of sceencaps. The first shows S/S about to put their weight on step #9 - they are already stroking. Papadakis has her two feet on the ice side by side.  And although with angle comparison some allowances can be made for different height and body build, I think the difference in depth of knee bend is once again noteworthy.

About to take step #9

Beginning of step #9

The next set shows step #10 - the ladies should ideally be on an RFO here at the start, but at least clearly on the right for 1 beat, and the men should have lifted their RFO off the ice for the Chassé.

Step #10

Step #10

Back to where the .gifs ended above, the teams have started step #11 which will last for 2 beats. For the ladies, the LFI is the entry edge of an Open Mohawk that ends in an RBI.  For more information on Mohawks, see Part 1 of this series.  In this case, the pattern on the ice created is shown below.

Below is both angles of the ladies' Open Mohawk.

Steps #11-12 (.25x)

Steps #11-12 (.25x of replay speed)

Maia's execution is textbook here - the weight transfer is sure and immediate, and the edges are deep. No sooner does Papadakis take her left skate hesitantly off the ice, but she's ready to plop it back down.  Once again Cizeron barely takes his free foot off the ice for the Chassé, if at all.

Steps #13-15
The next group of 6 beats are comprised of steps #13-15. The man will complete his second LFI Chassé by stepping back on to an RFO. This is step #13 and he will hold it for 3 beats. The lady steps onto a LBO for 2 beats for her step #13a, and then a RFO on beat 3 for step #13b.  They will then perform the same Open Mohawk that the lady performed for steps #11-12 (LFI to RBI) over the next 3 beats in unison. (These Open Mohawks are a Key Point for both of the partners [5], but that will be discussed further in Part 3.)

You can see the lovely one-two/three rhythm of S/S's knee action even without music.

Steps #13-15 (.5x)

Below is step #13a-b(-14) at a slower speed.  This is where the teams get significantly out of sync once more.  Papadakis has already put her LBO down almost immediately after the first Open Mohawk ended in step #12, and she then repeats her earlier mistake of skipping ahead over the RFO by two-footing the push onto the LFI.  Cizeron cuts short his step #13 to join her, and they are already well into step #14 just as S/S prepare to push onto the left foot.  As in the earlier case, the lady's right outside edge should be brief to enable pushing off onto the left foot.

Steps #13a, 13b (and #14 for P/C) (.25x)

There is also a required change of hold here.  Most teams, including P/C, return to Waltz Hold on step #13a. S/S have chosen not to do so, and it's somewhat ambiguous if this is correct. The chart of steps in the official pattern instructions seem to suggest that a couple should return to Waltz Hold when the lady is not turning. The text description [2], however, seems to suggest the opposite:  

"The lady’s steps 10 to 13b are also turned under the man’s left arm with a transition into an open mohawk to change to Kilian hold on step 13b."

I therefore assume that either variant is seen as correct.  Below are screencaps of the different hold approach of the teams on step #13a before the turn into to the Kilian.

Step #13a - not in Waltz Hold

Step #13a - in Waltz Hold

On step #13b, however, the team is supposed to switch to Kilian hold. There are several different variations of Kilian, and none in particular is specified. Most teams including P/C and S/S have opted to go with Open Kilian [6]:

"The Man’s left hand holds the Lady’s left hand, with his right hand resting over the Lady’s left hip or behind her back. The Lady’s right arm is extended."

S/S establish the new hold on step #13b (with both skaters on the right foot) as they are supposed to. P/C only reach Kilian position as their right feet are about to leave the ice.

Step #13b - in Open Kilian Hold

Step #14 instead of #13b - in Open Kilian Hold

Below are the Open Mohawks (steps #14-15). Because of the cutting of corners noted above, P/C start step #16 while S/S are still properly on #15.

Steps #14-15 (and #16 for P/C) (.25x)

The broadcast replay of steps #13-15 really reveals the difference in true power these teams are able to generate. S/S are so crisp, but maintain glide beautifully. Papadakis is indeed once again making a two-foot muddle of that push into the Open Mohawk, and Cizeron's step #13 that is cut short looks rather unsteady as well.

Steps #13-15 (.5x of replay speed)

Maia does indeed achieve the RFO, Papadakis clearly does not even aside from the left foot that's on, or momentarily about to be on, the ice beside it.

Step #13b

Step #13b

Steps #16-19
Section 1 is completed with steps #16-19, skated over another group of 6 beats. The couple remains in unison throughout. They step from the RBI exit edge of the Mohawk onto a LBO for step #16 with their free leg extended behind. After 2 beats, they then step onto a RFO for the 3rd beat. On beat 1 of the next bar, they perform a Crossed Step Behind onto a LFI. A Crossed Step Behind is defined as follows [7]:

"A step in which the free foot is placed on the ice on the outer edge side of the skating foot with the free leg tightly crossed behind the skating leg (note–the legs cross below the knees)"

There is no push in this step [8], and the feet must be close [9]. On the 2nd beat, the team should change edge to a LFO, and on the 3rd, they skate a RFI Chassé.

 

As shown in the previous .gifs, P/C start this section ahead of S/S and are part way through step #16.  However, they hold step #18 longer than they should and thus sync back up with S/S by the end of this part.  The ladies are encouraged in the official instructions to add character with their right arm [2] during the Crossed Step Behind - Maia's movement is graceful and controlled.

Steps #16-19 (.5x)

Below steps #16-17 are shown at a slower speed.  Papadakis again is showing lazy and hesitant footwork as it appears like she's spread eagle-ing the transition between the two edges.

Steps #16-17 (.25x)

Taking step #17

The replay of steps #16 to the beginning of #18 shows how cleanly S/S step onto the RFO, and how as usual they are transferring their weight off the old skating foot before the new skating foot even touches the ice, allowing their steps to be so precise and defined.

Steps #16-18 (.25x of replay speed)

P/C don't begin moving their right feet off the ice until the left feet are securely on it, and after removing that support they appear to collapse onto edges so deep that it is completely unrealistic to change edge on the next beat as teams are supposed to be aiming for. Is this done for show, or is it a problem with their technique, or both? I don't know. 

Step #18

Below is shown steps #18-19 from the program footage and the end of step #18 through to step #20 from the replays.  The left feet should be picked up off an outside edge, and the right foot should be placed down on an inside edge, as is proper for a Chassé. The complexity of this section makes that a tall order, but the change of edge for the left foot is stressed in the official description [2].

Steps #18-19 (.25x)

S/S arguably have the correct edges at the end of step #18 and start of step #19 although it is not as clear as it could be. Cizeron, despite having a prolonged step #18, appears to still be on a LFI and to step onto a RFO, or at least a flat. As I noted, those ultra-deep edges are not natural or workable here. Papadakis never even lifts her left foot, but I think we've established at this point that she thinks taking your free foot off the ice is for losers - and sadly, she's apparently correct.

Steps #18-20 (.25x of replay speed)

Step #20 (part of Section 2) is an LFO, the end of the RFI Chassé. S/S's foot placement is not entirely correct - Alex's foot placement on step #19 is the neatest. Cizeron's feet are more significantly out of alignment when he puts the RFI down, and as already noted, Papadakis keeps her skate glued to the ice, two-footing the entirety of step #19.  In Part 3, I'll take another look at the Key Points of Section 1, discuss the GOE and PCS, and analyze the timing with audio.

Some Thoughts
To return briefly to the claims of superior ice coverage that led me down this path, I have characterized P/C's sloppiness as "fudging" because it seems plausible to me that P/C might be illicitly gaining some speed through a lack of concern for the proscribed steps and proper form.  Certainly in many ways, the problematic way in which they're skating is inefficient rather than conducive to speed, but in the context of a compulsory pattern where accuracy is key, I wonder if the leisurely pushoffs and added stabilization seen here could translate to greater propulsion than for a team primarily concerned with doing the steps correctly. 

Regardless, P/C's skating in this element - that of Papadakis especially - is lazy and inaccurate, and really dispels any notion that they are great technicians. D/W weren't sold as a skating skills team, and yet that is what people praise P/C for again and again and again. I have often been dismayed at how specific technical things are not replayed with accompanying analysis on broadcasts as is done in credible sports, but here we have a relatively rare example of useful closeups of required steps. The slow motion replay was allowed to zoom in on P/C's feet for several seconds as Papadakis blatantly two-footed her way through this pattern, and to the best of my knowledge not a single person with any sort of official standing in the world of skating publicly made note of it, let alone how it should have disqualified them from the types of scores they received. NOT ONE. (But this British commentator managed to give a wordy equivalent of a yawn when watching the exquisitely clean footwork of S/S.)

At this point, it seems pertinent to point out that not only did P/C score higher than the Shibutanis on this element (as well as the components, segment and overall competition), but that the high points they were given overall declared P/C to be absolutely extraordinary. While they may be more competent than some who have disgraced international podiums, thus far they are an unexceptional team that struggles to execute complexity with the cleanliness and partnered connection required of both compulsory patterns and excellent free-form ice dancing. They've been unfairly ranked ahead of a sizable handful of superior teams, and I fully expect they'll be beating V/M before long, a team who are unquestionably the most gifted and accomplished team of the Code of Points era, and who clearly blow P/C out of the water on every possible count even more than S/S have in these examples.  But to some extent, none of that matters when P/C are being given near perfect marks while very clearly displaying significant imperfection.

Still, S/S are so superb here that one could be left thinking that P/C suffered only in comparison with them and that, even though P/C should score lower, their problems are still rather typical of other podium contenders. That is not the case. It is indeed common to see mediocre carriage and poor extension, and although Cizeron's cleanliness is far from second best, several men cheat on the Chassés to some extent.  But the level and frequency of two-footing that Papadakis displays simply does not happen with most other women in the top tier.  It is clearly and bizarrely below average. From comparing fifteen teams (top twelve finishers in the 2016 Worlds Short Dance plus Føurnier Beaudry/Sørensen (15th), Paul/Islam (4th at Canadian Nationals) and Hawayek/Baker (5th at US Nationals)), only Anna Cappellini and Alexandra Stepanova were about equal to Papadakis' messiness.  That means Piper Gilles, Madison Chock and Charlène Guignard were all able to execute footwork more cleanly. General accuracy is therefore not a singular measure of a team's technical abilities, when each of Gilles/Poirier, Chock/Bates and Guignard/Fabbri having significant issues of their own, but it does mean precise, correct steps should be a walk in the park for someone of Papadakis' alleged abilities.

Does Papadakis realize she does this? Does she not care? Do her coaches figure it's beneath someone with such deep soulful performance magick to bother with, despite correctness and quality being on paper a huge factor in the scoring of GOE and PCS [10]? Or have they half-heartedly tried to fix this, but figure it doesn't really matter since the medals are in the bag ahead of time?  All involved certainly seem to think P/C's scores have been technically justified.  Here P/C are confused why they're getting a lower score than they're used to (although it's only less than a point lower (75.60) than their 2016 Worlds score (76.29), and their PCS increased slightly). I mean, it's only 0.25 points higher than what V/M scored at their second Grand Prix in 2013-14. How insulting! There must be some mistake because it can't be their skating.

It was delightful to see V/M outscore P/C in the 2016 NHK Trophy SD yesterday. But a word of caution: P/C still won the Skating Skills category, and as enjoyable as it is to see a team who is constantly and egregiously overmarked being confused in a Kiss & Cry, if V/M win this evening, it doesn't say anything about what happens going forward. There is no such thing as momentum. The ISU does whatever the hell it wants.

References:
1. 2015-16 Handbook for Officials for Pattern Dances- pg. 8-9
2. Ravensburger Waltz document
3. 2014 Special Regulations & Technical Rules - pg. 123-124
4. 2015-16 Handbook for Technical Panels - pg. 21
5. 2015-16 Handbook for Technical Panels - pg. 15
6. 2014 Special Regulations & Technical Rules - pg. 124
7. 2014 Special Regulations & Technical Rules - pg. 116
8. http://iceskatingresources.org/DanceGlossary.pdf - 3rd page
9. 2014-15 Handbook for Technical Panels - pg. 19
10. 2015-16 Handbook for Referees and Judges - pg. 14, 16