The Art of the Skate: How Dance Choreography is Elevating Figure Skating

Figure skating, at its core, is movement set to music. However, the intensity of competition, particularly during events like the Winter Olympics, often emphasizes technical scores over artistic expression. A growing focus on quadruple jumps—now almost essential for male skaters and increasingly common for women—can reinforce this perception. Yet, throughout the sport’s history, skaters have used dance artistry to refine and elevate their programs. From John Curry’s incorporation of ballet and modern dance in 1976 to the groundbreaking performance of Jayne Torvill and Christopher Dean in 1984 and Michelle Kwan’s emotionally resonant routines, artistry has always been a vital component of exceptional skating. This trend continues today, with skaters increasingly collaborating with choreographers from the dance world to create innovative and captivating performances.

A Flourishing of Artistic Innovation

The 2026 Milan Winter Olympics showcased a notable spirit of artistic expression. Madison Chock and Evan Bates’ dramatic free dance, set to The Rolling Stones’ “Paint It Black,” earned them a silver medal and stood out for its storytelling, flamenco-inspired choreography, and intense performance quality. Similarly, Alysa Liu’s short program, which contributed to the U.S. Team’s gold medal in the team competition, captivated audiences with its intricate movements and emotional depth, perfectly complementing Laufey’s “Promise.” This era appears to be particularly fruitful for artistic innovation in skating, prompting the question of what’s driving this wave and how it might shape the sport’s future.

When Dance Enters the Rink

A change to figure skating’s scoring system in 2004, implemented after a series of scoring controversies, gave greater weight to artistry. While scoring controversies continue to spark debate, particularly in ice dancing, the system has encouraged skaters to perform with choreographers from diverse dance backgrounds.

Spanish choreographer Antonio Najarro, who first gained recognition for his work with French skaters Marina Anissina and Gwendal Peizerat in 2002, has since been sought after by skaters eager to incorporate his expertise. “It’s very special when you witness two completely opposite energies come together,” says Najarro, who collaborated with Chock and Bates on their “Paint It Black” program. Integrating different art forms broadens skating’s cultural reach; even in Spain, where ice skating is not widely popular, Najarro’s work with Chock and Bates generated significant attention.

Sam Chouinard, a Canadian choreographer and dance coach, emphasizes that bold artistic choices push the sport forward. He notes that smaller clubs often draw inspiration from established teams, potentially leading to increased participation in dance classes among skaters.

Dancing at the Edge of the Rulebook

Creative choreography faces challenges within the structured rules of figure skating, which require skaters to include specific elements to earn points and adhere to limitations on movement. Chouinard’s approach involves choreographing without constraints initially, then refining the program to meet regulations. Despite the difficulty, he acknowledges that constraints are necessary for judging and can even be a stimulating challenge.

Najarro believes that taking risks while respecting the rules is key to creating a truly memorable program. He notes that many top skaters are now willing to sacrifice some technical points for a powerful artistic statement.

Skating Towards Legacy

The increasing openness to artistic risk-taking may be linked to the fact that skaters are competing at older ages. Seasoned professionals, like Madison Chock (33) and Evan Bates (36), often possess the maturity and experience to explore emotional and artistic depths. Najarro emphasizes the importance of maturity in conveying emotion and theatricality, while Chouinard suggests that skaters approaching retirement are more likely to seek new perspectives and approaches.

skaters who aspire to exit a lasting legacy must be willing to take risks. Beyond securing points, they must consider the message they want to convey and the unique contribution they can create to the sport. As Najarro states, “They have to make us dream. Yes, it’s a competition, but it’s a performance, too.”

Authenticity Starts in the Studio

Representing dance styles authentically requires dedication and immersion. Skaters often spend significant time in the studio with choreographers, absorbing the essence of a style before adapting it to the ice. This was evident in the case of French skaters Laurence Fournier Beaudry and Guillaume Cizeron, who incorporated voguing into their rhythm dance program, earning a gold medal in Milan. They worked with Brazilian choreographer Bieel Revlon, a specialist in the “arms control” category of voguing, to understand the nuances of the genre.

Chock and Bates likewise dedicated time to working with Najarro in a dance studio, focusing on hand gestures, coordination, and palmas—traditional rhythmical clapping sequences in flamenco. Najarro insists that his collaborators fully understand flamenco from within, emphasizing the importance of feeling the energy of the dance rather than simply imitating movements. He believes that attempting flamenco movements directly on the ice would result in a superficial performance.