Art or Sport

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This blog post aims to focus on the performance of figure skating. Can dance be artistic, and how can figure skating become a form of art? Why and how does figure skating become competitive? Most importantly, is figure skating a sport or method of art?

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Figure skating is an expressive form of dance on ice, but how can it become artistic? There are many elements that can make figure skating artistic, however, the main premise to consider is the lived experience of figure skating. The body becomes a tool for the figure skater, an instrument in which emotion can be translated (Fraleigh, 1987). Fraleigh explores dance itself as a form of art, raising that the body can be used in an expressive and a naturally focussed manner. Dances are charged with emotion and tension that consequently can be depicted as an intense and artistic method of expression and passion. Similar to Fraleigh, Sklar (2008) shows particular focus towards emotion being embodied through motion, however, he pays specific attention towards gesture. Sklar looks at the power of gesture and how its performance works with vitalit, he explains that emotion and vitality are embodied through gesture – meaning is essentially placed in movement. Human movement, in this case figure skating, embodies emotion and through this medium artistic expression can be established. 

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Although we have acknowledged that figure skating is a form of art, it has also managed to become a competitive sport. Firstly, it is important to clarify why we have competitive figure skating. For instance, the Olympics allows figure skating to become a platform for nationalism (Sala, et al., 2007). Figure skaters join the Olympics to represent their country, and the competition offers an opportunity to express national identification. Sala demonstrates that figure skating can become extremely political. He alludes that political influences over judges’ result with figure skaters’ scores either hindering or boosting based on self-interest or national identity as skaters can represent their country’s ‘friend’ or ‘rival’. Sala’s point could potentially suggest that when figure skaters compete, they merely become tools for political gain or nationalism. To what extent do figure skaters lose their own identity when competing as their bodies become products for their country? When competing, are figure skaters representing a collective self or individual self? Although Sala raises an interesting and valid explanation, to claim that figure skaters are merely political tools regarding competitive sport is a simplistic and generalising point. Competitions exist to challenge individuals and to see to what extent they themselves can push and train their bodies. Competitive figure skating exists to allow individual technical growth but also to offer an opportunity of representation. 

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Audiences can consume and be entertained by figure skating as the movement of the body embodies emotion and becomes particularly captivating. Figure skating is another method to amplify emotional expression and as a result it can become a medium of art (Senn, 2016). However, when figure skating becomes competitive, it no longer can be characterised as an art but consequently becomes categorised as a sport too. If this is the case, could competitive figure skating devalue it as a medium for art? To what extent does art (figure skating) lose its value when placed in a competition? Whitehouse argues that for art to be art it must be validated and experienced (Whitehouse, 1979). If figure skating is still able to evoke emotion during competitions, is it not both an art and sport? Figure skating is extremely technical and is based on two components: ‘technical score’ and ‘programme component’.  For judges to use this scoring system, the ‘technical score’ looks at the technique and skill of figure skaters (the competitive element of figure skating) whilst the ‘programme component’ looks at the artistry and the performance of figure skating. Figure skating can therefore be a medium for both competitive sport but also a platform for artistic emotional expression. 

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Overall, this post clarifies that the body can be used as a tool to express emotion but also be used to compete. When looking at figure skating performances, you can see the intense emotions that they are trying to embody, typically ranging from lust, sadness or happiness. There is also a refined focus you can see in figure skaters’ facial expression. When performing, figure skaters display emotion through the fluidity of their bodily movements but also through complex technical moves. The performances presented above reveal that figure skating can indeed be presented in a competitive setting, however when it comes to the actual performance there is still an artistic and emotional element. 

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Fraleigh, S. H. (1987). Dance and Lived Body. University of Pittsburgh Press. pp.1-21.

Sala, B. R., Scott, J. T., Spriggs, J. F. (2007). The Cold War on Ice: Constructivism and the Politics of Olympic Figure Skating Judging. Perspectives on Politics, 5(1), pp.17-29.

Senn, F. (2016). Embodied Liturgy: The Bodies in Motion. Augsburg Fortress, Publishers, pp.321-347.

Sklar, D. (2008). Remembering Kinesthesia: An Inquiry into Embodied Cultural Knowledge. University of Minnesota Press, pp.1-23.

Whitehouse, P. G. (1979). The Meaning of ‘Emotion’ in Dewey’s Art as Experience. The Journal of Aesthetics and Art Criticism, 37(2), pp.149-156. 

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