Doug Mattis was a National Junior Champion, a member of the U.S. International Team, and a U.S. Open and American Open Professional Skating Champion. He toured as a pro throughout the 90s, appearing in Scott Hamilton’s “Upside Down,” and Nancy Kerrigan’s “Halloween On Ice.” Doug conducted the following interview with World and Olympic Champion and renowned skating commentator, Dick Button. The two talked about “Young Artists Showcase” and how choreography is important to skaters and skating.

We talked about “Young Artists Showcase,” a competition for young skating choreographers—which starts on the Internet (http://www.youtube.com/user/G2CYAS) in June.

When I asked Mr. Button about great performers and choreography, he was quick to point out the difference between skaters who perform well and great choreography.

“Choreography is not a dead thing,” he said, “but performance and choreography are two different things.” He explained that great performers can imbue choreography whether it’s simplistic or complicated with life. Choreography is the framework for setting the scene…upon which that skater performs, he added.

I asked him for examples of skaters that, while also being exceptional performers, have used choreography to create magic. Skating royalty names—like John Curry, Janet Lynn, and Torvill & Dean—flowed from him easily.

When Dick mentioned Janet, it occurred to me that Janet Lynn was a perfect example of where complicated choreography was not necessary to create difference from and an advantage over other skaters. As a youngster, I shared morning freestyle ice with Janet while she trained for a Landover World Professional Championship in the early 80s. She skated to “On The Blue Danube,” and her ability to perform that choreography—crisp, lilting, and appropriate to that piece of music. Every day, I watched. Every day, Janet was breathtaking.

“Jumps, spins, edging, performing ability, musical interpretation—and choreography; these are tools for skaters to impact an audience,” Button said. When I repeated the sentence with the phrase, “connect to an audience,” he correctly dismissed me. “Connect is the wrong word. A skater’s performance impacts the audience—I don’t care if they like it, in particular…but it has to impact them while watching. Think about Gary Beacom and Gia Gudat’s choreography—I’m not sure that those programs are about appealing to everyone, though I happen to enjoy them very much.” I agreed; innovative choreography…in the hands of talented performers…is fascinating to watch—but not always designed to make us “happy” or smile. As Button put it…it impacts us.

I asked him about why exploring choreography is important to skating, and he focused on the individual. “Individual skaters grow through exploring choreography…and skating benefits, as a result.”

I couldn’t agree more. His one sentence…verily described why this writer is involved with “Young Artists Showcase.”

In closing, I asked Mr. Button what advice he would give young skaters who enter “Young Artists Showcase,” and he immediately said, “Open your eyes!”

“Open your eyes. LOOK at everything. Look around you—beyond the surface of the ice. The landscape—that’s choreography. The clouds—that’s choreography in movement. A tree…a storm—look at these things. Your choreography will set the scene…create a design. Open your eyes and look around you!”