Less than a decade after establishing Los Angeles-based Precision Choreography, Nicole Langevin has traveled the country and choreographed beam and floor routines for some of the U.S.'s top gymnastics talents.
Langevin, a three-time J.O. National team member, trained at Massachusetts Gymnastics Center for much of her career. Playing around on balance beam one day in the early 1990s, she inadvertently invented the skill that became known as the switch wolf, a 120 degree leap into a wolf jump.
Langevin translated her creativity to choreography after finishing competitive gymnastics. These days, Precision L.A. has more choreography requests than Langevin can handle alone. To that end, the company employs several former gymnasts, including Olympians Alicia Sacramone and Courtney McCool.
"My choreographers, who I refer to as 'Precision's Professionals,' have allowed Precision's routines to become even more diverse than ever," Langevin said. "They all bring their own expertise and vision to each routine."
Langevin recently took time to answer some questions from Examiner.com about the routines she loves, what makes good choreography and her goal of bringing artistry back to women's floor exercise.
Level 10 Jackie Bruce of Rising Star Gymnastics and Langevin performing Bruce's new floor routine:
------------
Examiner.com: How did you come to establish Precision L.A.?
Nicole Langevin: I started Precision around 2001, the year I moved to Los Angeles. The goal was to bring the artistry back to artistic gymnastics. I began choreographing for local gyms and built a nice video resume. Eventually, I had enough material to create a website and word has spread steadily ever since. I have been fortunate enough to travel the country and work with so many different types of athletes and coaches.
Examiner.com: How did you come to invent the switch wolf on beam?
N.L.: When I was in eighth grade, I was training on beam when my coach Nancy Andrews had run out to use the restroom. When the cat's away...A teammate of mine and I had an ongoing game where we would mix skills together and try to create new ones. I mixed a switch leap and a wolf jump together. Upon landing it, I hear "Nicole!" I assumed I was in trouble for straying from my assignment, but to my surprise Nancy said, "Do that again." So I did, and she went into the office and brought out then-owner of the gym Kathy Ostberg to have me show her.
To my surprise, they both thought that my hybrid skill was pretty cool. Kathy then brought the skill to the board to have it evaluated.
In its true form, it was rated a "C" on balance beam. I was informed that once completed successfully at a National competition, it would be named after me. I competed it at Level 10 Nationals that year [1993] and the "Langevin" was born.
Shortly following this, I got to see some elites doing my skill on TV. Even the Russians in the 1996 Olympics! Really cool for a teenager! Over time, the skill unfortunately got botched and was being performed as a hitchkick-wolf. Eventually, it was devalued again and again. I still believe that in its true form it should be a "C." Oh well...as far as why my name isn't on it anymore, good question...
Yelena Produnova performs a "Langevin," 2000 Olympic Games Team Finals, Balance Beam:
Examiner.com: What's your definition of a well-choreographed floor routine? What about a well-choreographed beam routine? What do you feel makes good choreography?
N.L.: First and foremost, the chreographer's job is to showcase the gymnast's strengths and hide their weaknesses. In other words, "if you got it, flaunt it." Beyond that, the gymnast needs to have a connection to the music and the story behind the choreography. When they have input in the music and their vision, they are more likely to take ownership of the routine, which is translated in the performance. [Svetlana] Khorkina had that quality. She told a story every time she went out on the floor. So much so, that it was almost as if the tumbling itself were an extension of the choreography -- a rare feat. There are also the obvious compositional qualities to take into consideration as well -- use of floor, equal distribution of elements/difficulty, etc.
Svetlana Khorkina, 1998 European Championships All-Around, Floor Exercise:
Examiner.com: What about a gymnast needs to be taken into account to choreograph a good floor or beam routine?
N.L.: Strengths and weaknesses, obviously. I also like talk to the gymnast to get an idea of their personality and self-perspective. Another thing to take into account is endurance in regards to skill selection to decide upon construction of routine.
Examiner.com: How much time does it take to choreograph a floor routine? A beam routine?
N.L.: I require music (for floor) and a questionnaire to be answered (honestly) by the coach to be submitted at least two weeks prior to each gymnast's session.
Examiner.com: How much input does the gymnast have when Precision L.A. does choreography?
N.L.: I often like to reserve the ending to work with the gymnast's input. Often times, I will have them work through their routine in front of the mirror and choose their favorite position/movement for their ending pose and work backwards from there. Also, if something that I prechoroegraphed just isn't translating onto the gymnast, I work with them to adjust the movement to fit their ability and comfort level.
Some of the most rewarding routines to choreograph are the ones in which the gymnast inspires me during the session. It's those gymnast who are just ready to "bust out," and when given the freedom to do so, they jump on the opportunity -- that makes my job really fun. I'm not necessarily even talking about the athletes who are technically "good" dancers, I'm talking about the ones who really dive into the movement and the performance aspect. A lot of times I will stray from my plan and allow these kids to collaborate in the choreography. It's so great for them to have the realization that this is THEIR routine, not mine. I'm there to make them shine.
It was these kinds of experiences with gymnasts that spawned me to create the Precision Choreography Award of Excellence. The award recognizes gymnasts, who in their choreography session, display an exceptionally strong work ethic, exceptional dedication to artistry, and a tremendous drive to bring their routine to a level of excellence that exceeds regular expectation.
This year was the toughest in that there were about 12 nominees including gymnasts from Hawaiian Island Twisters, Artistic Sports Academy Plus (Penn.), Central Coast Gymnastics (Calif.), Rising Star Gymnastics (Ind.), and Kennett Gymnastics (N.Y.). So though, that for the first time, there were co-champions: Alexis Mattern from Artistic Sports Academy Plus and Kennedy Lake of Rising Star Gymnastics. Both girls received a beautiful, custom glass and oak engraved award from A to Z Signs & Engraving Inc.
Examiner.com: Your website mentions that you prefer not to use "stock" music. Where does the floor music you use come from?
N.L.: Justin Rayna, Larry Castle, and Stephanie Sellars of Flying Light Music have created fantastic pieces for Precision. I like to avoid any preconceived notions or expectations that often come with common music. It's always disappointing for an athlete to put so much work into their routine, build an identity with it, to have three other people come out with their music. That minute and a half out on the floor is their time and I believe everything about that moment should be unique to the athlete.
Examiner.com: Many gymnastics fans feel that there's been a decline in quality choreography in elite gymnastics in recent years due to the difficulty of the code of points and lack of compulsories. What's your take on that?
N.L.: Limitations spawn creativity.
Examiner.com: What are some of your favorite beam and floor routines being performed currently? What about past favorites?
N.L.: Shayla Worley's beam routine as an elite was by far one of my favorites. She had it all -- beautiful lines, interesting choreography, flexibility moves, and some unique, high difficulty skill selection (i.e. Onodi to two feet and THAT MOUNT SEQUENCE!)
Elizabeth Reid's floor is my all-time favorite. Just watch it. 'Nuff said.
Shayla Worley, 2008 American Cup, Balance Beam:
Elizabeth Reid, 1993 U.S. Championships Event Finals, Floor Exercise:
Elizabeth Reid, 1997 NCAA Championships, Floor Exercise:
Elizabeth Reid, 1998 NCAA Championships, Floor Exercise:
Elizabeth Reid, 1999 NCAA Championships, Floor Exercise:
Examiner.com: Is there anyone you're dying to choreograph for?
N.L.: I'd love to have the opportunity to work with Bridget [Sloan]. Her flexibility and lines offer a lot of potential for some amazing movement. I feel the same about Corey Hartung.
Corey Hartung, 2009 Florida vs. Auburn, Floor Exercise:
Corey Hartung, 2008 Florida vs. Pittsburgh, Floor Exercise:
Examiner.com: What's the cost of a custom-choreographed Precision Los Angeles floor routine?
N.L.: $425 is a standard J.O. routine with no discounts. Our discounts come into play when multiple routines are being done in one team or group, siblings, combos (beam and floor routine), or in conjunction with workshops. Elite routines are a different story and are dealt with on an individual basis.
A routine session includes choreography teaching, video tutorial (choreographer breaks down routine for camera), video of choreographer doing routine (alone or alongside gymnast), packet with timing, floor pattern, sections notes, and choreographer notes as well as training tips, a small gift upon completion of session and contact info for gymnasts and/or coaches to consult choreographer after the session. We save everything!
There are other rates for major and minor touch-ups. Major touch-ups would be a taking an already created routine and updating and/or reworking choreography. A minor touch-up would be polishing and tweaking an already existing routine.
If we are doing many routines in one location, we will often do a group touch-up session for $25/gymnast which involves a one- to two-hour intense circuit of polishing and feedback.
Examiner.com: I read that Precision L.A. just finished choreographing a floor routine for Alicia Sacramone. Can you give us any hints about it?
N.L.: It's awesome.
Follow Gymnastics Examiner Blythe Lawrence on Twitter at www.twitter.com/GymExaminer.
Comments
Hey Blythe...doubt there's anything you can do about it...but I always get a bunch of popups when I visit your new site here. They even circumvent my popup blocker!! The issue keeps me away from reading as often as I like as it is quite irritating...I miss the Gymblog...
Got something to say?
Examiner.com is looking for writers, photographers, and videographers to join the fastest growing group of local insiders. If you are interested in growing your online rep apply to be an Examiner today!