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From: RSSIR FAQ maintainer <anamga@pacbell.net>
Newsgroups: rec.sport.skating.ice.recreational
Subject: Recreational Figure Skating FAQ - Advanced Skills
Sender: ana@erizo.casa
Message-ID: <freestyle-1-1082522404@pacbell.net>
Reply-To: anamga@pacbell.net
Summary: Recreational figure skating (Participant) FAQ on advanced and
freestyle skating techniques
Date: Wed, 21 Apr 2004 04:40:08 GMT
Archive-name: sports/skating/ice/rec-skate/freestyle
Disclaimer: Approval for *.answers is based on form, not content
Posting-Frequency: monthly
URL: http://home.pacbell.net/anamga
Last-modified: Apr 4 2004
Version: 1.016
6. Figure skating skills
At the outset, it should be mentioned that each of the three
disciplines (dance, freestyle, and moves in the field(US) -- skating
skills (CA)), (the latter has replaced figures in North America),
offers challenges that contribute to improving the other two. A well
rounded skating program offers all three.
6.1 Dance
Skate dancing uses the same skills as other forms of skating, but has
its own emphasis and sequencing. You may also want to get the
instructor to show you the steps for the introductory dances to get a
better feel for what's involved. The introductory dances require only
forward skating - no turns. When you do get to the turns, they'll be
Mohawks and then forward 3's. You'll probably find them easier to
learn in the dance context than in a "figure" or random class context,
particularly the Mohawks.
The main skills that you need to begin "dance skating" are an
effective forward stroke, the ability to hold inside and outside edges
(meaning you can glide around turns on one foot) and a reasonably good
posture. If you haven't mastered these yet, a lot of your "dance" time
will be spent working on basics.
6.2 Freestyle skating
Oh, I have slipped the surly bonds of earth
And danced the skies on laughter silvered wings
from High Flight, by John Gillespie Magee Jr.
Jumps and spins cannot be mastered without good edges and upper body
control since it is this that sets the stage for what follows. The
approach to a jump is as important as the jump itself, since it is the
approaching footwork that gets your entire body into the right
position to jump.
The main reason to jump and spin in the same direction is that you use
the spins to safely practice jumping technique. The back spin in
particular is used as a preliminary to the loop, which is in turn used
as a preliminary to the Axel. Ultimately the rotation, air-position,
landing, and exit for all the major jumps are the same, and are all
developed from the backspin.
Several single jumps are described below, roughly in order of
difficulty. They are first defined in terms of the take-off edge,
whether or not a toepick is used, and the amount of rotation. For the
sake of brevity, all the jumps are explained for counter-clockwise
rotation.
6.2.1 Waltz jump
The Waltz jump is done on the arc of a circle starting from a LFO edge
and landing on the RBO edge, with one half rotation. Here are some
tips.
-- Posture. You can't possibly do a Waltz jump if your body is leaning
forward from the waist. You must stand upright over your skating leg
and your knees should be bent.
-- The biggest mistake most beginners make in the waltz jump is that
they think that all the rotation is in the air. A waltz jump is really
a side-to-side jump. You actually take off with your left foot like
this | and land with your right foot like this | . THE LAST THING TO
LEAVE THE GROUND IS YOUR LEFT TOEPICK. THE FIRST THING TO TOUCH THE
GROUND IS YOUR RIGHT TOE PICK. The force of the landing and your free
foot coming back complete the rotation.
-- Since you glide on your RBO edge after landing, practice gliding on
this edge. Get your coach to show you what a correct landing position
looks and feels like (arms below shoulder height, and slightly ahead
of your body so that you can see both hands out of the corners of your
eyes, your left leg extended out behind you, head up). Work really
hard to memorize that feeling while gliding on your RBO edge. This
landing position is the same for almost all the jumps.
-- The sequence of the jump is a down-up-down movement. Down to
prepare for the jump, up to jump, and down on your landing leg.
-- Stand holding the rink barrier and put your hands on the boards to
steady your self. Try just making little hops from your left foot to
your right foot just to get the feel of having both feet in the air at
the same time. Don't worry too much about take off position or landing
position to start with. Just get the feel of shifting your weight from
the left side to the right side.
-- OK, got all that? Now try doing it away from the wall. Don't worry
if you can't get as high or far when you first leave the wall. It's a
little scary at first. But with practice, you'll have really nice
waltz jumps that you can do from some speed that will be even bigger
than anything you can do on the wall. Generally some speed will make
the whole take off and landing more predictable.
-- Don't look down. The ice will be there when you need it whether you
look or not.
-- Swing your free leg forward at the beginning of the jump. Because
you are on a curve, this will feel like jumping outside the curve.
Think of this as jumping OUT or AHEAD, but don't let yourself think of
it as jumping AROUND.
-- If you jump straight ahead, and if you were on a FO edge when you
took off, your body WILL do the required half revolution all by
itself, so that when you land, you will be going backward.
-- When you land, you should roll off your toepick onto an RBO edge.
Landing on the flat of the blade will make you skid.
6.2.2 Salchow
The Salchow starts from an "open" LFO 3-turn followed by a strong
check on the LBI edge. Leaving your hip open will extend your free leg
behind you in the direction of travel. As the skating leg rises after
the check, the free leg and shoulders are released (swung around) and
the skater jumps, landing on a RBO edge after one rotation. If you go
back and look at the tracing you left as you took off, you should see
a pronounced curve, shallow coming out of the 3-turn, and deeper just
before takeoff with a toe pick mark at the end (like a check mark)
indicating that you were rotating forward on take off. In this
respect, a Salchow is not unlike a Waltz jump with a backward entry.
The Salchow is an incredibly easy jump to cheat, and the easiest way
to cheat is not to have or hold any check following the introductory
3-turn. Since cheating is bad, reduces power and control, and is hard
to unlearn, start out by learning the jump without the cheat.
First, practice the approach WITHOUT the jump. From a RBO edge, step
forward and turn a LFO 3. HOLD IT. HOLD IT. HOLD IT. Practice holding
the entry edge on the 3 turn, right leg extended back, body strongly
checked. This is the position that you want to have before the jump.
Practice this a lot, until you get familiar with what is involved in
holding the edge ... where your shoulders are, how open your free hip
is, where your free leg is, etc. A LOT of the power for the jump comes
from creating momentary rotational tension by initially checking the
rotation of the 3 turn.
Remember that virtually all of skating is done as a series of down up
down up down up down movements. The introductory 3-turn requires a
DOWN to prepare, an UP to turn the 3, a DOWN to finish the 3, an UP to
do the jump, and a DOWN to land it. Don't forget any of the "downs",
because if you don't go down there is nothing to come up from.
The Salchow has a 1, 2, and 3 cadence. 1 - turn, 2 -check, and - let
the free leg and arm move from behind to inside the circle, 3 - jump.
There are two primary sources of rotation: the edge you are on (should
be deep), and having the arm in back come forward during takeoff
(which rotates your shoulders). The jump comes when you progressively
deepen the back edge by releasing the free side, closing the free hip,
throwing/pulling the free leg forward and up, and by scooping your
arms in/down and up.
6.2.3 Toe-loop
A toe-loop is a toe-assisted jump done from a RBO edge (for CCW
jumpers)- usually after a RFI 3-turn. The free (left) leg is extended
far behind and the toepick is planted on the circle behind the
direction of travel and used as a pole vault. The skater rises, does
one rotation in the air and lands on a RBO edge.
When you put your pick in, put it in BEHIND you; make sure that your
free leg does not cross behind the skating leg before picking. Also,
make sure that both your torso and free leg are facing backwards to
the direction of travel as you pick. If you let your shoulders turn
around before you pick or turn out your free leg (so that your toepick
is facing forwards as you pick) you will do what is known as a
TOE-WALTZ. Once you learn this "cheat" it is hard to undo and it will
make it harder to achieve a double toe-loop further along the road.
If you are having trouble getting up the nerve to actually jump this
jump, try the following: do a RFI 3-turn, put your pick in the ice far
behind you, but don't jump, instead, use the pick to pivot around on
the RBO edge about one quarter of a turn; then push off the pick and
do another RFI 3 turn, pivot around the pick again, etc...This is
basically a series of "toe-assisted" RBO threes. One of these times,
though, when you put in the pick, don't to the 3 -- jump instead. The
series of 3s will get you used to how much rotation you need, and will
serve as a stepping stone. for the jump.
Here are a few tips to watch for:
-- Make sure the check is strong. When you put your pick in, your left
arm should be well forward, and you should be sighting down the left
arm toward your hand.The right arm is slightly behind you and off to
the side
-- Make sure that you point the toe-pick and drive the top picks into
the ice. This will not only make the take-off more secure, but it will
make it harder to turn out the picking foot.
-- Although the toe-loop is nominally a full rotation jump, in the
practice you will be doing at least a quarter to a half rotation on
the ice. This is not bad technique, as long as your shoulders and
picking leg turn together as a unit and face the same direction
throughout the take-off.
6.2.4 Loop jump
The loop jump is an "edge" jump, starting from a RBO edge and
finishing on an RBO edge after one rotation.
Here is an exercise that can help you get a feeling for what the jump
feels like. Start either from backward CCW crossovers or a RFI 3 turn
(the 3 turn is easier for most people). Either way, the position for
entering the jump is a RBO edge, left (free) leg in front, left arm
strongly checked in front, right arm strongly checked behind, head
facing forward.
For the exercise, scoop a pot of gold up from the ice with your right
hand as you rotate crossing the free leg across the ankle. Do a single
rotation backspin on the ice and check out with the free leg in back.
The jump is the same, only at the same time that you scoop the pot of
gold up off the ice with the right hand, DEEPLY bend the right knee.
Just before you'd pop into your backspin for the exercise, pop into
the air instead.
Things to remember are:
- make sure that you have a strong RBO edge and a strong check. The
"launch" power comes from pushing up off of a strong edge. The
rotation comes from releasing the check.
- On the entry, avoid having your weight rock forward.
- Keep the free leg IN FRONT of the skating leg. It's very easy,
especially just at the moment of jump, to let it wander off sideways,
out of the circle.
- Keep your head looking inside the circle until just before you jump.
This will keep you from leaning outside the circle.
- Remember to jump through the entire foot, pointing the toe so that
the pick is the last thing to leave the ice
6.2.5 Flip jump
The flip jump is a toe-assisted jump starting from a shallow LBI edge
(usually after a LFO 3-turn). The toe-pick of the right (free) leg is
planted in the ice behind the direction of travel and the skater
vaults from the right leg, rotating one full rotation and landing on a
RBO edge.
The flip doesn't have quite as nice a stepping-stone as the loop jump,
so that might make them seem harder -- there's no easy way to get the
feel for them as a full-rotation jump. However, here are a few tips.
-- Make the 3-turn pretty flat, almost on a straight line.
-- Check strongly after the 3-turn, with the right arm behind and the
left arm across the front of the body (like the loop preparation). You
should feel a strong pull in your right shoulder blade. Think about
keeping the right arm slightly above parallel with the ice. Keep the
shoulder open, so when you swing the right arm, it comes around, not
up.
-- Keep the hips square to the "straight line" you're on after the
3-turn.
-- Hold the LBI edge and bend your left knee a lot. Do not move your
arms and shoulders yet. Bend forwards so that your upper body is on
the same line as your right leg (Think of a rigid bar going from your
right toe to your head)
-- Don't kick the ice when you pick. In this jump, you must transfer
your weight from the left to the right side. The right toepick has to
be able to support your weight and pull you into the air. To feel
this, stand on your left skate and reach back with your right leg,
held straight and with the toe extended. Hook the ice and pull your
left skate backwards, rising on your right leg.
-- Jump on your left knee. Meanwhile release the check at your
shoulders: Move the right arm forwards alongside your body and bring
in your left arm towards you. Pull back with your upper body so that
you are still on a straight line with your right leg. If you want,
kick upwards with your left knee in order to put your centre of
gravity on your right leg more easily.
-- Turn your head towards your left -- same sense you are jumping
(this will force your left shoulder back a bit, so it can be very
useful if you feel you are stopping yourself from rotating ). Keep
arms folded close to your body.
-- In the air, cross legs at the ankles in a backspin position. For
this reason, working on backspins is a helpful exercise.
-- You can use half-flips as a stepping stone, but they can easily
become a crutch. After the LFO 3-turn, pick with the free right leg,
jump up, and land again on the toe-pick of the right leg, stepping
forward onto a LFO edge. Go back and take a look at how much distance
you covered doing the above. Then do it again, this time making a
conscious effort to use your picking foot to pull yourself backwards.
The distance should get longer.
6.2.6 Lutz jump
The Lutz is named after the Austrian skater Alois Lutz. The Lutz is
similar to the flip, but it takes off from a BO edge instead of a BI.
This means that the jump turns in the counter direction to the entry
edge. This "counter"character of the jump makes it one of the hardest
single jumps, since it is not possible to take advantage of the
intrinsic rotation provided by the edge to start turning.
One of the most common mistakes in the Lutz is doing a change before
the take off, so that the skater is technically doing a flip instead
of a Lutz. This is what is usually referred to as a "flutz". Although
an incidental change of edge just before the takeoff is tolerated, the
best looking Lutzes are achieved by taking off a pure outside edge
The standard preparation for the CCW Lutz consists in CW back
crossovers followed by a sustained shallow left back outside edge. The
hips and shoulders should be perfectly square while riding the edge.
After settling on a stable outside edge, pass the right arm back to
get a serious check on that shoulder. Look straight ahead down your
left arm. Bend the skating knee, extend back the right leg and plant
the pick on a straight line behind the left skating foot - it may feel
like the pick is slightly inside the BO circle described by the
skating foot.
Make sure that you don't raise the free leg and kick the ice with the
pick. This is not only a waste of energy, but it also makes you bend
too much at the waist, which slows down the rotation (not to mention
that it will hurt your toe!)
During the picking, concentrate on holding that right shoulder check.
If you let the right shoulder come around before picking you will very
likely "flutz".
As you jump, draw the free arm into, not around, the body.
An alternative entry: Instead of riding the long back outside edge,
some skaters do CCW crossovers or a left foot mohawk, ride briefly on
a right back outside edge (or flat), cross the left foot over the
right onto the left outside back edge and then pick and jump. This
entry is sometimes recommended to get rid of a flutz, because the
right shoulder tends to move naturally backwards during the crossover
step prior to the jump. The secret is not to linger on the LBO edge
and pick and jump immediately after the crossover.
6.2.7. Axel jump
The Axel jump takes off from a forwards outside edge is landed on the
backwards outside edge of the opposite leg, after one and a half
revolutions.
The usual approach to the Axel is a RBO edge (for counterclockwise
jumpers). On the approach, make sure that your body is very upright,
your feet are closer together and you are facing outside the circle.
From this position, push strongly onto a LFO edge on a deeply bent
knee, leaving the free leg far behind you. At the same time throw both
arms behind you, with slightly bent elbows. Your upper body should
remain upright and over your hips. The following bit of clip-art
illustrates what you are supposed to look like on the entry to the
Axel:
_
(_)
|_
| \
_ _|
| \__
_| \
The lift-off for the Axel comes both from pushing off the skating leg
and from swinging forwards the arms and the free leg. The more
forceful the swing, the higher the jump will be. As you raise on the
jumping leg, roll your weight forwards onto the toepick. The toepick
will be the last thing to leave the ice.
IMPORTANT: When the free leg overtakes the jumping leg, do not kick
forwards with the free foot, but instead drive the knee upwards. This
is what some people means by "stepping up" into the Axel. The movement
of the free leg resembles climbing up a steep staircase. The purpose
of this "stepping up" is to keep the free leg as close to your body as
possible during the lift-off stage. This facilitates the snap into a
fast rotation and the weight transfer from the left to the right leg,
required for a stable landing on a strong back edge.
As you lift the ice your free knee will be pointing upwards, your arms
extended in front of you and your jumping leg fully stretched. Now
comes the tricky bit: To generate the fast rotation, quickly pull in
your arms towards your chest, point down the soon to be landing leg
and cross the left over the right leg. This will look as if you were
doing a backspin in the air.Although achieving this air backspin
position quickly is not strictly required to be able to do an Axel, it
is the key to complete successfully more advanced multi-revolution
jumps and it is generally considered better form than jumping with
your legs hanging side to side ,so you might as well learn it!
When you land, unwrap the legs by lifting the left knee and roll onto
the RBO edge in the usual landing position.
6.2.7.1 Axel exercises
The Axel can be a difficult jump to learn. Although mastering this
jump will inevitably take some time and quite a few falls, there are
several skills and exercises which can be used as stepping stones for
the Axel. Practicing them will provide you with some ingrained
knowledge of the correct technique for the different phases of the
jump and reduce the risk of injuries resulting from clumsy attempts.
1. Waltz jump: Having a strong confident waltz jump is an important
requirement for the Axel. Practice waltz jumps making sure that
you adopt the proper Axel take off position.
2. Waltz-loop combination: Doing a loop (or better, a loop-loop)
after the Waltz jump practices control of the free leg and hip and
also helps with the concept of weight transfer to a new rotation
axis.
3. Backspin: Practice as many backspins as possible. A particularly
useful exercise consists in snapping into a fast backspin from a
standstill (by quickly pulling in your arms and crossing your legs
at the ankle. This exercise simulates getting into the flight
position and fast rotation in the Axel and multi-revolution jumps.
Doing the backspin off the landing of a waltz jump is also a good
exercise.
4. Step-up: From a standstill or a one-foot forwards glide, step onto
the take-off leg and practice the step-up into the Axel: swing
your arms forwards until they are extended in front of you and
drive your free knee upwards to hip height or higher and you roll
up onto the toepick of the jumping leg. When you are comfortable
with the step-up, try adding a fast backspin as you touch down
with the landing leg.
6.2.8 Two foot spin
The hardest part about learning spins is to get the feel of it. It's a
bit like balancing a broom on your hand...
Do you work in an office with a swivel chair? Or can you find one? If
so, sit square on the seat and twist your upper body opposite to the
direction you want to spin. HOLD YOUR ARMS OUT UNTIL you have the
chair turning just a bit. Then pull them in SLOWLY.
You'll probably find you start whizzing around. If you don't, oil the
chair or keep fiddling until you get it. Once you've got it, practice
it until you get fired or you can do it every time.
As in the chair analogy, the preparation for a 2-foot spin is a
wind-up and release. Start by bending your left (skating) knee. Also
bend the ankle, and just sink your hip toward your heel, keeping your
torso upright. Your shoulders and hips should be lined up over your
skating foot. In order to do this, you have to allow the non-skating
(right) foot to slide/glide a long way out from your skating foot --
BUT without any weight on it. Your weight should be ALL over the
skating foot. "Wind up" your upper body. Your left arm should be
forward and a bit across your body and your right arm should be well
back. When you release this tension by bringing your upper body
(shoulders, torso, arms) to neutral, you create some rotational
energy.
NOW, you are ready for the *real* trick: As you release the free side
(i.e.: release the wind-up), and begin to straighten the spinning leg,
PULL IN with your thighs. You don't just *let* your legs come
together, you PULL them together. Your inner thighs have very powerful
muscles in them and you will be amazed at the energy they can
generate.
Keep your shoulders level. Don't bend at the waist. Don't look down at
the ice.
An alternative standing start is with a pivot. Cock your left knee to
stick the left toepick in the ice, and start your spin with the same
windup you would use if you were standing on both blades. Put your
weight over the pivoting toe. As you release the free side and
straighten the skating knee, roll the left skate back off the pick and
onto the blade.
Try a moving start: glide forward on 2 feet held parallel. Wind up
your upper body. Cock your left knee to stick your pick in the ice and
turn out the left hip. Commit your weight to the left foot. By
sticking the pick in the ice, you translate your momentum, which was
forward on BOTH feet to forward only on one, but that one has to go in
circles around the left toe, which is now stationary. When the pick
catches, release the windup, begin straightening the left leg, rocking
back from the pick, and pulling in with your thighs. In other words,
once you have begun the pivot, this is identical to a standing start,
but you have the added momentum from your forward motion.
The crux of all spins is that you have more time than you think. Don't
yank your arms or legs in quickly; use the twist in your body to get a
little bit of rotation first, and then pull in. As you get faster
you'll start to feel the centrifugal force trying to pull your arms
back out. Balance that pull so that you keep on pulling in slowly, and
you'll have joined the Scott Hamiltons of the world!
Good luck. And remember -- spinning is like riding a bike. It's a
knack, not a talent.
6.2.9 Forward Scratch spin
On a 1-foot spin, both the arms and the free leg are drawn in to the
body to increase your speed. The slower and more controlled you bring
in the leg and arms the faster and more controlled the spin will be
(and it will look better!). A 1-foot spin is done standing up straight
on the "sweet spot" of the skate, just behind the picks. Learning how
to spin is largely learning how to get into and hold this position
with no residual linear motion.
The following definitive description of a forward scratch spin,
covering the basics of one foot spins, is included (with minor
modifications) with permission from Janet Swan-Hill.
** Spinning is a matter of celestial mechanics. As you are doing your
back crossovers getting ready, you are describing a circle (a planet
orbiting the sun). You want to spin in the exact center of that circle
(where the sun is). BUT, just as you can't aim straight at the sun and
hit it, because you are moving backwards on a curve. You have to set
off on a curve that will get you to the center eventually. This means,
that when you step off for the spin, you step slightly forward (on a
strong outside edge), NOT backward, and not quite perpendicular to the
skating foot.
** Don't hurry. You will never center the spin if you step off and
immediately release the free side. You should describe a full
half-circle before you get to the "sun" and release the free side to
let yourself spin. Practice on a hockey line: Stand with your feet
crossed as they would be before you step into the spin, with a strong
check (skating arm/shoulder well forward, free side well back). push
off onto a forward outside edge (left for most of us), and don't let
the free side release until you have finished a half circle and gotten
back to the line. People who are already very accomplished at spinning
will often not look as if they have "waited" to spin. Don't copy them.
They already have the kinesthetic memory of the spin completely
ingrained, and can telescope everything into less of an apparent
sequence of events. they can also compensate for an unorthodox or
"off" approach. Beginners don't do very well at compensating.
** When you step into the spin, keep your shoulders level. Sweep the
skating arm around from its strong check to a neutral position,
imagining that you are sweeping across the top of a high table, trying
to clear it off. If you go in with your skating arm angled downward,
your spin will travel badly. And remember that your arm is not an
isolated body part. Think of the arms/shoulders/upper torso as a
(hinged) unit. As you sweep the arm across, you are also moving the
shoulders and upper torso, with the aim of getting them into "neutral"
position (faced forward, shoulders and hips facing straight ahead,
arms extended (at first) to the side, or rather, slightly in front of
the body, but equally in front)
** When you are doing your backward crossovers getting ready to step
into the spin, imagine that you have a tail. Before you step into the
spin, your left foot is underslung -- behind and outside the skating
foot, and your hips are angled so that your "tail" is pointing outside
the circle instead of backward
** Spend some time practicing stepping into the spin without pushing
with the toepick of the soon-to-be-free foot. If you step off from a
toe pick or a backward scrape, you will lose most of your momentum and
"jar" your position, making it more difficult to keep balance.
** Imagine that someone has inserted a broomstick so that it runs up
your left leg and side and ending at your left shoulder. Imagine
yourself spinning forward around the broomstick. Lift your free hip
slightly. This will move the center of gravity directly over the
skating foot ... and whatever spin you do, whatever position you
eventually assume, you will always need the center of gravity over the
skating foot. For instance, in a layback, the hips are thrust forward
to act as a counter to the weight of the upper body. The arms are also
used to adjust the location of the center of gravity.
** When you release the free side and allow the free foot to come
forward, bring the free leg as close to directly in front as you can.
Ideally the thigh should be parallel to the ice with the foot turned
out (work toward this as a goal ... it's a little scary). Fast spins
are caused by the momentum carried into the spin by the free leg
swinging around. The longer you spin with your free foot extended
(especially if you have it extended to the side) the more likely it
will be to pull you off the center or gravity and therefore the center
of the spin. BUT, DON'T bring the free foot in quickly, and do
anything jerkily, because it will disturb your position, and pull you
off a centered spin. BUT NOTE: if you are going to bend your free leg
to cross it in front for a scratch spin, it will need to be at least
slightly to the side instead of directly in front.
** Don't forget the down-up-down. This is critical, and beginners
rarely remember it. (Many aren't told): As you are getting ready to
step into the spin, your skating leg should be deeply bent DOWN (the
other leg is slung under and outside the skating foot). Rise UP on the
skating knee, then as you step into the pre-spin edge, sink DOWN on
the new skating knee. As you reach the center, and release the free
side, rise UP again, but don't jerk. Each time you rise up, you reduce
weight on the blade, which is why the UP as you center the spin is
critical. But in order to have an UP, you have to have had a DOWN.
Another advantage to this little litany is that it puts a cadence to
the spin entry.
** Don't look down. Keep your eyes level and don't focus on anything.
When you are "winding up", look out ahead at the hand that is in
front. This does two things: It makes you keep the check, and it keeps
you from looking to the side or down. It also tends to keep the
"sweep" of the left arm horizontal, even though by the time you
"sweep", you aren't looking at that hand any more.
** If you are spinning on your pick, THINK about the part of your foot
just behind the ball of your foot. Just thinking about it is usually
enough to make you unconsciously adjust where your weight is. It you
actually try to shift your weight, you will more than likely overdo it
and find yourself on the back of your blade (which is dangerous).
Spinning with your toepick grazing the ice is OK -- that's essentially
the definition of a scratch spin -- but you don't want to be too much
on the pick, because it slows you down, and it is inherently
precariously balanced. It also digs a hole in the ice.
** Problems with centering spins can be caused by lots of things,
usually during the spin entry. Don't step too wide. When you are going
into a spin, you will be transferring your weight from the right foot
(for counterclockwise spinners) to directly over the spinning (left)
foot. If your step into the spin (which is a Choctaw, by the way) is
too wide, your body weight has to bridge the distance between your
feet and end up directly over the left foot ... and it usually won't
make it. Instead, your center of gravity will be somewhere to the
right of the skating foot, which will make it impossible to center the
spin ... if you don't fall out of the spin completely.
** Traveling refers to linear motion across the ice during the spin.
Traveling is the result of not having your upper body above your
center of gravity. There are 3 places in a spin from which you can
start traveling.
1) right after the 3-turn. If you never get the center to begin with,
it can be difficult to pull it in later. Work on stopping your linear
momentum and bringing you right leg around into a spinning motion.
2) while you're spinning and before you bring your arms and legs in.
Dropping your leg or leaving it too far out to one side or the other
can cause you to travel. Make sure the leg is kept high, thigh
parallel to the ice.
3) when you bring the legs and arms in too fast. People often do this
if they feel themselves losing control of the spin.
** The exit position for a spin is the same as that for a jump. If you
are spinning on your left foot, bring the right foot down to touch the
ice and put your weight on it. When the right foot touches the ice,
bend both knees, and simultaneously push yourself backward with the
inside edge of your left foot (as if you were doing a left foot back
scull) to push yourself onto a RBO edge. Extend the left foot (which
is now your free foot) backward and slightly outside so that the edge
doesn't curl too much, and keep your arms in "neutral" (i.e., don't
let your left arm and shoulder rotate around toward the back).
** Remember, a spin is just a 3-turn that you set free.
6.2.9.1 about dizziness
The three semicircular canals of the inner ear are primarily
associated with equilibrium. They are filled with fluid and operate on
the principle of inertia of fluid. Each canal has tiny hair-like
sensors that relate to the brain the motion of the fluid. Rotation of
the body tends to move the fluid, causing the displacement of the
sensors which then transmit to the brain the message of the direction
of their displacement.
However, if the turn is a prolonged and constant one, the motion of
the fluid catches up to the canal walls, the sensors are no longer
bent, and the brain receives the incorrect message that the turning
has stopped. If the turn does then indeed stop, the movement of the
fluid and the displacement of the sensors will indicate a turn in the
opposite direction (which is the sensation of dizziness).
Problems with dizziness seem to be worse if the spin is not well
centered or travels, probably because the movement of the fluid in the
inner ear canals is not symmetrical. Looking down while spinning is a
great way to get really dizzy.
Mild dizziness after a spin can be quickly overcome if you skate off
or do one or two turns in the opposite direction. This is better than
just standing still because motion in a new direction will help
redirect the flow of the inner ear liquid.
If you get very, very dizzy, it helps to go to the boards and hang
onto something solid. Stand still, relax, and place your right index
finger between your eyebrows and press gently for about 10 seconds.
Focus on something still. Try not to throw up. The Zamboni driver will
hate you!
The good news is that the longer you train spins, the more tolerant
you become to dizziness. The reason for this is that, as the brain
continues to receive contradictory sensory input over and over, it
just learns to ignore the confusing information. Therefore, practicing
spins on the floor or with a spin trainer can be beneficial if you
have problems with dizziness on ice.
6.2.10 Backspin
This spin is done in the same direction as the forward scratch spin,
but a counter-clockwise forward spin is done on an LBI edge and a
counter-clockwise backspin on a RBO edge. Mentally the backspin can be
tough, tough because you are probably well used to spinning on the
other leg and your reflexes tell you to put your weight there.
The standard method to learning a backspin is starting from a
standstill. For the CCW backspin:
1. Stand with your feet parallel with legs straight but not locked.
Anchor your right toepick into the ice.
2. Wind up your upper body, with your left arm in front of you and
right arm pull back. You start the spin by bending your right knee
a little more (sinking on the right knee will ensure that you
transfer the weight to the right side), then rotating your
shoulders CCW, sweeping your right arm around along a wide arc
towards the front. Your left foot will describe a brief LBI pivot
around your right foot during this entry. Try not to pivot on the
toepick, but roll back slightly behind to the sweetspot of the
blade, just where you are supposed to spin!
3. So far, what you are doing looks like the two-foot spin entry
described above. For the backspin, raise on the right leg and let
your left leg come off the ice as soon as your shoulders become
parallel to your hips. After perfecting the entry, you can try
pushing off the LBI edge at this stage, for more speed. It is
critical at this point not to drop your left hip, otherwise you
will fall right off the spin or (even harder to correct in the
long term) start spinning on a RI edge instead of the RO one.
Also, keep pressing down on the sweetspot of the blade - do not
rock either towards the toepick or the back of the blade.
4. After raising your left leg off the ice, turn the hip out slightly
and wrap the leg around your right leg - yes, your mind say that
this is suicide. Your arms should be positioned as if you were
hugging a giant beach ball. You should be able to see your hands
out of the corners of your eyes. Now, bring your arms in slowly.
As you get more comfortable with the spin, you can increase the number
of rotations by using linear motion. Step on a LFI edge. Wind up. Push
on a RFI edge with the skating leg deeply bent. Sweep your arms around
until you are forced to do a RFI 3 and rise on your right leg at the
apex of the turn. The left free leg remains in the same position as
when you stepped on the RFI edge, i.e., behind you and slightly turned
out to the side. Do not try to move the free leg across and over the
right leg. Instead, leave it extended to the side (do not drop the
free hip!) and let your right spinning side to "catch up" with it as
you spin. This is probably the hardest bit in the whole entry but once
you will get it, it will cause a dramatic improvement of the
backspin!.
Like in the normal spin, you accelerate the rotation by bringing in
your free foot to the skating leg, and then pulling down your free
foot as you pull in your arms.
Now, to get out of the spin. Easier said than done! Start by pull out
your arms slightly and raising the free knee (this will slow down the
spin). Then, bend the skating (right) knee deeply, rocking back onto
the center of your skate. Unwrap the free leg, extending it behind you
forcefully, making sure that your upper body remains upright. This
will translate your rotational motion into backward motion on an RBO
edge.
Here are a few more tips:
-- It's a backspin so you are spinning on a RBO edge. Practice RBO
edges for awhile before spinning so you really get this "going
backward" feel.
-- Through the whole spin, including the exit, keep your back and head
upright and your shoulders level.
--Do not lock your skating leg while spinning. The leg should be
fairly straight, but do not push the knee all the way back. this helps
keeping your weight on the sweetspot.
-- Stay off the inside edge. If you find you are on a shallow inside
edge, try pressing down on you pinky toe. Consistently spinning on a
inside edge most likely means that there is a major flaw in your
entry. Having said that, once you have mastered the backspin, it is OK
to try spinning on the inside edge on purpose, to add variety to your
spins.
-- Practice doing connecting three turns on your right foot. Start
with a RFI, then do an RBO. Try to get into the backspin position as
you do these.
-- Practice at home in your socks or buy a spin trainer.
6.2.11 Sit spin
The sit spin is done in the "shoot the duck" position, with the arms
extended in front of the body and the free leg in front and turned out
(as in ballet's rond de jambe). There are many variations on the entry
and body position, but here is one that works for many beginners.
Start the spin in the sit position. When stepping into the spin (on a
LFO edge), bend the knee deeply and lean forward trying to place your
chest on your thigh, only keeping your back straight and head up. This
is to get you to enter the spin in a lower than usual position, so
that you don't start spinning in a one foot spin and then have to
bring your leg around AND lower your body at the same time.
It has been suggested that you should try to look over your right
shoulder (left shoulder for CW spinners) and see the heel of your free
leg as you enter the spin. Get your balance in the spin before bring
the free leg around -- about 1/2 a revolution. Once in position, sweep
the free leg immediately around to the front. You want the right leg
and right arm go come around at the exact same time so timing is
critical. Place your arms in front as if you were water skiing.
Here are a few tips:
-- Practice shoot the ducks (skating forward and then lowering
yourself into a sitting position, arms and free leg extended in front)
in a straight line and try to reach past your toes. This helps you to
get into a nice low position and gives you more of a feel for where
your weight should be in a sitspin.
-- During the entry look out at a point beyond your hands and keep
your back straight.
-- Keep your butt down and shoulders back. It's common to feel the
need to keep your weight forward so as not to fall back. This will
only tip you onto your toepick!
-- Remember to turn out your free leg (the inside of your foot should
face the ceiling).
6.2.12 Camel spin
The Camel spin is done in the spiral position, with the free leg
extended straight behind, turned out and raised to a position parallel
to the ice, the back arched and the head raised, arms held out to the
sides. The Camel spin is the most demanding of the basic spins in
terms of timing, the lack of which causes a very slow spin and poor
centering of the spin. Here are the basics.
When stepping into the spin (on a strong LFO edge), bend the knee
deeply and lean forward trying to place your chest on your thigh, only
keeping your back straight and head up, as in the sit-spin. Don't step
too wide. Then, all at the same time, sweep your left arm as if
clearing a table, rise up on your skating leg while raising your free
leg and ride the LFO edge until you are in position. This is where the
"snap" comes from to give you the rotation. Maintain the stretch
throughout the spin.
Here are a few tips:
-- When you step onto the skating foot to enter the spin, be on a good
edge (LFO). If you on on the flat of your blade, you will probably
skid.
-- Ride that edge into a strong curve, until you've scribed a bit of a
U-turn, where you will enter the spin itself. If you try to spin too
soon you may just 3-turn.
-- Bend your skating knee as you ride the edge, rising to a straight
leg position as you enter the actual spin.
-- Don't release your wound up left arm too soon as you enter the
spin, but also don't wait too long so that you whip it madly around at
the last minute. The arm should unfold to generate momentum as you are
rising up from your bent knee (when you are at the apex of the curve,
entering the U part). The arm moves over a period of time, not at an
instant.
-- The upper body should be pushed, forced CCW as you are moving your
arm. The arm and upper body (with the free leg coming up and around)
induce the spin. You can get a fast spin without a lot of speed on
entry if you coordinate the body well, but speed on entry doesn't hurt
either.
-- Tricky part..You will get more control if you ride the entry edge
on the mid portion of the blade (feels like the back of the blade, but
I don't think it is). Then as you release the spin, rock forward to
the sweet spot to center the spin. This is not easy but it helps.
6.3 Synchronized skating
Synchronized skating (also known as precision skating), when done
well, can be intensely exciting to watch. Once having been to a major
synchronized skating competition, you can find that singles may pall.
As a participant, it's an excellent way of honing your skating skills.
Synchronized skating is a choreographed routine of complex footwork
and formations, a lot like synchronized swimming (except that you are
on top of the ice and it's frozen), or like low flying jets doing
acrobatics. It is an intensely cooperative sport, with each skater
skating an assigned spot, and no substitutions allowed during the
course of the routine. In the best routines, no one skater "draws the
eye". The aim is for exact synchronization, and perfect formations
performed at speed. The greater the complexity, the greater the
difficulty, and the greater the number of skaters, the higher the
score.
Examples of greater difficulty would include clockwise rotation and
footwork (against the natural rotation and using the "weak" side of
90% of skaters); backwards work, especially involving blind or
semi-blind intersections; formations that rotate while also having the
center of rotation travel from one point to another on the rink;
changes in direction; especially complex footwork; changes in holds
and orientation; effective and "invisible" transitions from one
formation to another (such that cause the spectator to say "How did
they get there?")
The number of skaters depends on the division in which they skate
(Junior, Senior, Masters etc.) and is usually from 12 to about 24. The
divisions are based on age and range from maximum 12 years for
Juvenile to minimum 25 years for Masters.
Routines have a specified duration, depending on the division, and
must (except for technical programs) have at least two changes of
music, with one piece being in a distinctly different rhythm or style.
Junior and Senior divisions perform both a technical program, with a
prescribed list of moves, and a free skating program.
There is no featured or solo work permitted. Jumps of more than one
rotation are forbidden, and must be performed in formation. Spins of
more than two rotations are forbidden and must be performed in
formation. Lifts and carries of all sorts are prohibited.
Synchronized skating is a sport that can be pursued by (1) people who
don't particularly enjoy skating alone, (2) people who may never get a
double jump, (3) people who can't find a pair or dance partner. (4)
people who started skating late, (5) people returning to skating, (6)
gold medalists who never stopped skating, (7) people who can't get
enough of various types of skating, (8) people who are too nervous to
compete alone, (9) anyone with appropriate skating skills, and a
willingness to work as part of a team.
Synchronized skating is a great spectator sport and a wonderful
participant sport for men and women of all ages. There are a few teams
with waiting lists and 50 people trying out for a single spot, but
there are many more teams that have room for qualified skaters ... if
not immediately on the line, then as alternates. Most will let you
"try them out" to see if synchronized skating suits your style and
talents. Most are eager to see the sport grow, and will welcome
prospective skaters.
It is a great sport for kids! All skaters in a synchronized team have
to learn a lot about the obligations that an individual has to the
group, and of the consequences of not holding up your end of a
bargain. They learn that in order for the group to succeed, they must
work for the success of every individual in the group. And do they
EVER learn about dealing with people!
Synchronized Figure Skating is a competitive discipline, recognized by
the National Governing associations, ISIA, and ISU. In 1994 the ISU
formed a Synchronized Skating Technical Committee, which is an
important step toward development of an official world championships.
National championships have been held for the last 11 years.
6.4 Figures
Figures is the oldest of the formal skating disciplines. Basic figures
consist of executing various predefined patterns, edges and turns on
circles grouped in a two-lobed (figure-8) or three-lobed (serpentine)
patterns. Practicing figures yields an understanding of how body and
blade interact that is difficult to learn at typical dance or
freeskate speeds. Figures helps teach body control, focus and the
execution of clean turns and edges. Figures can be a very relaxing and
meditative activity.
While figures clearly addresses skating fundamentals, there was much
controversy about whether working on school figures is the best or
most expeditious way for the dance or freestyle skaters to learn these
elements. In the end, figures were officially abandoned (the high cost
of figure sessions probably also played a part) and few instructors
teach them now (although some will be pleased to if you want to learn
them!)
In the US, the current "Moves in the Field" for freestyle skaters are
an attempt to combine the discipline and emphasis on quality of
figures, with moves and sequences more like those encountered in
freestyle or dance skating. In Canada, "Skating Skills", have replaced
figures. Skating Skills involves performing certain edges and turns to
music (sort of a combination of ice dancing and figures). Skating
Skills tests correspond with the figures so that those who have passed
figure tests can skip the first few Skating Skills.
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Last Update May 13 2007 @ 00:24 AM