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Title: Hippodrome Skating Book - Practical Illustrated Lessons in the Art of Figure Skating
Author: Oelschlager, Charlotte
Language: English
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*** Start of this LibraryBlog Digital Book "Hippodrome Skating Book - Practical Illustrated Lessons in the Art of Figure Skating" ***
HIPPODROME SKATING BOOK, by “Charlotte”
To CHARLES DILLINGHAM, ESQ., TO WHOM I OWE A DEBT OF GRATITUDE FOR MY
AMERICAN FAME, AND TO WHOM ALL SKATERS ARE THANKFUL FOR THE
STIMULATING INFLUENCE HIS ENTERPRISE HAS HAD IN REVIVING INTEREST IN
AMERICA IN THE GREATEST OF ALL ATHLETIC PASTIMES, THIS LITTLE VOLUME
IS RESPECTFULLY DEDICATED,
[Illustration: Charlotte]
COPYRIGHT, 1916,
by
THE HIPPODROME SKATING CLUB
NEW YORK
[Illustration:
SALUTATION.
]
HIPPODROME SKATING BOOK
PRACTICAL, ILLUSTRATED LESSONS IN THE ART OF
FIGURE SKATING
AS EXEMPLIFIED BY
“Charlotte”
Greatest Woman Skater in the World
PREMIERE IN THE ICE BALLET
NEW YORK HIPPODROME
ELEMENTARY SCHOOL FIGURES
ADVANCED SCHOOL FIGURES
PAIR SKATING AND WALTZING
EXHIBITIONS AND COMPETITIONS
PUBLISHED BY
THE HIPPODROME SKATING CLUB
770 SIXTH AVENUE, NEW YORK
[Illustration:
“CHARLOTTE.”
]
CONTENTS.
Chapter
1— THE RIGHT EQUIPMENT, Skates, Shoes, Costumes, etc. Page 11
2— Correct Form of Skating Page 15
Illustrated Page 17
3— Outside Circles, forward Page 18
4— PLAIN CIRCLES, Inside Edge Forward Page 22
Illustrated Page 22
5— OUTSIDE CIRCLES, Backward Page 26
Illustrated Page 27
6— INSIDE CIRCLES, Backward Page 30
Illustrated Page 33
7— CHANGE OF EDGE; Forward; Outside to Inside Page 34
8— CHANGE OF EDGE; Forward; Inside to Outside Page 36
Illustrated Pages
36–37–38
9— CHANGE OF EDGE; Backward; Outside to Inside and Inside to
Outside Page 40
Illustrated Pages
40–44
10— THREES—Forward and Backward Page 45
Illustrated Pages
46–47
11— DOUBLE THREES Forward Page 49
12— DOUBLE THREES Backward Page 53
13— LOOPS, Forward Page 55
Illustrated Pages
56–58
14— LOOPS, Backward Page 59
Illustrated Pages
60–61
15— BRACKETS Page 63
Illustrated Page 65
16— ROCKERS; Outside Forward and Outside Backward Page 67
17— ROCKERS; Inside Forward and Inside Backward Page 70
18— COUNTERS Page 73
Illustrated Page 74
19— The Advanced School Figures Page 75
Illustrated Page 76
20— Other Important Figures Page 77
Illustrated Pages
69–72–83
21— FREE SKATING Page 79
Illustrated Page 80
22— Pair Skating Page 81
23— Competitions and Judging Page 90
24— Skating Ponds and Rinks Page 92
[Illustration:
“CHARLOTTE” starting the right inside edge forward.
]
INTRODUCTION.
Americans ought to be the greatest skaters in the world. They are
athletic people, lovers of outdoor sports and their country is situated
in the largest tract of the North Temperate zone occupied by any one
nation in the world. In this zone is found sufficient cold weather to
produce a great deal of natural ice and at the same time such agreeable
weather as to render the use of that ice, for sport, attractive and
exhilarating. In this respect the United States is more fortunately
situated than any of the countries of northern Europe.
This little book is intended as a stimulus and encouragement toward ice
skating among Americans. It is intended as much for women as for men.
There are no physical reasons why women should not skate quite as well
as men. Skating is a matter of balance and grace, not strength. Young
girls often become very expert skaters, doing all the difficult feats
that grown men accomplish. Up to within a few years ago, the figure
skating championships of Europe were open to both men and women on equal
terms. Perhaps the fact that women excelled in grace was partially
responsible for the separation of the sexes in these championships.
Much attention is paid in the book to the fundamental strokes, called
school figures. These are the foundation of all figure skating. After
they have been fully mastered the skater will probably discover a
tendency to adopt an individual style and make up special figures suited
to individual physical or temperamental characteristics. One skater, for
instance, will especially enjoy spins and whirls; another will incline
toward big, showy spirals; another will develop individual skill in
two-foot movements such as grapevines, etc. Skating, like every other
fine sport, becomes an expression of individuality. The foundation rules
must first be learned, after which personal choice will direct the
skater toward special figures most to his or her liking.
Skating is a sport for everybody—girls and boys, young people and old
people. It can be started in extreme childhood and enjoyed far into old
age. It can be a fast, strenuous exercise or a gentle enjoyment of
poetic motion. It stimulates health, prompts to wholesome life out of
doors, is a social diversion and, in its best development, requires
considerable mental application. In every respect it is an ideal sport
for people of any nation, especially those situated where natural ice is
found or artificial ice is provided.
[Illustration]
Frontispiece and cover design by Mr. Karl Struss.
Portrait Study, page four, by Count Streclecki.
All other photographs posed for at White’s Studio.
I wish to thank my American skating friend, Mr. James A. Cruikshank of
New York, for his assistance in the arrangement of this book and for
preparation of the manuscript for the printer.
[Illustration:
“CHARLOTTE” on right inside edge forward.
]
[Illustration:
CHARLOTTE’S personal equipment for skating.
]
CHAPTER 1.
THE RIGHT EQUIPMENT, SKATES, SHOES, COSTUMES, &C.
Skating on ice is the best sport in the world. It is also the best
method in the world for developing grace of carriage, supple muscles and
fine health through a fascinating exercise. I have tried all the various
sports, including swimming, fencing, dancing, tennis and mountain
climbing, and there is none to compare with ice skating.
Strange as it may seem, ice skating will both reduce fat and add fat; if
mildly followed as a regular exercise it will stimulate appetite,
digestion and that zest in life which makes for healthy, rounded
physique without superfluous fat. If persisted in vigorously, it will
reduce flabby fat into smooth muscle. It is especially good for the
reduction of fat around the waist and hips.
Skating to music is the most rhythmic of all exercises and far surpasses
dancing in enjoyment and benefit. Dancing generally implies the need of
a partner who dances equally well, while skating is a sport which can be
enjoyed with a partner or without one. In fact, the more expert one
becomes in skating the less one is dependent upon any one else for the
pleasure of the sport.
To skate properly or to learn to skate, the right equipment is
absolutely essential. The skate is the first essential; one may skate
fairly well with shoes which are inappropriate or costume which retards
free action, but with the wrong skates it is impossible to learn the
art.
The proper skate has two stanchions or uprights running from the blade
to the foot and heel plates. There seems to be scientific warrant for
the statement that this method of construction makes it “run farther.”
The old pattern having three stanchions or supports has been discarded
by the best skaters of all skating countries for years.
The toe of the skate should curve up and around the toe of the shoe, in
many patterns even touching the sole of the shoe in front. This curved
front is deeply cut in with very sharp sawteeth, and it is on these
sawteeth that so many of my pirouettes and pivots and dance steps are
made. The height of the foot plate from the ice is much less than that
of the heel plate from the ice, which naturally throws the skater into a
forward balance. Most of the time I am skating upon the part of the
skate directly under the ball of my foot. The curve of the blade from
toe to heel is about a nine foot radius.
My skates are very light, weighing only four ounces. I advocate a light
skate, and I think that most of the skates being used are too heavy. As
one becomes more expert, lighter skates become more important, for in
spins and turns on one foot the weight of the shoe and skate can
seriously affect the balance and throw the skater into a false curve.
For about two inches along the blade of my skate, almost directly under
the ball of my foot, I have a slightly flattened space which permits the
immense curves and spirals I execute. These would be impossible with a
sharply curved blade. The blade of my skate is splayed—that is, it is
wider at the centre than at the toe and heel.
I have quite a deep groove ground in my skates, and I have the outer
edge of the skate slightly lower than the inner edge. The height of the
skate above the ice is not very important. Some of the experts favor
great height. My skates are built comparatively low.
The flat bladed skate ought not to be used by any one who wishes to
learn figure skating. The hockey skate is the right skate for hockey,
but the wrong skate for anything else. To learn on that type of skate
means that the skater must learn all over again when figure skating is
attempted.
I am glad to hear that some of the American manufacturers are even
making their hockey skates with a curved blade, so that the simple
curves can be learned on that type of skate. There are several excellent
models of skates now being made in the United States.
The skating shoe should fit very snug around the heel and over the
instep, and should be comparatively high, seven or eight inches being my
preference. The heel of the shoe should be higher than that of the
sporting or tramping or golf shoe now being worn by the American woman.
It is important to get such skates and shoes as will throw the balance
of the body forward onto the ball of the foot when one stands on the
ice. This can only be done by raising the heel of the foot, partly
through the design of the skate and partly through the height of the
heel of the shoe. But no such thing as French heels are intended or
advocated, of course.
The shoe should lace from close to the toes up and should be a
comparatively straight last. A strong, stiff leather lined shoe should
be the first choice. Afterward, as the ankles strengthen, a lighter shoe
can be worn. I often skate in low shoes, my ankles are so strong, and
the only trouble I find with my low shoes is that the heel slips out in
the toe spin.
Artificial braces are sometimes valuable aids to the beginner. The best
braces consist of a bandage wrapped carefully around the ankle and foot
under the stocking. A stiff piece of leather set inside the shoe between
the stocking and the shoe is an excellent brace. It can be removed as
the skater gains strength.
The shoe should not be laced so tight as to stop circulation or to
interfere with the play of the toes, but it should be capable of being
laced with rigid firmness around the instep. Skating is hard on the feet
at first and makes them sore and tender. A thin lisle or wool stocking
is advisable for the beginner, and cold baths will soothe and strengthen
the foot muscles.
The costume for skating may now include practically all varieties of
design and material, ranging from silk to leather, the latest fad.
Nowhere can a woman look prettier and nowhere can she look less
attractive than on the ice. Some items are essential, however. The
material of the skating costume ought to be something which does not
bulk up, something which falls into naturally graceful curves and
straightens out quickly.
An undergarment of silk or satin in the form of a petticoat, bloomers or
knickerbockers is important in skating any difficult or spectacular
figures, since it serves to keep the gown from bunching around the legs.
The skirt should be comparatively snug around the hips and free, even
slightly flaring, around the edge. Fur bands around the edge of the
skirt give an air of appropriateness.
The new unrestrained and somewhat bold way of skating necessitates
skirts which permit freedom in the swinging and spread of the legs. A
petticoat or short skirt of thin woven elastic goods, especially if of
silk, makes an ideal undergarment for the skater, whether beginner or
expert.
The length of the skirt should be about to the tops of the skating
shoes. Sensible costumes are now being adopted by the best skaters of
all countries. One should as soon think of swimming in a long skirt as
skating in one. The skirt which reaches to the middle of the calf will
be found both comfortable and graceful.
My skating costume at the Hippodrome is probably regarded as very
daring, but I wish every woman who skates might test for herself how
comfortable it is. There is a stimulus in suitable costumes which it is
impossible to get any other way. Skating is worth a pretty and
appropriate costume, and such a costume will last for years and be
always in style.
[Illustration:
AN INTERNATIONAL SKATE STYLE of American Manufacture.
]
Note:—The CHARLOTTE SKATE, designed and used by CHARLOTTE, is not as
yet being manufactured in America, but it will be on the market next
winter. Those who desire this skate should accept none as the
genuine CHARLOTTE Skate unless stamped with her trade-mark on the
side of the runner.
CHAPTER 2.
CORRECT FORM IN SKATING.
The tracing of certain set figures on the ice is by no means all there
is to figure skating. The correct carriage of the head and body, the
arms and the balance leg are not merely an important part of the sport;
they are even the very basis on which good marks are given in all
serious competitions. No skater wishes to look like a freak on the ice.
To avoid it one must cultivate the right carriage and balance from the
start. Certain accepted rules are in vogue among the European skaters
which tend to make skating graceful. They should be memorized carefully
and followed every time the skater goes on the ice.
The head should be carried erect. Momentary looking down at the ice to
see where to place a figure is permitted but the habit of a drooping
carriage of the head should be carefully avoided. It is as unnecessary
as it is ungraceful.
The arms should not be held close to the body nor should they be flung
violently about. If the former position is taken the skater looks stiff
and awkward. If too wide reaching out of the arms is permitted the
skater appears to be grasping at imaginary straws like a drowning man.
Both extremes are bad but of the two it is better to allow the arms
freedom of poise and carry them gracefully extended than stiffly hung to
the sides of the body. Fencing and interpretive or folk dancing furnish
interesting examples of the right use of the arms during vigorous
action. The individuality of the skater is often revealed by the
carriage of the arms as much as by the tracing of the figures.
Bending of the body from the hips, sidewise, is neither necessary nor
permissible. It is a fault which beginners adopt from fear of falling.
But the sharp edge of the skate sustains the body in its temporary
violation of the law of gravitation. Take a firm edge and let the body
lean as much as is necessary or desired. Some skaters take a much
stronger edge than others and therefore lean more than others.
The men ought to be told that there is nothing more ungraceful or
unsuitable for skating than long trousers. Knickerbockers and tight
fitting coats with just a bit of military cut are the right costume for
the men who would skate well and look well. The best European skaters
among the men all skate in woolen tights, but they are a little
theatrical and do not always serve to increase one’s admiration for the
wearer.
Bending the body forward or backward from the waist is generally only
temporary and for the purpose of obtaining strong impetus for an initial
stroke or adding power to a stroke already started. In general the
carriage of the body should be upright, with the chest expanded and the
shoulders held back.
The skating leg should be bent at the knee. This bending may be
increased occasionally to gain power but the straightening up of the
body should almost immediately follow. Too much bending of the skating
knee makes an ungraceful appearance. The balance leg should be carried
somewhat away from the skating leg, with the knee well bent and the foot
turned outward and downward. The knees should seldom touch in skating
and should never be held close together for any considerable length of
time. In some figures there are temporary and necessary violations of
both of these rules.
The position and carriage of the hands have very much to do with the
effect created by the skater. They should be extended gracefully, with
the fingers neither stretched out nor clenched and with the palms turned
down or toward the body.
[Illustration:
CIRCLE. Right outside edge, forward. (ROF)
]
CHAPTER 3.
OUTSIDE CIRCLES, FORWARD.
Start with the idea that good skating is a hard thing to acquire. It is.
For the same reason it is interesting. Easy things never hold their
interest very long. Graceful skating implies perseverance and
determination. It requires close application to right principles from
the very start and rigid concentration upon a number of important rules,
several of which the skater will have to keep in mind during the moment
of execution of any figures. But the fact that it is the chosen sport of
most of the people dwelling in the northern parts of the world, women as
well as men, proves that it is not too difficult to permanently hold the
enthusiasm of lovers of outdoor sport.
Curves are the fundamental figures in skating. True, the racing skate
and the hockey skate permit only straight strokes, but these skates are
a development of the sport by which greater speed or steadier position
against attack is obtained. Graceful skating and the execution of
figures on the ice are impossible without the proper skate.
The first figures to learn, and the basis of all further progress in the
art, are the outside edge circles. The outside edge of the skate is the
edge furthest away from the body. There is an outside edge on each skate
and this edge can be used to skate forward or backward; there are,
therefore, four outside edge circles, one on right forward, one on left
forward, one on right backward and one on left backward. For convenience
and simplicity these edges are often designated thus: ROF, meaning right
outside forward, etc.
The most important things to have in mind as one skates the elementary
figure are carriage, poise and deliberation. If the body is correctly
poised a slight stroke will carry the skater in the right direction; no
amount of straining or kicking will cause the skate to execute the right
figures if the body over that skate is in the wrong position or wrong
balance.
My own skating as head of the ice ballet at the New York Hippodrome is
fast and spectacular, I admit; it has to be so to be theatric, to catch
the crowd, to startle the sensation seeker. But it is not quite so fast
when I am skating for my own amusement.
Size is the next most important consideration in skating the elementary
or school figures. All the plain circles should be made as large as
possible without sacrificing correct balance all the way to the end of
the curve. The European skaters make the plain circles, in the form of
an eight, with a diameter of fifteen to twenty feet. The beginner will
find about eight feet as large a circle as can be made without loss of
poise, but this depends also upon the question of size and strength of
the skater and whether man or woman.
It is essential that the skater learn to use both feet equally well. If
one foot is harder than the other to manage, it must be skated with more
often until equal skill is attained. It will generally be found that
right handed persons are more proficient in skating with the left foot
and vice versa. To skate each figure equally well on either foot is not
merely the right standard to set; it will be found fundamental to the
correct execution of figures implying a reverse direction, and it is the
basis of success in pair skating.
Now we are ready to strike out on the right outside edge. Stand with
feet together. Get your start on the right foot by pressing the left
skate, by its edge, not by its point, firmly against the ice. Bend the
skating knee a good deal, almost sink on it, something in the manner of
the dancing dip, and lunge strongly forward, leaning toward the centre
of the circle. The left leg should follow well behind, and a little
across the print, with the knee bent and the toe turned out, and the
body should be turned or twisted so that the right shoulder is almost
directly over the right foot. This will bring the body flatly in line
with the mark on the ice which the skate is making. This mark is called
the print. (See the diagram for the first skating position near the
feathers of the arrow.)
The arms will take their correct, natural position, the right arm being
held well up and curved around the breast at a distance of about six
inches and the left arm well extended directly behind the body.
This general position should be sustained during one-half of the circle.
Then slowly bring the balance foot past the skating foot, turning the
toe in and bending the knee of the balance foot as it is carried
forward. It must be kept very close to the skating foot in passing,
otherwise there will be a tendency for its weight to swing the skater
out of the true circle he is making.
The fact that the balance leg, which was being carried behind the body,
has now been brought in front of it, implies that a complete change in
the balance of the body has taken place. Up to a little more than
one-half of the circle the body has been held strongly forward; as the
foot passes the skating leg the body assumes first a straight and then a
slightly backward balance. The arms, too, have been serving to
compensate the balance. At first they are held well toward the left or
behind. As the body twists or turns into the new position and the
shoulders are brought square with the direction of the print, the arms
slowly swing forward and, from being held on the outside of the circle
at the beginning of the stroke, are found on the inside of the circle at
the end of the stroke.
The general principle of skating implies that the arms and the legs are
used for compensating balances in almost every stroke. When the arms are
on one side of the body the leg is on the other. There are a very few
violations of this broad principle, but they are associated with the
execution of extremely complicated figures.
The body performs a gradual and almost complete rotation during the
execution of the forward outside circles. At the beginning of the stroke
the back is toward the centre of the circle, at the end of the stroke
one faces the centre. The twisting of the body during the stroke should
be first at the shoulders and afterward at the hips. But care must be
exercised not to make this twisting conspicuous. It must be gradual,
deliberate and almost unnoticeable. In fact, it is difficult to believe
as one writes about the stroke that all these changes of poise and
balance are taking place. It is excellent practice to stand in the
various positions on one’s floor and get them clearly in mind.
[Illustration:
“CHARLOTTE” in novel kid skating costume.
]
CHAPTER 4.
PLAIN CIRCLES, INSIDE EDGE FORWARD.
Next to the outside edges in importance are the inside edges. Indeed, it
is more accurate to say that they are of equal importance. For some
reasons the inside edge deserves the premier position in skating.
Spectacular and exhibition skating probably draws into use more bold
inside edges than it does outside edges. There is a certain attraction
about the poised body executing the inside edge that the outside edge
lacks.
[Illustration:
CIRCLE. Right inside edge, forward. (RIF)
]
Many of my own big sweeping curves following quick dance steps are on
the inside edges and they have come to me without any especial analysis
of the reasons for their introduction. The fact that they have worked
themselves into my varied programme implies that I find them both
agreeable and natural.
The outside edge may be said to be an unnatural balance, almost a false
balance. The weight of the body, if it is held erect over the print or
mark which is being executed in the outside edge circle, is outside of
the circle, where it has a natural tendency to pull the skater away from
the circle he is trying to execute.
This pull has to be counteracted by leaning the body well toward the
centre of the circle which is being skated. There are many compensating
and at the same time conflicting balances in the outside edge circles
which make them more difficult than the inside edge circles.
The inside edge circles, on the other hand, especially those skated
forward, are in some respects the most natural and easy balances in the
whole school of skating figures. They are the most natural stroke for
any beginner to take. It is sometimes well to allow a beginner to start
with these inside circles merely for the encouragement which their
comparatively easy accomplishment will bring to the pupil. The more
difficult outside edges can be gradually worked into the practice.
The reason why the inside plain circles forward are easy, is found in
the fact that the natural balance of the body, poised on either skate,
has a strong tendency to the inner curve. The weight of the body is in
the inside of the circle which it is proposed to execute, not outside,
where a pull out of the direction of right progress is constantly at
work.
On the inside edges the body has opportunity to swing as a pendulum in a
natural curve which has a tendency to end in a spiral. The fact that a
spiral almost invariably results from the uncorrected inside edge serves
to prove that the stroke is a natural and correct skating position. But
since the spiral is the very thing that must not be permitted to enter
into the execution of the plain inside circles, at least until the
skater has fully mastered all the school figures, there must be careful
correction of the balance to round out the inside edges into full
circles and prevent them from becoming spirals.
The outside edges which we studied in the last lesson are hard. The
inside edges are much easier. But there are certain fundamental things
to remember in the inside edge circles. And unless they are remembered
the figure cannot be executed properly. The circle will insist upon
becoming a spiral in spite of all the skater can do unless these few
foundation principles are mastered. An excellent method for learning to
skate, seen constantly on the skating floors of Europe, is the little
book or even the page from the book, held in the hand of the skater and
studied constantly as the figure is practised. It is difficult to
remember the various poses and changes of carriage.
The most important item to remember in the inside forward edges is the
carriage of the shoulders and the manner in which they are slowly turned
during the execution of the circle. Next to that in importance is the
carriage of the balance leg. Here let me repeat that it is almost
invariably true in skating that the correct balance as well as the most
graceful poise is found when the arms and hands are used to compensate
the weight of the balance leg. If the balance leg is inside the circle
which is being skated, the arms will generally be carried outside and
vice versa. When the balance leg is forward of the body there will be a
slightly backward poise; when the balance leg is carried far behind the
body there will be a strong forward leaning of the body. If this general
principle is remembered by the ambitious beginner much will be gained in
progress toward correct carriage.
Now start out on the right inside forward circle. Start from the push of
the left skate squarely pressed against the ice, not from the toe of the
skate. Bend the skating knee considerably, take a firm hold of the ice
with the inside edge of the skate, lunge strongly forward with the leg
carried well behind, knee bent and toe turned out. The shoulders, at the
start of the figure, should be twisted toward the right, which will
bring the left shoulder forward; this position is maintained for about
one-fourth of the circle, when the shoulders are slowly brought square
with the print and from this point to the end of the circle the right
shoulder continues to be brought forward until, at the end of the
circle, the shoulders are almost in line with the print.
When one-half of the circle has been completed, the balance leg, which
up to this time has been carried well behind, is slowly brought forward
and carried past the skating leg, the body meanwhile swaying from a
forward to a backward balance to compensate the weight of the leg in
front. As the balance foot passes the skating foot the knee of the
balance leg is well bent, the toe turned out, and the foot carried as
close to the skating foot as possible. Then the balance leg is carried
well to the right, across the print and considerably elevated above the
skating knee.
The arms, which were carried on the right of the body, well elevated, at
the start of the figure, are slowly swung across to the left of the body
as the balance leg swings forward and across the print. The close of the
figure is one of the most striking and effective poses in the whole list
of school figures. Unless the balance leg is carried well forward and
across the print, the body straightened up and the arms carried across
simultaneous with the bringing forward of the balance leg, the figure
will degenerate into a spiral. Finish the figure as close to the
starting point as possible. Do it at least three times on each foot and
practise most on the weaker foot.
[Illustration: “Charlotte” Posed in Her Stage Costume Right Outside
Forward Circle]
CHAPTER 5.
OUTSIDE CIRCLES, BACKWARD.
Most spectacular and most applauded of all the items on my programme in
the ice ballet in “Flirting at St. Moritz,” at the Hippodrome, are the
backward outside edges or circles. Probably the very simplicity of them
adds to the effect which they create in the mind of the crowds. The
series of jumps which I make from a forward outside edge to a backward
outside edge, is nowhere near as hard as it appears. And the complete
revolution in the air which I make from one outside backward edge to the
same edge again is dependent upon the accuracy and firmness of the
outside edges. These are but two of the simple, yet very spectacular
features of my exhibition which are based on the outside backward edges.
The outside edges backward are very popular for exhibition and
spectacular purposes. But they are fundamental figures which must be
mastered by every skater who hopes to make real progress in the most
beautiful of all sports.
First the beginner must get a little confidence in skating backward by
what is called “sculling.” The friend or helper is more important in
learning the fundamental backward figures than in the forward figures.
The best position for the helper when one is learning the backward
strokes is facing the beginner; thus the beginner will skate backward
and the instructor or friend will skate forward, right hands joined to
left hands.
By a gentle push from the instructor or friend, the beginner is sent
backward. Then should begin the waving lines made by the skates on the
ice as the learner sways from side to side and throws the balance of the
body from one foot to the other and from one edge to the other. Probably
the beginner will not realize that he is making a sculling or waving
mark on the ice until he has examined the print of the skates. It is an
excellent practice to look at the marks which you have made in the ice.
Often the accuracy of a curve or circles, or the correct tracing of a
three or counter or rocker will be impossible to determine until the
print has been examined. The judges in all great contests study the
print on the ice as much as they do the carriage of the skater.
[Illustration:
CIRCLE. Right outside edge, backward. (ROB)
]
The sculling motion and strokes should be continued until the skater
realizes that he is making a slight outside edge with each skate as his
body changes its balance. Then learn to take the foot which is not being
skated on, off the ice, carry it forward of the body toward the helper
and trust to the outside edge of the skating foot.
When some considerable practice has been done in this manner and a part
of a circle can be accomplished on the outside edge backward it is time
for the beginner to start the full circles, or at least to learn to make
the figure large and try to get back to the starting point.
The backward outside edges require nerve and daring. Here the skater’s
qualifications for the sport will often come out. Skating backward in
any circumstances is trying work to the beginner, and the curious
balance of the outside backward circles is a hard thing to learn when
one is at the same time distressed by the perfectly natural fear of
skating backward. But make up your mind, clench your fists, grit your
teeth and pluckily go at it.
Standing with both feet together on the ice, the starting stroke is made
by pressing firmly with the flat part of the left skate on the ice and
lunging backward strongly on the outside edge of the right skate. The
chief difficulty in mastering this important figure comes from the
innate hesitancy of the beginner to throw his balance backward. If this
backward lunge is firm and strong, more than half the difficulty of the
stroke has been mastered.
The balance left foot is carried across the right leg with the knee bent
and the toe turned out and the leg carried fairly high in the air, not
dragging behind. The shoulders rotate during all the circle edges, as we
have seen in those which have already been studied. In the backward
circle eights on the right foot, the left shoulder should be held well
in front; this position, holding the shoulders almost square with the
print, should be maintained through the circle.
The left foot, which is carried across the right leg and in front of the
skater at the start of the stroke, should be brought slowly past the
skating foot when about one-third of the circle has been completed, then
carried well extended in a “spread-eagle” position to the end of the
circle. This is one of the few strokes in skating where but little
change of the position of the arms occurs during the completion of the
circle. They slowly turn with the shoulders and maintain a graceful
pose, with hands extended and palms downward. The general idea of the
backward circle is to keep the entire body, arms and legs, almost
directly over and slightly inside the print; its weight will tend to
swing the body around as a revolving pendulum. The outside circle
eights, either forward or backward, are somewhat forced or false
balance, since the body has to lean considerably toward the centre of
the circle to get the centre of gravity in the right place.
These articles are for beginners, and they ought not to hold me too
closely to the rules I lay down. Many of my exhibition figures are so
unusual and contain such unexpected combinations of jumps, counter
rockers and spins that I have to violate rules or the figures could not
be done. I have been accused of having no rules for skating, as I do so
many things my own way. And when you have progressed to the point where
they want newspaper articles from you which they head with the
flattering remark that you are the greatest woman skater in the world,
you will be in a position to violate rules a little bit. My pet
philosopher says that rules were made for slaves.
CHAPTER 6.
INSIDE CIRCLES, BACKWARD.
All backward skating is difficult to acquire. After it is acquired it is
more interesting than forward skating.
Some of the very difficult jumps in mid-air which I do are taken
backward because it is really easier to do them that way than forward.
There is one jump where I am skating backward on the outside edge on the
right foot, swing the left foot violently around, spring into the air,
make a complete revolution of my body, land on the outside edge of the
right foot again and continue on a big sweeping curve. It is in some
respects the most popular number that I introduce. It is done that way
solely for the reason that it is much easier backward than forward and
yet at the same time it looks more difficult backward than forward.
Most skating figures will be found easier forward than backward.
Probably that is partly due to the fact that not as much time is spent
by any skater learning backward skating as is spent learning forward
strokes. The art of skating backward requires pluck and courage. When
one attempts the full backward circles without a helper it is an
occasion to mark in one’s diary.
The plunge is the main thing in learning to skate backward. Make up your
mind some fine morning that you are going to practise outside edges
backward or inside edges backward all of the skating session of that
day. Then do it. Skating is a matter of will power after all and not at
all a matter of strength. I took up skating just because I was not
strong and the doctors said it was outdoor life or a little narrow box
for me.
It is hard to catch one’s self during a fall when one is on the outside
circles backward; the position during much of the inside circles
backward makes it easier to get ready for the fall after you feel sure
it is coming. Not that I mean there is any special instruction necessary
in the matter of falling for there is not. Just let go and sit down as
meekly as you can, smile and look about helplessly and some chivalrous
American is sure to hurry to your aid. This is much more dignified and
less liable to be embarrassing than scrambling to all fours, stepping on
your gown and, perhaps, falling over again.
[Illustration:
“CHARLOTTE” in spectacular backward stroke.
]
To get a strong start for the inside circle backward is the hardest part
of the acquirement of the figure. Stand on the flat of the left skate,
swing the right foot in front of you, just as if you were going to make
a little jump backward onto that foot, bend the right knee a good deal
and lunge onto the right skate on the inside edge. The left foot as it
leaves the ice should then be carried across the right leg, with the
knee bent and the toe turned out and down. It should be carried well
across the print or mark that the skate is making on the ice and
somewhat high, not dragging along. The body should lean strongly
backward.
As the stroke is begun the shoulders are turned well toward the right
and both arms are carried on the right of the body outside of the print.
This is one of the very few cases where the arms are carried on the same
side of the print as the balance leg and it is due to the fact that the
body naturally inclines toward the center of the circle when it is on
the inside edges. The head should be facing the starting point
throughout the execution of the circle.
When about one-third of the circle has been skated then slowly bring the
balance foot past the skating foot, knee bent and toe turned strongly
out and down. Simultaneously the shoulders should be turned toward the
left until the body faces the center of the circle and maintained in
that position to the end of the figure with both arms, one forward and
the other following, almost directly over the print. As the balance foot
passes the skating foot the body is straightened and for a moment the
arms are drawn close to the body. This straightening of the body and
change in the carriage of the balance foot will make it possible for the
skater to round out the circle to its correct proportions. All inside
edge circles have a strong tendency to become spirals. At the close of
the stroke the skater will be in the right position for the start of the
same stroke on the opposite foot.
[Illustration:
CIRCLE. Right inside edge, backward. (RIB)
]
CHAPTER 7.
CHANGE OF EDGE; FORWARD; OUTSIDE TO INSIDE.
The change of edge is one of the most important school figures and
should be carefully practised by every skating pupil. It is not
spectacular, although it is very graceful and very easy to acquire.
I like the changes of edge and, like all other expert skaters, find them
of the greatest importance at certain times. When one has an audience of
skaters I find these figures much better appreciated than at other
times. At a private party given on the stage of the Hippodrome, I was
skating a difficult figure where there were three small circles at the
four corners of a square. I went from one of the corners to the other by
a change of edge and a three after it. The skaters who were watching me
applauded this figure as generously as any figure of a more spectacular
character that I do during the regular performances of matinees and
evenings during the week. But they were all skaters and appreciated the
difficulty and the beauty of the figure.
The right outside edge forward is the best way to start to learn the
changes of edge. It is easier than the change of edge which begins with
the right inside edge forward, for the reasons which I have explained in
previous chapters concerning the way that the body tends to swing around
toward the circle on inside edges and tends to swing away from it on
outside edges.
The start of the right outside forward change of edge is the same as for
the right outside forward circles and it seems unnecessary to repeat
those directions. The drawings, too, will be found precisely similar in
the pose for some of the figures as for some other figures. This is one
way to get double practise. Every time one practises the outside change
of edge forward he is practising the right start of the outside forward
circles. Every time he is practising the inside forward change of edge
he is practising the start of the inside forward circles.
Start the right outside forward edge circle, as we have seen, by
pressing the left skate squarely against the ice and thrusting onto the
right foot outside edge. The left foot should be carried well behind and
a little across the print with the knee bent and the foot turned out and
down. The skating knee should be strongly bent at the start of the
stroke. The shoulders should be turned so that the right shoulder is
almost over the right foot and the left shoulder twisted well to the
back. When nearly half of the circle has been completed gradually turn
the shoulders toward the right, which will bring them square across the
print or direction in which the skater is moving.
When half the circle is complete the change of edge from the right
outside forward to the right inside forward occurs. The balance of the
body is here changed from an outside to an inside circle and the general
directions which have been given for the execution of an inside edge
circle will be found applicable. But the manner of making the change
from the outside to the inside edge is most important and this portion
of the figure is new to the pupil.
As the outside forward half circle is nearly completed and the change of
edge about to occur, the body, which has been carried on a slightly
forward balance, is slowly changed to a backward balance, and the left
foot, which has been carried behind during the completion of the outside
forward circle, is slowly swayed past, close to the skating foot, and
carried well in front, somewhat high. Sinking on the skating knee at the
time of the change of edge will much assist the full rounding out of the
figure. The arms should not be allowed to swing the body around during
this change of edge as they are liable to do if carried too high or too
far from the body.
Follow same directions for left forward outside change of edge.
CHAPTER 8.
CHANGE OF EDGE; FORWARD; INSIDE TO OUTSIDE.
I feel convinced no one can be called a skater until he can do the
school figures. Every day I practise the simplest of the school
figures—outside circles, forward and backward; threes, changes of edge,
loops, and the rest of them. I do this because I am sure they are the
best practice for keeping the skater in right form and correct balance.
You may not see many of them on the ice of the Hippodrome pool, so you
must take my word for their importance to me. When one has but a few
moments in which to crowd a skating performance, which shall be just as
thrilling as you know how to make it, little time can be spent on the A,
B, C’s of skating.
[Illustration:
CHANGE OF EDGE OR SERPENTINE. Right outside edge, forward, change
edge, inside forward. (ROIF)
]
The lesson to-day is again on the change of edge. There are really four
of these to learn on each foot. Beginning on the outside edge forward
and changing to the inside forward we had last time. This time we begin
on the inside edge forward and change to the outside edge forward.
The difference between the execution of to-day’s lesson and the last one
is that the figure to-day is easier to start and harder to finish, while
the last one taught, from outside to inside edge, is harder to start and
easier to finish. That is, it is harder to round out the circle after
the change of edge from inside to outside has been made than it is to
round out the circle after the change from outside to inside has been
made. I have explained the reason for this in speaking of the inside
edges in several former lessons.
[Illustration:
CHANGE OF EDGE OR SERPENTINE. Left inside edge, forward, change edge,
outside forward. (LIOF)
]
This time I have had the drawing illustrate me on the left foot. The
start may be on either foot first. I advocate starting on the foot with
which one can skate best, for the sake of encouragement and the
acquisition of right carriage more quickly. Then practise oftener on the
foot which is less perfect, so as to bring both up to the same standard
of efficiency.
As the change of edge occurs, the balance leg is brought back, past the
skating leg and outside the print, the shoulders are slightly turned
toward the left, facing more the centre of the circle, and the general
position described for the inside edge circle forward assumed. When the
inside circle has been about half completed, the balance foot is brought
slowly forward and carried there to the end of the figure.
[Illustration:
CHANGE OF EDGE OR SERPENTINE. Right outside edge backward, change
edge, inside backward. (ROIB)
]
The chief difficulty in learning this figure is found in making the sway
of the balance foot and leg forward and backward again deliberate. To
use the swing of the balance foot for the purpose of jumping the body
into any position is a glaring error. The body should roll over the
change of edge and the sway of the foot past the other be almost
unnoticed.
Start, this time on the left foot, let us say, by thrusting out from the
flat of the right skate, assuming the position described for the correct
inside circle, with the right foot behind, slightly across the print,
both shoulders in line with the print and the arms raised. Just before
making the change of edge the balance foot is brought past the skating
foot, close to it and extended well in front and somewhat high. As the
change of edge is made, the centre of gravity should be brought directly
over the print and at the same time the balance foot, which has been in
front, should be brought back and carried well behind and well across
the print. This is the right position for the forward outside circle, as
will be seen by reference to former lesson and diagram on that figure.
Immediately after the change of edge has occurred the body should be
straightened up, the shoulders kept flat and the head erect and facing
the centre of the circle which is being executed. A little before the
centre of the circle is reached the balance foot, which has been carried
behind, should be slowly moved in front of the skating foot. Great care
must be exercised to keep the shoulders in right position before, after
and especially during the changes of edge, for on the right carriage of
the shoulders and the balance leg the rounding out of the figure
depends.
The changes of edge are performed in three lobed eights. One half of the
centre circle is performed on one leg, then the change of edge occurs
and then a full circle on the second edge. The main difficulty will be
found with the full circle after the change of edge. Follow the same
directions for the right foot inside to outside change of edge.
CHAPTER 9.
CHANGE OF EDGE; BACKWARD; OUTSIDE TO INSIDE AND INSIDE TO OUTSIDE.
We have now reached the place in the school figures where they are of
sufficient difficulty and interest for their introduction into my
programme as premiere of the ice skating ballet in “Flirting at St.
Moritz” at the Hippodrome. But of course they may be done so fast that
they will be missed by any except the most observing attendants.
Theatrical skating, such as I do, has to be fast and sensational. The
easy transition strokes from one figure to another furnish about the
only example of school figures which the public will quickly catch in my
work, although I am constantly doing threes and double threes both
forward and backward. These school figures are so interesting and pretty
when well done that I have put several of them in my programme.
[Illustration:
CHANGE OF EDGE OR SERPENTINE. Left inside edge, to outside edge,
backward. (LIVB)
]
The lesson to-day covers two school figures—the changes of edge
backward, executed on, first, the outside and then the inside edges.
Both these figures include strokes which have been fully described in
former lessons. The new thing to learn is the combination of the two
strokes which have already been learned into one continuous movement or
figure. A change of edge either forward or backward implies considerable
loss of power or momentum at the place where the change of edge occurs.
The most important thing to learn in all changes of edge is the manner
of retaining or even of increasing this momentum at the time of the
change. That the momentum of a skating stroke can be added to during its
execution may surprise some persons who are unfamiliar with skating;
nevertheless it not only can be done but is done by all who skate the
school figures correctly. This momentum is added to, sometimes by
lowering and raising the body, sometimes by rocking the body over a
change of edge, sometimes by the swinging of the balance foot to a new
position.
To skate the backward change of edge, beginning on the right outside
edge, start off as described for the plain outside edge circle backward,
with a strong push from the left foot. All strokes beginning backward
require a stronger start than the same strokes started forward. It is
easier to walk forward than backward; the unnatural stroke is harder to
learn than the natural one.
The outside backward circle has been fully described in a previous
lesson. Start the change of edge backward by making this stroke,
remembering that one is to skate not merely a single circle but a circle
and a half and that the stroke must needs be strong and firm. There
should be strong backward leaning in the first half circle of this
figure, as in the start of all backward outside edges. The balance foot
should be slowly brought backward during the execution of the first half
circle close to and past the skating foot to the correct position for
the outside backward circle. Slight bending of the skating knee before
the change of edge is advisable; straightening of the body after the
change of edge increases momentum.
As the change of edge is made, which should be an almost imperceptible
swinging over of the body from the outside to the inside edge, not a
quick upset of the balance, the balance foot is brought slowly forward,
past and close to the skating foot, and carried in this position until
about one-third of the circle has been completed. Then the balance foot
is again brought back, past the skating foot, and correct inside edge
backward position assumed.
The second figure consists of a reversal of the stroke which has been
above described. It starts on the inside edge backward and changes to
outside edge backward. These strokes are almost equally difficult. The
former is easier to start and harder to finish, while the latter is
harder to start and easier to finish.
It is customary, when following the procedure of the European skating
teachers, to skate first an outside backward change to inside backward
and then skate an inside backward change to outside backward. All
changes of edge both forward and backward, therefore, will be skated in
an eight having three lobes, as per the diagram. If the start of one
figure has been on an inside edge and change has been made to the
outside edge, then the next figure will be started on the outside edge
and changed to inside edge.
Lunge boldly on to the inside edge, as if to make an inside edge circle
backward. But before the half circle has been completed bring the
balance foot slightly past the skating foot and close to it. When the
change of edge occurs the balance foot should be brought forward
directly over the print, with the balance knee bent and the toe turned
out. The location of the balance foot throughout all of the changes of
edge is of the utmost importance. If it is allowed to swing wide from
the print uneven curves and spirals will result. The described position
for the outside backward circle is maintained until about half of the
circle has been skated, when the balance foot is brought slowly backward
and maintained in this position to the end of the circle. The carriage
of the body, the arms and the head are of the greatest importance in the
execution of changes of edge and must be carefully memorized and
simultaneously changed. There should be no jerky movements of the
balance leg during the execution of the figures but a deliberate swing
of the body to the new edge and the new carriage. A good way of
determining whether the figure has been executed correctly is by
inspection of the print; it should be accurate as to half circle and
circle, and there should be no snow turned up as the change of edge is
made.
[Illustration: “Charlotte” at finish of right inside forward circle.
“Charlotte” on left outside backward circle.]
[Illustration:
THREE. Right outside edge forward, to inside backward. (ROFTIB)
]
[Illustration:
THREE. Left inside edge backward, to outside forward. (LIBTOF)
]
CHAPTER 10.
THREES—FORWARD AND BACKWARD.
Skated in a series, as I do them, backward, threes always interest even
those who know nothing about skating. They are necessary to the mastery
of the ice waltz and all the other dance steps. In their simplest form,
either forward or backward, they are generally graceful.
There are two ways of regarding the three. Some of the best skaters make
it very deeply indented, as if there were two circles, in the middle of
which was placed the threes. Others make the three a quick turn, almost
unnoticeable on the ice, in the execution of a big circle. The latter
design seems to me to be right. I regard the three as a movement which
occurs and should occur only as part of the execution of a big circle.
This is the way that I skate it. My style is my own and is a combination
of the best style I have seen. Every skater becomes more or less
individual as he becomes expert and in some of the best skaters it is
difficult to tell where they learned or who their teacher was.
There are eight threes for the beginner to learn—one on outside edge
forward to inside edge backward, one on inside edge forward to outside
edge backward, one on outside edge backward to inside edge forward and
one on inside edge backward to outside edge forward. These must be
duplicated on each foot, making eight in all. They are progressively
difficult in the order in which they have been named.
The outside forward to inside backward three is started as one would
start a plain circle, on the outside forward edge. But gradual rotation
of the shoulders toward the center should begin as soon as the figure is
started. On approaching the three the shoulders should be in line with
the circle of which the three is a part. This position of the shoulders
should be maintained until the latter half of the figure is nearly
completed; it will be found of great assistance to the skater in
continuing the circle to its full shape. It will be noticed from the
diagram that the general position of the shoulders, the arms and the
legs is almost identical after the turn as before the turn; the figure
is being finished on another edge, that is all.
In all forward threes the balance foot maintains its position behind the
skating foot, both before, during and after the three. In the outside
backward three the balance foot, which at the start of the three took a
position slightly across the print and over the skating foot, retains
that position to the end of the figure. In the execution of the inner
backward three the balance foot may remain in front or may be carried
behind; either position is correct. If it is carried behind, there
should be strong sinking on the skating leg at the time the three is
made and a straightening of the body immediately afterward.
[Illustration:
THREE. Right inside edge forward three, outside backward. (RIFTOB)
]
The inside forward, outside backward three is the easiest for the
amateur to learn. The inside backward, outside forward three is the most
difficult to learn and extremely difficult to place accurately. It
should be practised persistently until mastered thoroughly.
The inside backward, outside forward three is started as for the inside
circle backward, but the shoulder over the skating foot is turned
strongly away from the centre of the circle. As the three turn is made
the balance of the body should be strongly backward and the turn
executed on the back or heel of the skate. This is the three where the
balance foot may either be swung around in front of the body or allowed
to remain behind the body as the turn is made. The illustration shows
the latter method of making this three.
[Illustration:
THREE. Right outside edge, backward, three, inside forward. (ROBTIF)
]
[Illustration:
THREE. After the three, right outside backward, three, inside,
forward. (ROBTIF)
]
All threes should be placed most carefully at the correct position at
the top of the indented eight. Imagine two circles with a dent inward at
the top of each circle and you have the right design for threes. In
competitions or in serious practise of the threes for progress in
skating school figures they are skated in pairs, starting first forward
and then backward. For instance, right outside forward, three; left
inside backward, three.
The carriage of the balance foot is most important in assisting in the
execution of full, round curves after the threes. In every case the
balance foot should be carried well outside the print after the three
has been made; this will tend to enlarge the portion of the circle
following the three. The arms should be carried low for all three turns,
otherwise they will have a tendency to swing the skater out of the true
curve and into a spiral.
THE FIRST KNOWN SKATING ILLUSTRATION
[Illustration:
SAINT LIEDWI, Of Scheidam, Holland, A. D. 1396; from ancient wood-cut.
]
CHAPTER 11.
DOUBLE THREES FORWARD.
Double threes make a very pretty tracing on the ice and are especially
useful in determining if the skater has learned the correct carriage for
the various turns comprising them. Unless that correct balance has been
learned, the correct execution of the double threes is impossible. There
is an agreeable swing to the double threes which is lacking in some of
the other school figures. They form what one might call a finished
figure of themselves, both as to the tracing on the ice and the position
of the skater after the figure has been performed. They leave the skater
in a naturally correct and agreeable pose for the following half of the
figure.
The double threes have this peculiar difference from other school
figures—they are very much easier forward than backward. But the
carriage of the balance foot is much easier in the backward than in the
forward half of the figures. To-day we have the forward half of the
double threes—that is, starting on each foot forward, first outside and
then inside edge. The completed figure makes a trefoil, or clover leaf,
as will be seen from the diagram, one of the prettiest of the school
figures.
Start the double three on the outside forward edge with not too vigorous
thrust from the foot on the ice, since a certain amount of power can and
should be gained by the correct turns which will be made during the
progress of the figure. Too strong a thrust will tend to make the skater
spin on the first three. It is better to start practise of the double
threes somewhat slowly, learn where the greatest difficulty lies, and
then practise overcoming that difficulty by independent skating of the
most difficult portion of the figure.
[Illustration:
“CHARLOTTE” in pirouette.
]
[Illustration:
“CHARLOTTE” and IRVING BROKAW in hand-over-head pair skating.
]
The general directions for the start of the threes forward on the
outside edge apply to the start of the double threes. After the first
three has been made, which will bring the skater on to the inside edge
backward, the balance foot should be carried fairly high at first and
gradually brought close to the skating foot, so that when the skater is
ready to make the second three the balance foot is close to the skating
foot. During the inside edge backward the shoulders and the body should
be slowly turned away from the centre of the circle toward the second
three.
At the moment of the second three the skating knee should be bent rather
strongly and the body turned, without perceptible jerk, into the right
position for the finish of the figure, which is on the outside edge
forward again. The balance foot is allowed to remain slightly behind as
the second three is performed and, when the third portion of the curve
of the completed figure is about one-half skated, should be brought
forward into the usual position for the end of the outside forward
circle.
The inside edge double threes forward are started as for the inside
forward threes, but with more bending of the skating knee and with less
inward turn of the body toward the circle. When the first three has been
executed and the skater is then on the outside backward edge, the
balance foot should be carried fairly close to the skating foot and the
body should lean strongly backward. At the moment of the second three
the balance foot should be brought close to the skating foot and
directly over it.
When the second three has been executed, the balance foot may be allowed
to linger a little behind the skating foot and be carried in that
position to the finish of the third curve, or it may be brought forward
into the customary position for the finish of the inside forward circle.
Both positions are used by the best experts of Europe.
CHAPTER 12.
DOUBLE THREES BACKWARD.
The second half of the double threes are skated backward. That is, both
parts of the lesson of the day start backward. Double threes have the
interesting peculiarity of finishing on the same edge and in the same
direction as they are started. They are clover leaf in pattern, and
should be skated with great care to have the leaves equal in size and
accurately placed as to the axis of the two large circles of which they
form a part. The placing of all school figures is most important and is
the basis of the marking which obtains in European competitions.
Start the figure on the outside edge backward, with a fairly strong
thrust from the foot on the ice. The general position is that which has
been described for the outside backward circle of three, with a little
less turn of the shoulders away from the centre of the circle. Gradually
turn the body so that, as the first three is being made almost the right
position for the second curve, on the inside edge forward, is obtained.
As the first three is performed, the balance foot should be in front of
the body, over the print and not far from the skating foot. A slight
swing of the balance foot is customary as the first three is performed,
but the balance foot must not be permitted to stray from the skating
foot, or there will be a tendency to revolve the body from the right
position for the second curve.
The balance foot is carried forward of the body during the second curve
in the customary position during the inside forward circle and up to the
moment when the second three is performed, when it should be brought
close to the skating foot and directly over it. There should be
considerable bending of the skating knee as this second three is made.
The balance foot drops slightly forward of the body after the three is
made, as in the usual backward outside edge circle, and the figure is so
finished.
The inside backward double threes are started as for the inside backward
threes, but with more vigorous thrust and more bending of the skating
knee. The balance foot is carried well across the print up to the moment
of the first three, when it is brought close to and over the skating
foot. After the three is made there should be general straightening of
the skating knee and of the body, which will greatly add to the
momentum. The second curve of the figure, on the outside forward edge,
furnishes one of the places where much power can be added during the
execution of a figure. The second three is performed exactly as
described in the forward outside three and the figure finished on the
inside backward edge.
Many skaters find that the double threes are easier than the single
threes, and that a series of threes are easier than a single three,
carried out correctly to the starting point. Such skaters should not get
the bad habit of doing the more elaborate double or chain threes to the
neglect of the fundamental single or double threes. In time ignorance of
the right balance for the simpler figures cannot fail to get the skater
into trouble.
CHAPTER 13.
LOOPS, FORWARD.
The importance of loops cannot be exaggerated. They are in some respects
more important than the threes, which precede them. They are an entirely
different balance from figures to which they are very similar and for
that reason alone are important. If, for instance, one has been
practising threes and then goes to loops, the different balance is so
great as to disturb the proper execution of either figure. Of course,
when one becomes expert they can do any figure they select, in any
order. The amateur and the beginner, however, will do well to separate
the time of practising certain contrasting figures.
One day make special effort to master the threes, forward and backward.
Do but little else. Memorize the correct balance, the correct carriage
of the balance foot, the body and the arms. Do no loops that day.
Another day specialize on loops, making no threes, but studying most
carefully the correct carriage for loops. Threes and loops are hard
figures to practise in sequence although there will come a time in the
progress of the amateur when one of the most interesting and beautiful
figures he can do will be a combination of three, loop and three. The
single threes, however, and the single loops are a different balance
from combination three, loop and threes.
In learning the placing of either threes or loops or brackets, it is
important that the beginner have in mind the fact that they should be
executed at the far ends of the figure in which they are placed. The
length of the curve or part of the circle after the three or loop ought
to be the same as before the three or loop. The loop ought not to be at
the end of a long spiral. Correct tracing of the figure on the ice is a
fundamental part of true continental form in skating.
[Illustration:
LOOP. Right outside edge forward, loop, outside forward. (ROFLOF)
]
Start on the right foot, outside edge, forward, as for the circle eight
on that foot, but soon begin to twist the shoulders toward the centre of
the circle. The balance leg should be carried behind and not far out or
it will have a tendency to swing the skater into a three instead of a
loop. As the loop is started the skating leg should be bent
considerably. When the loop is half finished the balance foot which has
been swinging around is brought past the skating foot, close to it and
vigorously but deliberately thrust forward outside the curve which forms
the finish of the figure. At the same time the arms should be brought in
close to the body and the body straightened up, which will give added
impetus for the correct curve to the starting point.
The difficulties in the performance of the loops will be met in the
correction of balance at the middle of the loop and the completion of a
full curve after the loop. These difficulties can be lessened by much
careful study of the right principles before the figure is attempted and
by repeated practising over and over again after the correct balance has
been learned. When the correct loop movements are once attained it is
best to continue practising them before other different balances are
allowed to interfere with their complete mastery.
The inside forward loops are started differently from the inside circles
as the shoulders should face the centre of the circle right from the
start. The skating knee should be well bent and the balance of the body
should be strongly forward until half of the loop has been completed.
Then the balance foot, which has been carried behind and outside the
print, describes a small, quick circle directly over the loop and is
thrust well forward, across and outside the print. The shoulders,
however, remain twisted toward the centre of the circle. The balance of
the body before the inside forward loop is strongly forward; after the
loop it is strongly backward. After the loop is made straighten the body
up and bring the arms quickly to the sides of the body; the first
movement adds impetus and the second tends to prevent the following
curve from becoming a spiral. Loops should be made on a strong edge.
After the loop is made less edge is required; in fact as little edge as
can be used to follow the correct curve of the circle back to the
starting point.
[Illustration:
LOOP. Left inside forward, loop, inside forward. (LIFLIF)
]
Loops are somewhat dependent upon the freedom with which the skater is
able to control his ankles. They should not be held too stiffly in these
figures since a firm edge is needed even in the small circles which will
be formed and there is change of the balance from the forward to the
backward part of the blade, or vice versa, in the various loops. There
should be no noticeable pause at the centre of the loop. The balance
foot should not be employed to jerk the skater out of the loop into the
finish of the circle.
CHAPTER 14.
LOOPS, BACKWARD.
Loops are so very important a part of the equipment of the finished
skater that I have divided them into two chapters. They should have
large place in the careful, studious skating of all who are ambitious to
make good progress in this most graceful of sports.
There are some interesting peculiarities of loops which may be set down
as worth remembering. For instance, all loops are skated with the
balance foot following the skating foot before the loop and preceding it
after the loop. Again, all loops are skated with the balance of the body
strongly forward before the loop and strongly backward after the loop.
The balance foot should pass the skating foot very close to it in all
loops or there will be strong tendency to swing the skater into too
small a curve after the loop has been made. Loops should be almost round
as to shape.
The outside backward loop is in some respects the easiest of the four
loops. But it is not easy to get the right start for this loop. Perhaps
more daring is required in the strike off of the outside backward loop
than in any other school figure. For this reason, while championship
competitions insist that the start of all figures shall be from rest,
the beginner may find it encouraging to start the backward outside loops
after he has taken a slight backward outside stroke on the opposite
foot. This merely for encouragement. After a good start has been
learned, lessen the times that the assisting motion from the stroke on
the other foot are used and finally discard it altogether and start, as
one should, from rest.
Thrust out boldly on the outside backward edge as for the outside
backward circle, twisting the shoulders so that they are flat with the
centre of the circle of which the loop is to be a part. Turn the head
even more than the shoulders, looking almost over the unemployed
shoulder toward the spot where the loop is to be placed. At the moment
of commencing the loop the face should be almost directly toward the
loop and both arms twisted well toward the centre of the circle as in
the diagram. The twist of the shoulders and a sharp swing of the balance
foot around the skating foot, close to it, will give the right rotation
for the loop. After the loop has been made the head and the shoulder
over the balance foot should be kept turned well toward the direction of
the curve which is being skated. It will be found very difficult to
round out this finishing curve of the outside backward loop. The twist
of the shoulders and the carriage of the balance foot outside of the
print are the secrets of its accomplishment.
The inside backward loops, as has been said of the inside edges in
general, are easier to start and harder to get out of than any similar
strokes. To make a clean inside edge loop backward and get out of it
with a resulting curve of full size and true radius is an indication of
real proficiency in figure skating. Many good skaters fail in this
difficult figure. Yet it must be learned or other following and
combination figures cannot be accomplished.
This loop requires more edge than any of the others. It is about the
only loop which the experts of Europe agree upon as to the place on the
blade of the skate with which it should be executed. This is the forward
part of the blade.
[Illustration:
LOOP. Right outside edge, backward, loop, outside backward. (ROBLOB)
]
The start is made like the start of the inside edge circle backward
except that the head is turned over the employed shoulder instead of
over the unemployed shoulder. That is the face is turned away from the
centre of the circle of which the loop is to be a part instead of toward
the start of the stroke. The position is similar to that for the
execution of the three or the backward inside edge but there should be
more twist to the shoulders. The balance foot should be carried well in
front of the body, not too high, and over the print. The arm of the
employed shoulder should be extended well out from the body compensating
the weight of the balance leg which is on the other side of the centre
of gravity, as shown in the diagram. There should be strong backward
leaning of the body, as in all backward loops, up to the middle of the
loop when the balance foot swings past making a small circle, almost a
flip of the foot, and is carried well out, over the print. The curve is
finished like the inside backward circle. There is less use of the
shoulders, and more use of the balance foot in the execution of the
inside backward loops than in any of the other loops.
[Illustration:
LOOP. Right inside edge, backward, loop, inside backward. (LIBLIB)
]
[Illustration:
MRS. JULIEN M. GERARD, MRS. CHARLES B. DILLINGHAM and MISS MADELINE
COCHRANE at Hippodrome Skating Tea.
]
CHAPTER 15.
BRACKETS.
It is most important, in learning the school figures in the correct
continental style, to remember that all the school figures should be
done in large size. The matter of size is, in fact, one of the first
essentials in the correct performance of the continental school figures.
It is told me that the American tendency is to skate all figures much
smaller than they are skated in Europe. When the fact is realized that
after the figures are learned in large size it is comparatively easy to
skate them small, and that it is almost impossible to skate them large
after they have been learned small, the importance of practising all
figures large is realized.
In all simple figures of large size the carriage of the head and
shoulders is of the utmost importance. For the purposes of this argument
the brackets may be regarded as simple figures; they are much less
difficult than many somewhat similar school figures. In the execution of
small figures the carriage of the balance leg and the arms is of greater
importance than the carriage of the shoulders and head. It is, of
course, true that no figures can be done correctly, either small or
large, unless both head and shoulders and balance leg are correctly
poised, but the relative importance of the parts of the body is as
stated.
While the turn of the threes is a natural turn, the turn of the brackets
is an unnatural turn. That is, the tendency of the body when one strikes
out on a right outside forward edge is to revolve toward the right. But
to make a bracket on that foot and that edge the turn of the body must
be toward the left. It will be seen, therefore, that the stroke is
similar, as to the edges employed, to the threes, but that the turn of
the body is in the opposite direction. The diagram clearly explains this
peculiar turn. There are eight brackets for the skater to master—four on
each foot—two beginning forward and two beginning backward; two starting
on outside and two starting on inside edges.
There are slight differences of opinion among the experts of Europe as
to the manner in which the balance foot should be carried in some of the
brackets. When one reaches a certain degree of proficiency in skating
there is reasonable freedom allowed for individual preferences in
balance. Sometimes these preferences are purely physical and sometimes
they are based upon a difference of opinion as to which is the more
graceful or effective performance.
The difference between the execution of the threes and the brackets is
illustrated in the matter of carrying the shoulders better than in any
other way. For the threes the shoulders are turned well toward the
three; for the brackets they are turned away from, that is, flat with
it. It is a most important difference to remember, and on its
remembrance is based all successful skating of brackets. Another general
truth of bracket skating is that the balance foot should be very close
to, sometimes directly over, the skating foot at the time when the
bracket is being made. This is done by bringing the balance foot slowly
up to and sometimes slightly in front of the skating foot just before
the bracket is made.
For the outside forward bracket start as for the outside forward circle,
but begin immediately to flatten the shoulders with the print. Just
before the bracket bring the balance foot, which has been carried
behind, past the skating foot, close to it and glance momentarily at the
place where the bracket is to be located. At the bracket the body should
be flat with the circle, the balance on the forward part of the blade
and strongly leaning toward the centre of the circle. After the bracket
the balance foot should follow the skating foot, across the print, and
the general position for the inside backward circle be maintained to the
end of the curve.
The complementary half of this figure is skated backward, and begins
therefore on an inside backward edge in which a bracket is made to the
outside forward edge on the same foot. The general directions for the
inside edge circles backward should be followed at the start, always
remembering that the body must be turned gradually so as to be flat with
the circle at the time the bracket is made.
[Illustration:
BRACKET. Right outside edge, forward, bracket, inside backward.
(ROFBIB)
]
Just before the bracket is made the balance foot is brought toward,
close to and past the skating foot and slightly turned outward. This
bracket is made on the extreme back part of the blade of the skate.
After the bracket the balance foot is carried behind, across the print
and the curve finished as in the outside edge forward circle. Strong
bending of the skating knee at the time of the inside backward bracket
and straightening up after the bracket will assist in the execution of
this figure.
The inside forward bracket is started as for the inside circle, with
attention to the flattening of the shoulders in line with the circle;
the balance shoulder must be twisted forward. The balance foot is
carried behind until just before the bracket, then it is carried past
and close to the skating foot. This bracket is made on the forward part
of the blade and the skating knee should be well bent during its
execution. After the bracket the balance foot is carried in front for a
little distance then is slowly moved past the skating foot with the knee
turned out in the correct position for the outside backward circle. This
is the easiest of the brackets and may be practised first if desired. It
is so placed in some of the competitions.
The complementary figure to the above is the outside backward bracket.
This is the most difficult of the brackets. Start as for the outside
backward circle, but very soon bring the balance foot slightly past the
skating foot and flatten the shoulders toward the circle, not away from
it; in some respects the most difficult of school figure positions. This
bracket is made on the extreme backward part of the blade. The balance
foot is kept close to the skating foot during the bracket. After it,
bend the skating knee momentarily so as to gain power when the body is
straightened up for the inside forward portion of the figure. The
balance foot should be carried behind and across the print after the
bracket for about one-half of the curve, then brought forward and across
the print in the correct position for the inside forward circle.
In all brackets the carriage of the arms is very important. They should
not be permitted to swing the body off the correct balance. As a general
rule the arm on the side of the body which is leading should be extended
well in front and in direct line with the circle, the other arm being
held not far from the body. After the bracket the other arm should be
extended over the print. Brackets are one of the few school figures
which may be practised with a partner to mutual benefit.
CHAPTER 16.
ROCKERS; OUTSIDE FORWARD AND OUTSIDE BACKWARD.
The rockers are very hard figures to learn, but they are very beautiful
and very delightful. Perhaps the big soaring rockers are the most
fascinating of all skating figures. Many of the champions of Europe use
them as opening figures in their competitions where judges of skating
are marking points. I select figures less technical for the purpose of
interesting a general audience.
The rocker is a comparatively new turn which has only within recent
years been introduced into school skating. Northern Europe originated
it. Even to-day there are strong differences of opinion as to the
execution of some of the rockers. Probably these differences are based
on physical preferences of skaters.
Rockers are natural turns—that is, they are rotations of the body in the
direction which it is inclined to take, like threes. But the same edge
is employed after as before the rocker, as right outside forward to
right outside backward. Flexibility of the hip joints and courage to
take a strong if apparently dangerous change of position are the chief
requirements to the mastery of the rockers. The body and shoulders are
often required to maintain one position while the skating leg from the
hip down is being twisted into a different position in readiness for the
new curve which finishes the figure. Again, as in brackets, the aid of a
partner is most useful in learning the rockers. But the assistance
should be merely a touch of the fingers to give confidence at the
critical moment, not a firm support or guidance. To know that after one
of these difficult turns there is a partner’s hand waiting often greatly
stimulates courage.
Jerkiness and noticeable pause in the execution of the figures are bad
form. The momentum should be continuous and even. Unless it is, the
figure will be badly done and the balance interfered with. The whole
print of the complete figure should be in the mind of the skater before
he starts. Room for its execution should be found and even a clear idea
of where the prints are to be made on the ice should be in mind. Regard
rockers as a series of closely related movements forming a continuous
whole and the work will be easier and more perfect.
Start the outside forward rocker as for the outside forward circle with
a strong edge and twisting the shoulders toward the circle. The balance
foot should be brought up close to the skating foot just before the
rocker and be almost over it when the rocker is made. The turn is made
on strong edge in every case. The arms should not be allowed to spread
or they will swing the body at the turn. The rocker is made by the
strong twisting of the hip joint and skating foot at the moment of the
turn, the skate making almost a complete reversal of position from
forward to backward. The head should look in the direction of motion
before and after the rocker. The glance may be directed to the place
where the rocker is being made at the moment of its execution, but
afterward the head should be carried erect.
At the moment of the turn the body and shoulders are twisted back into
the position for the second portion of the figure, the skating foot is
turned well outward as for a “spread eagle,” the balance foot is brought
behind and inside the print and the arm over the balance foot extended
well in front in the direction of the circle. The head is carried erect,
the glance toward the direction of travel and the figure finished as in
the position of the outside backward circle.
The complementary half of the figure is the outside backward rocker,
which is in many respects the easiest of the rockers. The main
difficulty is to get adequate start for the figure, for all rockers
require speed. Start as for the outside backward circle, twisting the
body and shoulders toward the direction of the curve. The skating foot
therefore will be in line with the shoulders in a “spread eagle”
position. At the moment of the turn the skating foot should be directly
under the body and the balance foot close to it and slightly behind. As
the turn is made, bend the skating foot momentarily, straightening up
immediately afterward. The balance of the curve to the completion of the
circle should be done as in the outside forward circle, but to carry the
curve out in large shape the balance foot must be carried outside the
print and the shoulders turned well away from the centre.
[Illustration:
Beaks, Open.
]
[Illustration:
Beaks, Closed.
]
[Illustration:
Beaks, Cross-cut.
]
CHAPTER 17.
ROCKERS; INSIDE FORWARD AND INSIDE BACKWARD.
Although the rockers, or rocking turns, as they are sometimes called,
are very difficult and very beautiful, they are not especially adapted
to a place in theatrical skating. If I were giving an exhibition before
skaters only I would probably introduce several of these spectacular
turns. I find other numbers a little more suited to the dashing
performance expected in a programme offered a general audience.
In the last lesson, which was on rockers, we learned how to execute the
forward outside rocker and the backward outside rocker, which are
complementary figures, or one-half of a school figure. This lesson
to-day has to do with the remaining portion of the figure, a rocker on
the inside edge forward and a rocker on the inside edge backward. These
are done on alternate feet and, as will be seen, complete the series of
rockers, one on each foot and on each edge. This method of practising
all the school figures, forward and backward, on both edges on both
feet, is most important. No skater can be considered as having learned
the fundamentals of skating until he can do the school figures on both
feet and in both directions. On the stage of the Hippodrome I frequently
execute difficult spins and jumps on one foot, and then on the other
foot, not for the purpose of prolonging the number but for the purpose
of showing that I can do them equally well on either foot.
The start of the inside forward rocker is made like the start of the
inside forward circle, but a strong inside edge is taken and the
rotation of the body toward the circle is held back. When a little less
than one-half of the first curve has been skated on the inside forward
edge, the balance foot, which has been carried behind the body, is
brought close to the skating foot and at the moment of the turn is
directly over it. But the change in position of the balance foot must
not be allowed to alter the correct, if somewhat forced, position of the
shoulders and body, which should be in the right position and the
balance for the second portion of the figure even before the turn is
made. This curious characteristic of rockers has been referred to
before—that the body must be turned and ready for the new position even
before the rocker is performed. But the skating leg and foot must be
held rigidly to the execution of the first position of the figure before
the turn, even while the shoulders, the body and the turned head are
already in position for the latter half of the movement.
The rocker should be executed on a strongly bent skating knee and after
the turn there may be additional bending of the skating knee for the
purpose of adding momentum as the knee is straightened just after the
turn is made. This rocker is made on the forward part of the blade. The
inside forward rocker is one of the few skating movements where both
knees are allowed to be close together for a moment. The arms should
hang loosely at the sides of the body during the turn, with the hands
turned slightly upward and the palms down. After the turn the forward
arm should be extended in the direction of motion for both appearance
and balance. The balance foot should be carried in front, over the print
before the turn, and behind after the turn, but this is one of the
figures where there is considerable difference of opinion as to the best
if not the correct carriage of the balance foot during the execution of
the figure.
The figure is skated easiest, as are all rockers, when skated fast and
large and the turn made as quickly as possible. This requires some
daring and pluck. The inside edge backward, upon which the figure is
finished, is difficult to hold out to the true curve, but the general
directions for the inside backward circles are all that are required for
its mastery—with a generous amount of practise.
The complementary half of this figure is the inside backward rocker.
Start as for the inside circle backward; soon bring the balance foot
forward and slightly past the skating foot so that it is close to the
skating foot at the moment of the turn. The body, as in the case of all
rockers, should be directly over the turn at the moment it is made. As
the turn is made the balance foot is brought back sharply to the skating
foot; the twist of the shoulders in position for the forward inside edge
with a quick turn of the skate on the ice executes this difficult,
catchy movement. The turn should be made on the backward portion of the
blade. This is the most peculiar of the rockers and is more of a knack
which, once caught, is not readily forgotten. The figure is finished in
the usual position of the forward inside circle and the balance foot is
brought past the skating foot when about one-half of the final circle
has been completed.
[Illustration:
SPECIAL FIGURES.
]
CHAPTER 18.
COUNTERS.
Counters are very similar in appearance to rockers but the turn is made
away from the centre instead of toward it. A rocker is a form of three
out of which one comes onto the same edge in a different direction. A
counter somewhat resembles a bracket in appearance but the continuing
stroke is on the same edge as that employed in the first half of the
figure. As in the rockers, the direction is reversed at the turn;
forward, counter, backward or backward, counter, forward. The change is
always to the same edge. A change of edge is sometimes made in the
execution of both brackets, rockers and counters but such a move is a
violation of the correct performance of the figure. It must be
scrupulously guarded against.
In many important respects counters are executed similarly to rockers.
There is a careful swing of the balance foot just before, during and
just after the turn. Simultaneous action of the skating leg, the balance
leg, the shoulders and the head are of greater importance in this figure
than in any other. Yet the counters are easier than other turns of a
similar character which already have been studied even although they are
what I have called unnatural turns, or turns in violation of the natural
rotation.
The outside forward counter is started as for the outside forward
circle. The shoulders should be held back, against the curve, not as in
threes or rockers, with the curve. In all forward counters the balance
foot is brought forward, past the skating foot, then, at the moment of
the turn, back again, close to the skating foot. After the turn it is
carried forward again in the correct position for the second portion of
the figure which should be skated as if entirely independent of the
first portion. In all counters, the body should be turned in readiness
for the correct position of the second part of the figure before the
first part has been finished. This implies flexibility of muscles and
control of bodily poise which are difficult to acquire. Excellent
practice for these intricate skating positions can be obtained on a
floor, with skates off, by turning the body and the legs in the various
correct positions and memorizing them.
The outside backward counter is skated with a strong outside edge at the
start of the figure, a little more deliberate drawing up of the balance
foot and special care that the balance foot is very close to the skating
foot at the time of the turn. There should be strong backward balance of
the body just before the turn is made; just after it a momentary strong
bending of the skating knee. This turn is made on the forward part of
the blade and is regarded by many good skaters as the most difficult of
the counters.
Inside forward counters are not more difficult than outside forward
counters. They are started as for the bracket with the shoulder over the
balance foot leading. The shoulders are held square with the circle
until the turn. The turn is made on the forward part of the blade. After
the turn there should be strong bending of the skating knee and quick
straightening of it. The figure is finished as for the inside backward
circle.
For the inside backward counter a vigorous thrust is essential. Bend the
skating knee well from the start of the figure up to the moment of the
turn, when it should be slightly straightened, the balance foot brought
close to the skating foot and the shoulders held as for the inside
backward bracket. This counter is made on the heel of the blade.
[Illustration:
COUNTER. Left outside edge backward, counter, outside forward.
(LOBCOF)
]
CHAPTER 19.
THE ADVANCED SCHOOL FIGURES.
The advanced school figures, as will be seen from a glance at the
diagrams, consist of developments and combinations of the elementary
school figures. There are no really new figures among them unless the
continuation of the change of edge into the form of an eight can be so
regarded. Some of them are of the greatest importance since in one
figure are combined all the changes of edge and all the threes or loops.
They should be very carefully practised and fully mastered. When they
have been included among the figures which the skater is able to
correctly execute with ease that skater is fully entitled to a place
among the expert skaters of any country and any place.
These elementary and advanced school figures contain so many difficult
elements and combinations that time for other interesting movements will
be hard to find. It is well to vary the practise, therefore, and retain
the interest, by introducing a bit of free skating now and then. Let
individuality have play occasionally. Get a little fun out of even the
most serious skating practise. Skating is hard work and requires much
application. Do not let the interest flag by too extended sessions of
uninterrupted work. Keep in mind the fact that skating is a beautiful
sport and a delightful diversion.
[Illustration]
[Illustration:
Spectacles.
]
[Illustration:
Reversed Spectacles.
]
[Illustration:
Cross-cut, Straight top.
]
[Illustration:
Cross-cut, Curved top.
]
[Illustration:
Cross-cut, Intersected top.
]
[Illustration:
Reverse Cross-cut.
]
[Illustration:
Sanders Reverse Cross-cut.
]
[Illustration:
Double Anvils.
]
[Illustration:
Diamond Cross-cut.
]
[Illustration:
Lebedeff Reverse Cross-cut.
]
CHAPTER 20.
OTHER IMPORTANT FIGURES.
While the school figures, both elementary and advanced, have been
described or illustrated, there are other important figures which the
skater should learn. These will be useful for introduction into any free
skating programme and some of them are exceedingly interesting. In my
theatrical skating I make up a programme which contains very few of the
school figures. Spectacular jumps and spins, pirouettes and acrobatic
development of skating strokes are the most taking features of any
skating programme offered to the general public. For this reason, the
skater who is ambitious to become an exhibition skater must perfect
himself or herself in these movements which are somewhat outside of the
strict school figures but which nevertheless are most important
additions to general figure skating.
In this list are comprised cross-cuts or anvils, the very names of which
tell the method of their execution or appearance, also spins, pirouettes
and jumps, introduced between changes of direction or edge, or for their
own sake as independent movements; grapevines, beaks, spectacles,
spirals and spread-eagles. From these figures, together with the school
figures, all skating exhibitions and competitions are made up.
It would be difficult indeed for even the most painstaking student of
skating to learn some of these movements from a printed description or
diagram of them. Such description is almost worthless. They can be
learned best from a teacher and in almost every locality where there is
figure skating there will be found at least a few skaters capable of
executing some if not all of these free skating figures. The student is
urged to watch carefully the strokes of those who can do them and then
work the figures out for himself on the ice. Do not be ashamed to ask
questions of those who skate better than you do. Make pencil sketches of
figures that interest you and write down the correct carriage of balance
foot and arms until you have learned them.
Spins and whirls, on one foot or two feet, on the flat blade of the
skate or on an edge, are best started from a long, strong spiral on one
foot which ends in a three, the balance foot and the arms being swung
widely to give rotating impetus. Pirouettes are done on the toes of the
skates and imply extremely difficult balances. Jumps on to the toe of
the skate are not so difficult, although they appear very difficult, are
very effective for exhibition purposes and often form very pretty
interludes to introduce into a skating programme.
Cross-cuts and anvils are explained in the diagrams. They are not pretty
figures but are sometimes useful in embellishing a skating programme
through their oddity. Spectacles are often extremely beautiful numbers
to skate to music, the balance foot beating time in the air. Spirals are
splendid figures for pair skating or for the demonstration of graceful
carriage. The various grapevines have never been very popular in Europe
yet they have much value in stimulating ingenuity and in increasing the
flexibility of the ankles. Some surprising figures can be built up by
executing one movement with one foot while the other foot executes a
different movement.
The spread-eagle is a figure which many skaters find themselves
physically incapable of. It requires a flexibility of the hip-joints
which can not always be cultivated. It can be made very spectacular by
the introduction of jumps while it is being performed. Some of the
cross-cuts and even some of the dance steps, require that the skater be
able to execute the spread-eagle. It should be learned unless physical
inability prevents.
The various dance steps are merely variations of the school figures or
the addition to them of some of these movements. Few of them are at all
difficult, the combinations being all that the skater has to learn. The
waltz, for instance, is simply the three turn, on both edges, forward
and backward, with a partner, who is oftener a help than a hindrance to
the beginner.
CHAPTER 21.
FREE SKATING.
The term free skating is applied to that portion of the programme not
included in the school figures. In all championship contests certain
selections are made from the school figures and then the competitor is
allowed a few minutes in which to illustrate his ability to skate
special figures or elements not before shown by him.
While the skating of school figures is always to place, and the marking
of that skating is dependent upon the ability of the skater to make his
tracings upon the ice conform to correct designs, the free skating is,
as its name implies, entirely independent of conventional form and may
be located at any place upon the ice. The free skating programme is the
most interesting portion of the contest generally and offers the best
test of the skater’s ability to illustrate mastery of the spectacular
side of the sport.
There are no set figures which the skater is expected to demonstrate in
free skating. He has a limit of time, that is all. In that time he may
skate as many different or similar figures as he sees fit, large or
small, intricate or simple. Every resource of his skating knowledge may
be brought into play here. Therefore it is not surprising that this
portion of the skating contests in Europe attracts very large crowds
from long distances. My skating on the stage of the Hippodrome is what
might be called free skating, except that I am skating for the general
public and not for skating judges. If I were skating for judges of
skating I would introduce a few more difficult, if not more spectacular,
skating figures.
Any skater intending to enter a competition should carefully work up a
free skating programme, learn it by heart and be able to skate it
without pause. Often this portion of the contest serves to rate a skater
very high and helps out greatly when the skater has had low marks for
the school figures.
Certain programmes are generally followed in free skating. Starting with
a series of running steps, to get momentum, then a long spiral and a
spectacular jump; toe spins; bold, large figures in the form of an
eight; dance steps, a spectacle figure to time of music; finishing with
a spectacular spin on one foot, crouched down close to the ice with the
other foot curled about the skating foot in front: this makes a
combination which suggests what can be done. The spread-eagle is another
important figure to introduce into free skating programmes.
[Illustration:
EIGHT ON ONE FOOT.
]
[Illustration:
THREE—CHANGE—THREE.
]
[Illustration:
CHANGE OF EDGE—THREE.
]
[Illustration:
DOUBLE THREE—CHANGE—DOUBLE THREE.
]
[Illustration:
CHANGE OF EDGE—DOUBLE THREE.
]
[Illustration:
LOOP—CHANGE—LOOP.
]
[Illustration:
CHANGE OF EDGE—LOOP.
]
[Illustration:
BRACKET—CHANGE—BRACKET.
]
[Illustration:
CHANGE OF EDGE—BRACKET.
]
CHAPTER 22.
PAIR SKATING.
Pair skating implies adaptability. One must not only be an independent
skater but must also watch his partner and meet that partner’s stroke or
change of stroke. Evenness and accuracy in individual skating are more
necessary in pair skating than in solo skating for on that accuracy
depends the manner in which the partner is met after separating strokes.
In many figures the difficulty is enhanced by not only having to execute
the figure but meet the partner at the right spot and the right moment
afterward. It is in some respects a finer art to skate well with a
partner than it is to skate well alone. Where charm and grace are
revealed in individual skating, the addition of a partner who skates
equally well accentuates the grace and beauty of this poetry of motion.
Many other delightful features are characteristic of pair skating. It is
the sociable form of skating, As in dancing, where few are expert enough
to do solo dancing, thousands enjoy dancing with a partner. There is
stimulus to individual achievement in skating with a partner. Weak
figures are aided in their development by encouragement and the helping
hand. Rivalry results and helps toward progress. The mere presence of an
assisting hand will often aid the ambitious skater in the first mastery
of a difficult balance or the sustaining of a long spiral. Individual
skating, when it is highly perfected, tends somewhat toward an
over-abundance of dance steps and toe movements, while pair skating
remains skating at its best—the long, sweeping, exquisitely poised
curves carried over two hundred feet of glistening ice.
For pair skating a certain amount of preliminary progress in individual
skating is necessary. Each skater should be able to do the outside edge
forward circles and at least strike out alone on the backward edges.
Each should be able to execute the threes on both feet, at least
forward. With these fundamental accomplishments it is possible to do
very pretty and very interesting pair skating. Figures which seem not at
all remarkable when skated alone have added interest and beauty when
skated with an equally competent partner. Even the waltz, which is in
some respects the most effective of all pair skating numbers, can be
done by skaters who have not advanced further than this point.
Practise first, skating forward, one behind the other, right and left
hands touching and letting the skater behind swing across the direction
of the skater in front. Thus at the start of the stroke, the skater
behind will be at the right side of the skater at front and at the end
of the stroke will be at the left side. The arms of the skater in front
swing behind and from side to side as the partner crosses. It is most
important that in this as in almost all pair skating figures, the
fingers merely touch; each partner should skate practically an
independent circle. There never should be interference with the balance
of one partner by the other. Only in the waltz is a firm swing of
partners customary and advisable; or in the more difficult change of
edge-three.
When some slight familiarity with this figure is attained then stand
side by side, the forward skater’s left hand in the partner’s right.
Strike out boldly on the right outside edge still touching hands, with
intent to make a big circle. After about one-quarter of the circle has
been skated let go of hands, continue skating the circle alone for
one-half of its distance, which will bring the skater at the back across
the circle being skated by the one in front and to the right side of the
forward skater. Here, as about three-quarters of the full circle is
skated, the forward skater’s right hand will be caught by the partner’s
left hand and the figure finished in that position. This is very simple,
very graceful and very effective. It should be skated in the form of an
eight and each full stroke will then bring the skater back to starting
point. It has the advantage of interfering less with the correct balance
of the skaters and the correct carriage of the arms than the former
figure. The better skater of the two should skate behind. The forward
skater should pay very little attention to the partner, all the matching
of stroke and the catching of hands being attended to by the partner
behind.
THE ELEMENTARY SCHOOL FIGURES
[Illustration:
O.F. I.F.
O.B. I.B.
PLAIN EIGHTS
]
[Illustration:
CHANGES
]
[Illustration:
THREES
]
[Illustration:
DOUBLE-THREES
]
[Illustration:
LOOPS
]
[Illustration:
BRACKETS
]
[Illustration:
ROCKERS
]
[Illustration:
COUNTERS
]
THE ADVANCED SCHOOL-FIGURES
[Illustration]
[Illustration:
“CHARLOTTE” and IRVING BROKAW in pair skating spiral.
]
The circle eights, forward, hands joined with those of the partner and
the stroke swinging the skaters around a great circle where the skater
behind gradually crosses the direction of the skater in front, may be
followed by same stroke backward. It will facilitate progress if the
weaker skater skates the circle eight backward and the more expert of
the partners skates it forward. The better skater will thereby be able
to aid the poorer skater. Start, for instance, facing each other and
with opposite hands touching or clasped. Let the poorer skater, who is
attempting to learn the outside edge circle backward, strike out on the
right foot aided by a vigorous push from the good skater facing forward.
The better skater will do the circle on the left foot forward outside
edge while the poorer skater will do it on the right foot backward
outside edge. When the beginner is able better to skate on the right
foot than the left the foot on which he is most expert should be used in
the first trial, so as to give encouragement and confidence. Every
figure must be learned on both feet and can be so learned if one
persists. Generally it will be found that people ambidextrous in the use
of the hands skate equally well with both feet. Strongly right handed
people will generally skate better with the left foot and should
practise more, therefore, with the right foot.
When reasonable familiarity and security has been obtained skating
backward while the partner is skating forward, then both may skate
backward, first with hands touching throughout the full circle and then
executing the circles by touching hands at the start, skating alone
one-half of the backward circle and then joining the opposite hands at
the close of the stroke. This is similar to the position recommended for
learning the forward outside circles together.
The inside edge backward circles are much more difficult to learn than
the outside backward circles. They are best learned when the poorer
skater skates inside edge circles backward while the better skater makes
the circle on the forward inside edge of the opposite foot and the
partners face each other with both hands touching throughout the circle.
As proficiency is attained, one hand may be removed and merely the
fingers of the partner’s hand touched for assistance in this difficult
balance. It will rarely be found, however, that the inside backward
edges are required to be skated together. But they are so important in
individual skating and so much easier to learn with a partner than
alone, that they should be regularly practised when pair skating.
A beautiful variation of the hands-over-the-head circles is that where
the first circle is skated on the forward outside edge with both hands
touching all through the circle and passing over the forward partner’s
head. Then a swing of the partners occurs, a three on one foot is
executed by both and the eight is completed by another circle skated
backward on the outside edges of the opposite feet. Such a figure is
easier than it appears.
One of the most agreeable and simple figures for pair skating is the
“once-back.” Both partners skate this figure on the same foot and
simultaneously. The gentleman stands to the lady’s left, her hands
behind and to the left touching his. A bold, strong outside edge circle
is started by each skater on the right foot. When one-third the circle
has been skated a three is made and immediately an outside edge backward
stroke on the other foot. Both partners are now going backward on left
outside edges. When two-thirds of the circle has been skated a three on
the left foot is made and the pair strike out on the right outside
forward edges to the spot where the figure was begun. The gentleman’s
arm should slightly support the partner at the three turns.
After the change of edges, starting on outside and then on inside edges
forward, have been mastered, touching hands and with release of hands,
the next figures to introduce are the changes of edge with a three. This
figure is known as the “Q,” and is by no means as difficult as it looks
when skated by two. It is started on the outside edge, both partners
holding hands behind the lady’s back. Then follows a change of edge and
a deeply cut three, during the execution of which the lady is swung
strongly around the man at the finish of the figure.
[Illustration:
“CHARLOTTE” and IRVING BROKAW in correct waltzing position.
]
The most popular and one of the easiest of pair skating figures is the
waltz. There can be no comparison between the delight of waltzing on ice
and waltzing on a ballroom floor. There is an exhilaration and rhythm
about ice waltzing which nothing equals. The skating stroke is long and
swaying and fits the music better than dancing steps can be made to do.
Probably the waltz, owing to its ease of accomplishment, will be the
most stimulating influence toward making ice skating popular among both
men and women. Almost any couple capable of skating the simplest of the
school figures can learn the waltz on ice, whether they dance or not, in
a very few trials.
The steps are the forward and backward outside edges and the threes. One
has the advantage of a partner at the threes who is placed where help in
the balance is most desired. There is an advantage in knowing the change
of edge, but it is often attempted for the first time in this waltz
skating. The only disadvantage in the waltz which women who are not good
skaters experience, is due to the fact that the woman skates backward
most of the time so as to allow her partner to lead. There is more
danger of bad collisions on the ice floor than on the ballroom floor and
a good waltzing partner is even more desirable on the ice than in the
ballroom.
The waltz is started with the woman skating the backward outside edge
while her partner skates the forward outside edge. After a short stroke
a three is made by each on the foot with which the stroke was started,
then a stroke on the outside edge of the opposite foot, another three
and then a third stroke on the same foot with which the figure was
commenced. Here a change of edge can be made and the figure carried out
into the form of an eight. There are innumerable variations of this
simple figure, including undulations or waves made by changing edge at
various places, the figure can be directed into large or small circles
and continued in spirals or circles. It is possible to make of it a very
carefully located figure skated to place or a bold, free figure skated
in field.
Care should be exercised to keep the strokes in time with the music and
to make the strokes of each partner match. There should be no conscious
effort or swinging of the partner. Do not cross the balance foot over
the skating foot as the new stroke is made nor raise the balance foot
high during any of the strokes. After the third stroke of the waltz step
has been made let there be a slight change of edge by the lady; this
will bring her into the right position, slightly across her partner’s
line of direction and place them both in the right position for the new
stroke. Skate rhythmically and sway to the time of the music. Skate
deliberately and with every appearance of enjoying it. Nothing could be
further from good form in ice waltzing than a fast, nervous method
revealing insecurity of balance and pose.
Spirals are splendid figures for pair skating. They may be skated on
outside or inside edges, with the man behind and facing in the same
direction or in front on the opposite foot and facing in the opposite
direction. In this latter pose some of the most daring and spectacular
of skating movements can be executed; they are as easy as they are
striking.
Jumps and pirouettes, done by both partners or by one, are also pair
skating possibilities. One of the most spectacular pair skating jumps
consists of a leap by the lady from the outside forward edge to the
outside backward edge around her partner, or sometimes almost over his
shoulder. This is done at high speed and is very pretty as well as very
daring. This is true skating and at the same time acrobatic skating of
the most difficult character.
CHAPTER 23.
COMPETITIONS AND JUDGING.
There is no greater stimulus to skating interest than a competition in
which numbers of the best skaters enter and in which the judging is
satisfactory. In Europe these competitions are held every winter and
call out entries from many localities. After a series of elimination
contests by which the local champions are determined, there are then
held the national and international championships. These latter are not
held in the same place every year, but are taken about so that different
localities and even different countries, may have the privilege of
seeing the champions skate and of feeling the stimulus to copy their
fine work.
There should be frequent competitions in every locality. Sport clubs
generally are equipped to arrange these events and carry them to
success. Let them invite local champions and good skaters from the
vicinity. From these the winners may be selected to represent the
locality in skating events at a distance or even national championships.
In the United States there would seem to be good opportunity to develop
state champions and from them determine who is the national champion.
The great distances which separate the different parts of your country
seem to be the only drawback to such an interesting series of skating
competitions.
The selection of judges is most important. These should be themselves
good skaters, familiar with the style of skating now generally accepted
all over the world as correct, the principles of which are the subject
of this book. They should be encouragers of skating and do everything in
their power to interest the competitors and the public in the event.
Much of the interest in future contests depends upon the judges. No
sport can long carry the handicap of unfair or biased judging.
A selection from the elementary and advanced school figures is made by
the three or five judges. Every competitor is required to skate these
figures. Then three or five minutes is allowed for free skating. The
standards for judging the free skating are difficulty and variety of the
contents of the programme and its manner of performance as to
arrangement of figures, combinations and contrasts, correct carriage,
etc. The judges make their marks independently and the totals are then
combined. The method of marking both school figures and free skating is
to give the competitor a mark for his performance which may be anywhere
between 0 and 6 and then multiply this mark by the factor which is shown
for the figure skated. The factorial number is stated opposite each of
the school figures in the diagram.
The arrangement is such that no free skating programme, however perfect
or spectacular, can win for the skater more than two-thirds of the marks
obtainable for perfect execution of the school figures. In other words,
mere showiness of skating cannot win over superior performance of
foundation elements. The justice of this arrangement is obvious. The
marks for the school figures and the marks for free skating form a total
which is the rating of the skater in the competition. If there is a tie
the skater having the highest marks in school skating wins.
The basis for judging is first, correct tracing on the ice; second,
position, carriage and movement; third, size of the figure; fourth, the
placing of the figure in triple repetition. The judges’ cards should be
carefully kept and shown afterward on demand.
CHAPTER 24.
SKATING PONDS AND RINKS.
There should be encouragement of skating on the part of every community
by the maintenance of skating ponds and rinks. No better exercise can be
provided for by any city or town. It is almost a universal pastime in
all northern climes and would be even more popular than it is if
facilities for its enjoyment were increased.
Deep lakes and ponds require from three to five inches of ice to be safe
for any considerable crowds. It is better to flood tennis courts or
parade grounds than to wait for continued cold weather to furnish
sufficient ice for the sport. Even a small area, no larger than a couple
of tennis courts, will provide sufficient space for a dozen people
skating the largest of the school figures or for several pairs of
skaters.
In localities where it is not often below 15° F., flooding the surface
is not wise. It is better to spray from the hose after nightfall or just
as the severe cold spell arrives. Bad spots and cracks should be cut
into and a putty made of snow and hot water should be laid in them. Snow
ice, or shell ice, should be broken with the foot or shovel and putty of
snow and water pounded into the holes. When snow falls sweep it off at
once and make it into an embankment at the sides of the rink. Strong sun
melts thin ice much quicker than thick ice. By keeping track of the
weather reports splendid skating can often be obtained by very little
attention to the skating pond. A large watering pot is sometimes a
sufficient implement with which to renew the surface of a badly cut
skating area.
Ponds and small lakes should be swept occasionally by the skaters
themselves if paid help is not available. Drift of dust and dirt spoils
skating and sticks or chips from hockey sticks or old wood often cause
the worst of falls. Sweep the snow toward the lower end of the pond so
that if rain comes there will be a bank to hold the water and form a new
surface of ice. Set off a small portion of the lake for figure skating
if hockey is being played.
Encourage games and races and figure skating competition. Get up
moonlight skating parties on the ice. String lanterns about and have a
costume skating carnival. If the circumstances permit make a gigantic
bonfire and provide hot coffee and other refreshments. In some parts of
northern Europe large parties of young people skate great distances on
the rivers, stopping at various towns for lunch and dinner and returning
by train.
[Illustration]
------------------------------------------------------------------------
[Illustration]
[Illustration:
“Charlotte” on the Hippodrome Ice Pond, Where She Achieved Her Great
American Triumph.
]
[Illustration]
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------------------------------------------------------------------------
TRANSCRIBER’S NOTES
1. Silently corrected typographical errors and variations in spelling.
2. Archaic, non-standard, and uncertain spellings retained as printed.
3. Enclosed italics font in _underscores_.
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