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]