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)
]