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.