VARIOUS KINDS OF STROKES
THE BACK STROKE
It may seem odd to the beginner (and to a great many proficient swimmers, for that matter) that in teaching swimming by the Dalton system, I always begin by having pupils swim first on the back. Most instructors do just the reverse; but during nineteen years of a successful career in teaching, the proficiency of the graduated pupil has justified the method. There are a number of very good reasons why learners should begin by first swimming on the back. More especially is this true of nervous or timid pupils.
In the first place, the body floats more naturally and much easier on the back. In the breast stroke, which is the first one taught by most instructors, the head has to be kept out of the water and must be supported as dead weight by the rest of the body, as explained later on. On the contrary, in the back stroke, or swimming on the back, the head rests on the water and needs no support from any other member of the body.
For the same reason the face, being up and away from the water, the beginner encounters no difficulty in breathing, and there is no danger of the water entering the mouth, which is often the cause of much annoyance to new pupils.
Then, again, while on the back, as the face is turned upward, the beginner, especially in the case of a nervous person, gains confidence from the very fact that he is not constantly looking into the water. And also, in contradistinction to all other strokes in swimming, the arms and legs move together—both arms and legs performing practically the same movements at the same time.
Thus the pupil, realizing the comparative easiness and the absence of any difficulty in, having mastered this stroke, is imbued with such confidence that it becomes simply a matter of time and practise to acquire all other forms of swimming that he may wish to learn.
FIGURE 1
The first thing I do with a beginner, after he or she has donned a bathing suit (a suit in one piece is preferable, as it will not interfere with breathing) is to get the pupil to lie on the back, at full length on the marble, with the heels together, the toes out, the hands at the side of the body. Placing myself back of the pupil's head, the hands are drawn, with the fingers bent, up along the body till they touch the shoulders (Fig. 1), the elbows being well turned out. Then the arms are straightened out horizontally from the shoulder, the palms of the hand down (Fig. 2). Then the arms, being rigid, are brought down sharply to the side of the body (Fig. 3). These movements should be repeated several times until the pupil gets accustomed to them.
FIGURE 2
Next the leg movements are shown. The heels are drawn up toward the body as far as possible with the knees well turned out (Fig. 4); the pupil then kicks the legs apart as far as possible, the toes being pointed out straight (Fig. 5). Next the pupil brings the legs sharply together until the heels touch, the toes being turned out (Fig. 6). After these movements have been repeated several times the pupil can try the arm and leg movements together. The arms and legs are drawn up together as in Figs. 1 and 4, then the pupil straightens out the arms and legs, as in Figs. 2 and 5, finishing the stroke by bringing the arms and legs sharply together, as in Figs. 3 and 6.
FIGURE 3
When these movements have been mastered by the pupil, I take him or her into the water, waist deep, putting one hand under the back, the other under the chin, forcing the pupil backward until the ears are under the water, then bringing the pupil's hands to the sides, and slowly starting the movements. After the arm movements are mastered, I take up the leg movements, care being taken that the knees do not come out of the water.
FIGURE 4
To teach pupils how to regain their feet, I show them how to bend forward from the waist until the face is under water, then the pupil will find his or her feet slowly sinking; when the toes touch the bottom the head can be raised out of the water.
To accustom pupils to the water I teach them to open the eyes and mouth under water. This is much simpler than non-swimmers imagine. Care is taken not to open the eyes too wide. At the first few attempts the pupil will feel amazed, on opening the eyes the first time, at the distance of the vision under water. This is a very good thing to know, and helps beginners to overcome fear of water.
FIGURE 5
To teach pupils to open the mouth under water I place a rubber ring six inches from the surface and have the pupil bring it to the surface with the teeth. By being careful not to attempt to breathe while under water, the mouth may be opened to any extent without the least danger of swallowing water.
It is wonderful the amount of confidence instilled in a novice on realizing his ability to open the eyes and keep the mouth open under water.
FIGURE 6
A preserver tied around the waist obviates the necessity of an instructor holding the pupil, and he can, therefore, better direct the movements, so that the pupil, while being held up by a preserver, makes headway, care being taken to do the movements slowly and together. Then the pupil is shown how to turn around. The knees should be drawn up, as in Fig. 4, and then to turn to the left, use the right arm only, the left arm should be held in a straight line with the shoulder; then continue to use the three arm movements with the left arm, until one has turned completely around in the water. To turn the other way, use the other arm.
FIGURE 7
Next the pupil is shown how to float. The knees are drawn up and turned out, the arms extended back beyond the head, as in Fig. 7; the hands, about six inches apart, are kept under water. Deep breaths should be drawn through the mouth and forced into the lungs. The pupil will notice that, at each inflation of the lungs, the body will rise in the water, and sink correspondingly when the air is expelled. This practise shows how buoyant the body is. The more limp one lies, the more buoyant the body becomes.
Since I started the Dalton Swimming School twelve years ago, at 23 West 44th Street, New York City, I have always shown my method of teaching swimming scientifically, which is exactly the reverse of the methods of other instructors; that is, teaching pupils how to swim on their backs first, before teaching them the breast stroke, which I contend is the hardest stroke of all, when done correctly. Another innovation of mine is the use of the Dalton nose-clip, a clip that pinches the nostrils tightly together, keeping the water out of the nose and forcing the pupil to breathe through the mouth, which is the correct way of breathing while swimming. The more air one gets into the lungs the lighter one is in the water, making swimming easier. That is the reason so many would-be swimmers, simply because they try to breathe through the nose, get winded very quickly. The main thing about breathing in all the strokes is to keep the mouth open all the time. With the mouth open, air can come in and out of its own accord and the pupil does not have to worry about the breathing.
THE DALTON STROKE
FIGURE 8
In my next lessons I teach pupils my own stroke—that is, the Dalton stroke. This is employed when on the back, only instead of going head-first through the water, as in the back stroke, the pupil goes feet first. The legs are held out, perfectly straight, then one leg is dropt down in the water, the upper half of leg from knee to thigh remaining stationary (Fig. 8). Then, as that leg is drawn back to its original position, the other leg is brought down in precisely the same manner, the dropping of both legs alternately in much the same way as when walking. To do this effectively, pressure must be applied to the positive stroke; that is to say, while the foot is being drawn down. The reverse movement, or straightening of the leg, must be made gently. The knees should be brought to the surface of the water each time; this is in a slow but restful movement. The arm movements consist of having arms straight alongside the body, the palms of the hands being turned out, the thumbs down, making small circles with the hands and wrists, as in Fig. 8, propelling one's self ahead with small scoops. It is hard at first to combine the two arm and leg movements, but practise makes perfect; and after the movements are accomplished in unison the pupil will find this a very easy and restful stroke.
THE BACK AND DALTON STROKE
In teaching this stroke I revise both the back and the Dalton stroke with the life-preserver on. After the pupil has covered a distance with the back stroke, instead of making a turn to retrace, I show the pupil how to revert to the Dalton stroke, thus avoiding the necessity of turning around. When changing from the back stroke to the Dalton stroke the legs should be brought together and the hands put straight to the sides of the body; then either stroke can be continued. The next move is to let a little air out of the life-preserver. The pupil then begins again on the same strokes. After several trips up and down the pool more air is let out, with more trips up and down the pool, and so on until there is no air left in the preserver.
So slight will be the difference that the pupil will hardly notice it. As long as the back is well hollowed, the upper part of the body will float, but directly the body is doubled up the head and feet begin to sink, so that the teacher must follow close after the pupil to make the pupil keep the back well hollowed and the chest expanded. Beginners will be surprized at the ease with which back strokes propel the body through the water without any undue effort. To one who has never been used to swimming without support it gives a wonderful feeling of exhilaration to propel one's self through the water and then, when tired, to slowly bring the arms back under water until the thumbs come together behind the head and the knees are drawn up to the floating position, while the pupil inhales deep breaths through the mouth, thereby sustaining the body well up in the water.
THE BREAST STROKE
FIGURE 9
The breast stroke has been handed down from an early Roman period. It is the oldest of all strokes, but it is the hardest to learn properly, as the head has to be supported clear of the water. Any part of the body when held above water is dead weight, and as the head is all bone, muscle and brains, it is the heaviest part. This is why, in using the breast stroke, it is much harder to keep the mouth and nostrils above water. The breast stroke is so universally identified with swimming that every beginner wants to learn it. It is only on this account that I teach the breast stroke.
FIGURE 10
FIGURE 11
In order to make this stroke clear to beginners I have divided it into four movements each, for the arms and legs. It is a good plan to practise these movements first out of the water. Get the pupil to stand behind, or by the side of, the instructor, and so follow the arm movements. Let him start by having the palms of the hands together, just below the chin, the elbows dropt down and within a few inches of each other, as in Fig. 9. In the first movement shoot the arms straight ahead, holding the hands together, as in Fig. 10. In the next movement turn the hands till the palms are turned slightly out, with the thumbs touching and pointed downward. In the third movement bring the straightened out arms around in line with the shoulders, as in Fig. 11. In the fourth movement bring the hands together till the palms touch, the elbows being dropt, and the wrists touching the chest, as in Fig. 9.
FIGURE 12
When the pupil has become accustomed to using the arms, the leg movements are taught, each leg separately. The heels are brought together and the toes turned out. Then the left leg is drawn up to the body, the knee turned out, as in Fig. 9. This leg movement is simultaneous with the arm movement, as in Fig. 9. Then the leg is kicked straight out sideways from the body and brought smartly back alongside the other leg, as in Fig. 12. These two movements of the leg are performed while making the one movement of the arm, as in Fig. 10. The arm movements from Fig. 10 to Fig. 11 are accomplished while the legs are stationary, as in Fig. 11. Then the left knee is drawn up, as in Fig. 9, while the hands are brought back to the chest, as in the same figure.
After a little practise with the left leg, the same movements are practised with the other leg and arms. It is hard to practise the arms and both legs together out of water, as in order to do so one has to lie on a piano stool or bench. I discourage this method because the pressure on the abdomen is injurious. After some practise of these movements out of water, we then take the pupil into the water. When the beginner enters the water, it is best for him to be held in a horizontal position by an overhead trolley attached to a belt strapped around the waist, or else held up in the water by the instructor, as per illustration. The four arm movements are tried first, care being taken that the hands do not come out of the water. At the same time they should be kept as near the surface as possible without splashing, care being taken that, on the last movement, the elbows are dropt and the hands kept up in the water. This movement keeps the head up in the water. Should the hands be dropt, the head will sink. The pupil should keep his mouth open all the time, not worrying whether the water enters or not. By this means breathing becomes natural.
THE BREAST STROKE—TEACHING WITH TROLLEY AND INSTRUCTOR
The leg movements are then taken up. The best way is for the pupil, with the left hand, to hold onto the rail that lines the pool and to use the palm of the right hand lower down in the water, against the side of the pool, as in Fig. 13, thereby holding the body and legs up in the water, if the back is arched. The legs should be drawn up, the knees and toes well turned out, and the legs then kicked straight out and brought smartly together. This combined movement forces a wedge of water to be shot behind the legs, forcing the body ahead. The legs are kept stationary for a moment and then drawn up to the starting position.
FIGURE 14
FIGURE 13—THE LEG MOVEMENT
FIGURE 15
After practising these movements it is a good plan for the pupil to throw himself gently on the water with his face submerged, and so do the leg movements alone, the arms being held straight in front a couple of inches below the surface. As long as the head is under water the legs will not sink. It is surprizing the confidence one gets in doing these leg movements with the face under water. It takes away all fear, especially if the eyes are kept open. When the pupil's breath gives out, he or she should bend backward by hollowing the back, bringing the arms around in line with the shoulders, when the feet will slowly sink and the pupil can easily regain a standing position.
FIGURE 16
When the arm and leg movements are to be done together, the pupil has to concentrate his mind on the four movements. To start, one must have the legs straight behind, keeping them motionless till the pupil gets to fourth movement of the arm stroke, when the arms and legs should be the same as in Fig. 14. On the first and the second movements, which form a continuous movement for the legs, shoot the arms straight out and hold them there until the straightened out legs come together, as in Fig. 15. Then the legs should be kept rigid, while the hands are turned and the arms brought around in a straight line with the shoulders, as in Fig. 16. Finish the stroke by drawing the legs up and the hands in to the starting position, as in Fig. 14. These combined movements will be difficult at first, as the movements do not go together, as in the back stroke.
When the rhythm begins to assert itself, the best way to practise is with the head under water. Then the pupil can think of his arm and leg movements without the bother and exertion of holding his head above water.
CHANGING FROM BACK TO BREAST STROKE
The change from back to breast or vice versa is simple if done slowly. Let us assume the pupil while swimming is using the breast stroke and wishes to turn over. When in position as in Fig. 15, the pupil should roll over on the left side, lifting the right arm out of the water; he will then be in the second back stroke position, ready to continue.
To turn from the back to the breast the movement is a little quicker, to prevent the legs sinking too low. From position on the back as in Fig. 5, roll over on the right side, lifting the left arm out of the water so that the hands meet straight in front. Then quickly snap the legs straight together and bring the arms around in line with the shoulders and resume your regular breast stroke.
These turns should be practised by rolling on either side. The pupil may also bend forward when on the back, as in standing up, and continue with the breast stroke.
LOUIS C. DALTON