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.
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.