Just before the bracket is made the balance foot is brought toward, close to and past the skating foot and slightly turned outward. This bracket is made on the extreme back part of the blade of the skate. After the bracket the balance foot is carried behind, across the print and the curve finished as in the outside edge forward circle. Strong bending of the skating knee at the time of the inside backward bracket and straightening up after the bracket will assist in the execution of this figure.
The inside forward bracket is started as for the inside circle, with attention to the flattening of the shoulders in line with the circle; the balance shoulder must be twisted forward. The balance foot is carried behind until just before the bracket, then it is carried past and close to the skating foot. This bracket is made on the forward part of the blade and the skating knee should be well bent during its execution. After the bracket the balance foot is carried in front for a little distance then is slowly moved past the skating foot with the knee turned out in the correct position for the outside backward circle. This is the easiest of the brackets and may be practised first if desired. It is so placed in some of the competitions.
The complementary figure to the above is the outside backward bracket. This is the most difficult of the brackets. Start as for the outside backward circle, but very soon bring the balance foot slightly past the skating foot and flatten the shoulders toward the circle, not away from it; in some respects the most difficult of school figure positions. This bracket is made on the extreme backward part of the blade. The balance foot is kept close to the skating foot during the bracket. After it, bend the skating knee momentarily so as to gain power when the body is straightened up for the inside forward portion of the figure. The balance foot should be carried behind and across the print after the bracket for about one-half of the curve, then brought forward and across the print in the correct position for the inside forward circle.
In all brackets the carriage of the arms is very important. They should not be permitted to swing the body off the correct balance. As a general rule the arm on the side of the body which is leading should be extended well in front and in direct line with the circle, the other arm being held not far from the body. After the bracket the other arm should be extended over the print. Brackets are one of the few school figures which may be practised with a partner to mutual benefit.
CHAPTER 16.
Rockers; Outside Forward and Outside Backward.
The rockers are very hard figures to learn, but they are very beautiful and very delightful. Perhaps the big soaring rockers are the most fascinating of all skating figures. Many of the champions of Europe use them as opening figures in their competitions where judges of skating are marking points. I select figures less technical for the purpose of interesting a general audience.
The rocker is a comparatively new turn which has only within recent years been introduced into school skating. Northern Europe originated it. Even to-day there are strong differences of opinion as to the execution of some of the rockers. Probably these differences are based on physical preferences of skaters.
Rockers are natural turns—that is, they are rotations of the body in the direction which it is inclined to take, like threes. But the same edge is employed after as before the rocker, as right outside forward to right outside backward. Flexibility of the hip joints and courage to take a strong if apparently dangerous change of position are the chief requirements to the mastery of the rockers. The body and shoulders are often required to maintain one position while the skating leg from the hip down is being twisted into a different position in readiness for the new curve which finishes the figure. Again, as in brackets, the aid of a partner is most useful in learning the rockers. But the assistance should be merely a touch of the fingers to give confidence at the critical moment, not a firm support or guidance. To know that after one of these difficult turns there is a partner’s hand waiting often greatly stimulates courage.
Jerkiness and noticeable pause in the execution of the figures are bad form. The momentum should be continuous and even. Unless it is, the figure will be badly done and the balance interfered with. The whole print of the complete figure should be in the mind of the skater before he starts. Room for its execution should be found and even a clear idea of where the prints are to be made on the ice should be in mind. Regard rockers as a series of closely related movements forming a continuous whole and the work will be easier and more perfect.