In order to pass, a candidate must obtain 7 marks for (a) and (b) together.
The marks for the compulsory figures and the free skating are arrived at by taking the total marks of the three judges and dividing by three. Judges may use half marks.
This free skating is a charming item in the system of International skating, and might, with great advantage, be introduced into the English branch. It is in itself perfectly fascinating to look at, and from the technical point of view it is quite admirable as a test of knowledge. A good programme will contain dozens of turns and changes of edge, all melting into each other without break or pause. None who have seen the free skating of a fine performer can ever forget or question the brilliance and variety of this three-minute free skating. As likely as not, he will make his entry on to the rink in a spiral edge, and before it has come to rest at the centre, start off on his coruscating performance. Rockers, brackets, counters, and turns succeed each other with bewildering rapidity; and all are performed with the utmost ease and grace. It seems impossible to tell where the motive-power comes from, so smooth and effortless is the travelling; you would have said the skater was wafted by some localised wind, or impelled by some invisible mechanism. But before he arrives at this part of his test, he has to skate his compulsory figures, the list of which is subjoined.
Compulsory Figures
| Marks. | Factor. | Total. | ||
| Rockers | {(a) RfoRK—LboRK | 3 | ||
| {(b) LfoRK—RboRK | 3 | |||
| {(a) RfiRK—LbiRK | 4 | |||
| {(b) LfiRK—RbiRK | 4 | |||
| Counters | {(a) RfoC—LboC | 2 | ||
| {(b) LfoC—RboC | 2 | |||
| {(a) RfiC—LbiC | 3 | |||
| {(b) Lfic—RbiC | 3 | |||
| Three, | {(a) RboTfioT—LbiTfoiT | 3 | ||
| Change Three | {(b) LboTfioT—RbiTfoiT | 3 | ||
| Loop, | {(a) RfoLPfoiLP—LfiLPfioLP | 4 | ||
| {(b) LfoLPfoiLP—RfiLPfioLP | 4 | |||
| Change Loop | {(a) RboLPboiLP—LbiLPbioLP | 5 | ||
| {(b) LboLPboiLP—RbiLPbioLP | 5 | |||
| Bracket, | {(a) RfoBbioB—LfiBboiB | 4 | ||
| Change Bracket | {(b) LfoBbioB—RfiBboiB | 4 | ||
|
R = Right. L = Left. RK = Rocker. C = Counter. LP = Loop. |
B = Bracket. f = Forwards. b = Backwards. o = Outside. i = Inside. |
Now, here is a list of requirements which, when we think of the accuracy demanded by the International style in the matter of tracing, will clearly be too much for any but the very elect. Not only has a figure as difficult as the back-loop 8 to be skated, but it has to be skated with accuracy: the loops must lie approximately one on the top of the other, and the edges that lead into and out of them must be symmetrically laid down. It is this accuracy which makes the International style so hard of achievement in its higher branches; to hope to get through this list of searching figures, it is clear that the balance, the pace, and the power of the skater must be in perfect control. And all the time the appearance of insouciant freedom is there, though all the time that freedom is bound by laws as relentless as those which regulate the tranquillity of the English style. The feats are so difficult that they cannot be executed except in a certain way, just as the ball that spins so carelessly over the tennis net cannot win a short chase off the back wall unless it has been hit in one way and no other.
A further important branch of International skating is the pair-skating, which ranges from the simple waltz-step to the most intricate evolutions. The rhythm and grace of this delightful exhibition is beyond all words; beyond all words, too, is the training and skill which it implies. Every bar of the music which accompanies it has its appropriate movement: it is a perfect song of motion set to the band. But the beauty and swing of it are things quite indescribable; one might as well hope to reproduce the dancing of Pavlova in pen and ink as to convey any sense of it to those who have not seen it. And those who have seen it would very wisely yawn and pass on if they observed a purple paragraph on the subject looming ahead. But thistledown is not so light in a warm west breeze, nor the curves of a swallow’s flight more deliciously unconjecturable than a well-matched pair in this pastime so perfectly preconcerted that it looks entirely unrehearsed. On they drift, gliding, turning, parting to come together again.... Mrs. Gummidge, for the moment, would cease to think of the old ’un, and inquire the price of skates—and knee-pads.
