This blog is a collection of my thoughts and experiences from ten years as a skate dad. For those of you sitting with your jackets in the bleachers, first I salute you, but second I want to give you an honest sense of what you are in for and what to expect. Ice skating is both a trying and a glorious sport, but it doesn't happen without the special group of folks who cheer, support, and console the participants. This is dedicated to you.
Sunday, April 13, 2014
How do you go about composing your program's elements so that you can skate with style? Which of your moves are more conducive to expressing your style? A pancake spin is a pancake spin is a pancake spin: since the posture determines the position of your legs and one arm (unless you can somehow hold the position without grabbing an ankle) this leaves only one limb free for embellishments, and how can you be gracefully stylish from a pancake? Well I suppose you can be a tad bit expressive, see for example this video.
Also some transitions clearly allow for greater styleability: a move that is difficult to enter or that requires rapid footwork and body realignment leaves little maneuvering room for expression. How you finish an element also determines your freedom to play: exiting off-balance or with too little velocity will limit your options.
Where the styling happens isn't necessarily obvious from first inspection since it's hidden by coaching pedagogy: nobody actually learns their moves focused on style and then working outwards; this would be an inside out way to learn. You tend to build elements from the "committed" limbs, and combinations of elements by the postural flow or velocity required to make the transitions.
Style proclaims its gracefulness in negative space: you express it beyond the limb postures required with the motions that aren't already spoken for. Style is that part of you that isn't otherwise already committed.
Skating for style therefore requires you to plan a program differently. Since you express style with your free limbs this requires that you use more "open" moves, with as much attention paid to exits and transitions as to the elements themselves.