- reference

Just a shout out to some nice technical articles at Lambco.

- style

How do you learn new elements and still develop a style of your own? Surely it's easiest to learn by watching another skater as she performs a move, ask your coach to teach you the technical execution, and then strive to copy them. When most of the skaters follow this course it leads to a "fashion," whether that be a Bielman or a butt-up spin. (Sidenote: I never saw butt-up until a couple years ago and now half the gals try it. You know what? It look farcical: it turns you into a paper clip. Please don't do this move).

Mimicking an elite move is different though from replicating a style. Physics fairly limits the full set of possible elements, so mirroring an elite move isn't necessarily unoriginal. When you try to imitate somebody else's style however you come off as "phony" -- you need to express your own personal style.

To some extent, style is what you tack on top of a foundational move. Additionally though you reflect your style in the type of music you choose, the programs you like to skate, the fluidity of your movements, the projection of your attitude, and your treatment of fellow skaters.

I've seen skaters express a full range of personalities using their arms, their footwork, hand embellishments, their carriage, facial expressions, costume, and attitude -- they can be unselfish, silly, eager, rustic, coy, daring, decorous, droll, demure, mirthful, virtuous, stimulating, wise, elegant, and winsome (to name just a few traits).

Your skating style is more a reflection of your personality combined with methods that you've developed for how to express it.

You should strive to make each move your own. Watch for variety and allow novelty to impress you when you happen across something new to your eyes. The goal however is not to mirror the elites' style: it's to be graceful, inventive, and to express your own spirit.

(repost)

- bouncy

Yesterday I floated by the public session at the Westfield UTC rink in San Diego (yeah a rink mezzanined below a mall's food court) and sure enough amongst the weekend noobs hugging the boards an actual nine year old Skater with a Coach on ice was polishing her double Axel. Although still somewhat inconsistent her talents were immediately obvious: she had that magical combination of bubbly personality with tight center of gravity control. After ten minutes of Axel she switched to practicing her flying camel.

I smiled to myself while thinking Ah someday a national competitor. Yet as I watched her skate her set-ups and non jumps with their implied stylistic flourishes I also recognized her largest challenge. And it's not just hers. . . this seems to be the toughest sub-component for nearly all competing skaters. Managing the vertical bounce.

Grace derives from many components, most of them inherited traits of demeanor and personality. Yet a good solid thirty percent or so of gracefulness is actually a physical spoof -- how you manifest your awareness of carriage. I recall a certain children's story where the aspiring princess walks about balancing a book on her head; it's sort of like this. In skating however the dynamics of movement require a more complicated management of "flow."

Novice skaters manage this in one physical dimension: sideways. They work on consistent shudder control. More advanced skaters add the second physical dimension, accelerative smoothness: they strive for "seamlessness." Since a sheet of ice is only two dimensional one would think that handling velocity and shimmy should be sufficient. Counterintuitively though the flatness of the ice tends to enhance the contrast to the third dimension you travel, your vertical movements.

I've seen skaters manage this vertical 3rd dimension to various ends. Some treat it as irrelevant, as they randomly bounce around the rink. Others track it on the small scale, thinking in terms of softness and transitions. Some handle it dogmatically, keeping their center exactly at a fixed height while somewhat boringly executing a flattened pattern.

The third dimension should have a studied dynamism, a path that is purposeful and yet sublime. It should be like the movements of a swans neck. The third dimension should be gently managed as its own story.

This is how you separate the competitors from the pros.