June 2003
Week of June 1, 2003
Backward Attitude
I have mentioned my quest for a decent backward attitude spin in several previous entries. This is not a new endeavor. A basic attitude spin is usually done forward in an upright position with the free leg held high and curved behind the body in a classic layback pose. Students often learn the attitude spin as a precursor for the layback. A backward attitude spin achieves the same pose; but is, of course, performed as a backspin. Backward laybacks are rarely seen even at the highest levels of competition. Neither the back attitude nor back layback is required to pass any specific test nor is it a standard element for competitive programs. Skaters are never forced to learn these spins. A good spinner might only include these unusual movements in a program as an artistic highlight or a signature skill. However, most competitive skaters prefer to master conventional spins and combinations while devoting the bulk of their training sessions toward increasingly difficult jumps. Since advanced jumps are essentially beyond my grasp, I invest practice time in developing my spinning aptitude, an area where I have always shown promise.
Until recently, I initiated a backward attitude spin with a forward inside three-turn, the standard preparation for a backward scratch spin. Instead of pulling my free leg around in order to subsequently cross and push down generating speed, I kept the leg to the side then attempted to position it in a layback extension. I enjoyed some success with this method and achieved a few acceptable spins. However, the spin almost always rode the toe pick, which impeded rotation.
In the interest of efficiency, I often combine spins. This not only allows me to work more than one spin at a time, I also can concentrate on transitions. One of my favorites is the backward camel. Instead of simply edging out of the spin or winding up with a typical backward scratch finish, I decided to substitute a back attitude at the end. This method resulted in my greatest success with the unusual attitude variation. My back camel is strong, whether I jump into it or approach it from a three-turn. Rising out of the parallel position, the free leg extends to the side. Rather than continuing to a traditional ending, I sweep the leg into an attitude pose. This sweeping action, coupled with pre-existing rotation, positions my weight properly over the sweet spot allowing several more smooth revolutions.
I have become very confident with this spin and have added it to my fastest flying camels, creating an attractive combination. When feeling particularly brave, I try to lean back a little. Someday my novel attitude spin will become a rare and precious backward layback.
Week of June 8, 2003
Mirror Dance
Since my unfortunate introduction to the Hickory Hoedown, I have been working on integrating the fundamental left forward outside three-turn into the pattern of the dance. I had to slow my pace and still falter occasionally. However, the clumsy movement is becoming more natural. Although I am steadily learning this dance, I must skate considerably below tempo in order to incorporate the turn properly. If I become too confident and perform the preceeding steps as required, I will inevitably carry more speed and power than I can comfortably convert into a counterclockwise turn.
While dissatisfied with my general lack of skill symmetry, I have not been deterred. I spend a significant chunk of practice time on the problematic area of this dance as well as the awkward mohawk turns in the Fiesta Tango and Swing Dance. I am happy to report my Swing Dance has improved tremendously, and I rarely hesitate before the required mohawk. I have become quite competent with this pattern and can perform it at a respectable clip. My mohawk avoidance rate has also decreased in the Fiesta Tango, although I am still skating a little slower than expected.
My coach unlocked the secret of unnatural mohawks in a recent lesson. Since that demonstration, understanding has illuminated the darkness of my clockwise coordination center. Cynthia showed me how to keep my hips square while facing the direction of travel. Before opening the hips to turn, she brings the free foot next to the skating foot, heel to mid-blade. As she places the backward edge on ice, the hips open in unison with the turning action. This controls rotation and permits the skater to dictate the precise moment when the change of direction will occur. If the body begins to rotate prematurely, the mohawk occurs out of necessity rather than design. If a tense unwilling lower abdomen blocks rotation, the skater must force the turn. Both of these ungainly situations preclude turning with speed or rhythm. Applying Cynthia’s simple method to my dances has improved the quality of the turns and created a greater sense of confidence.
Just for a giggle, I experimented with the Hickory Hoedown as a mirror reverse pattern. I skated the exact opposite of this dance around the rink clockwise. After one length of the arena, I stepped and glided as though the pattern were intended to flow this way. Originally, I decided to try this variation to test the inherent awkwardness of the three-turn. Is a right forward outside three-turn also difficult to execute immediately following a forward inside edge? The first attempt felt strange, but I attribute that to mentally transposing the pattern. Subsequent trials proceeded more easily. I concluded the turn is unexpected or at least unfamiliar (for me personally) in the context of the Hickory step sequence. As anticipated, performing it in my natural direction improved my results.
I have never seen anyone ice dancing in the opposite direction. Knowledgeable participants would certainly recognize by mirrored Hickory Hoedown, but would take a moment to ponder how it is different. Oh, she is skating it clockwise.
Week of June 15, 2003
Bronze Trio
This week I experienced what I will loosely call a “professional disappointment”. It was nothing devastating, just a little upsetting. I felt so perturbed, that I did not especially want to make the long commute to the rink. However, feeling sorry for myself would not change anything, and ice was available. So, I got in my car and drove to the arena. I am certainly glad I got off my disenchanted ass. Few people appeared for the session and those who came only skated a short time before leaving.
I worked every dance pattern and rarely had to swerve to avoid another skater. It was one of the most productive practices I have enjoyed in weeks. My coach had a cancellation and I gladly filled the available timeslot; although, I had just taken a lesson the previous day. Under the circumstances, I deserved a second lesson. The season is almost over, and soon summer camps will consume almost all desirable ice time. With virtually no one in attendance, I skated happily around the rink learning new drills to improve my backward progressives and drop three-turns.
During this week’s two lessons, I learned the last of the bronze dances: the Ten Fox and the Willow Waltz. The other dance in this set is the Hickory Hoedown, which received encouraging comments from my coach. I have improved the awkward counterclockwise three-turn and am skating the pattern smoothly. The Ten Fox is an interesting little dance that requires an end pattern of forward progressives to be skated with the body turned outside the circle, which is opposite the norm for progressives and crossovers. An outside-to-outside mohawk completes the end pattern. Since I have worked on the juvenile eight step mohawk for over two years, this turn is familiar and reasonably comfortable. My favorite Ten Fox step is a left backward outside swing roll to a right forward inside edge. My coach makes this movement look incredibly beautiful. Of course, she can transform any basic exercise into a thing of beauty.
Dedicating my concentration to these patterns cleared my mind wonderfully. Dance requires complete concentration. I can fool around with freestyle experimenting with spin combinations and jump sequences then stand at the boards to contemplate my cleverness. However, learning a dance demands an almost meditative state. The body must achieve ideal position to hold each edge and step correctly to the next. This precise exercise leaves no room for mental clutter. One does not complete a couple of dance steps then take a break. Productive dance practice circles the rink numerous times. I often lose count of how many times I have repeated a pattern. By the end of the two-hour session, I had memorized both new dances and could skate them competently if not at full speed. I left the rink satisfied and calm. Skating is the best therapy.
Week of June 22, 2003
Headphones and Inspiration
A fellow adult ice dancer, who I have known for a few years but do not generally see on a weekly basis, offered to make a copy of a dance music tape for me. I gladly accepted. This week she brought the tape to the rink along with a small cassette player and carrying case. I have never skated with headphones, so she warned me to stand next to the boards for a few minutes to adjust to the music playing in my ears instead of the usually rink dissonance. If a skater is not used to wearing a headset, it can disturb her equilibrium.
I warmed up thoroughly before attempting to use the earphones. I rarely skate to music, usually only in my lesson. I almost dreaded trying to keep up with the tempo, as it would surely provide a rude awakening. As soon as the familiar Dutch Waltz melody sounded in my private listening world, my body began to move. Something magical happened. I knew the steps well enough and could skate them with sufficient power that I was ready to interpret this dance. I continued with the Canasta Tango and Rhythm Blues. I doubt any of the patterns kept perfect time to the beat, but I distinctly enjoyed the attempt.
After finishing, my friend approached and told me my dances had changed. I was no longer just skating; I was actually dancing. My knees bent more deeply and softly, my carriage was more attractive, and I flowed around the rink with a serene expression on my face. Unemotional execution of movement had been transformed into artistic presentation with the help of her miniature cassette deck and headphones. She was thrilled to have contributed to my progress.
I thanked her for the tape and allowing me to borrow her player. She asked me to keep the cassette player. She had another and no longer needed this secondary one. My friend told me that I had unknowingly inspired her, and she wanted to do something nice for me. Although she has seen plenty of weight loss success stories on infomercials, I am the only person she actually knows who managed to lose a significant amount of weight. She realized weight loss is possible for real people and is adopting a program for herself. Since I see myself everyday, I cannot fully appreciate the seemingly dramatic change in my appearance. Although I do not weigh myself, I estimate my total weight loss to be about forty pounds.
The friendships I have built through skating are precious. We are all linked together by a common love for a very frustrating yet rewarding sport. We touch each other’s lives in ways were can never completely understand. This week one friend told me how my personal success had motivated her. She shared her music with me, and for the first time, I could hear the beat. And I skated.
Friday, June 27, 2003
All Good Things…
Another skating season has ended. The final session began wonderfully. I skated alone for about thirty minutes before friendly faces began to appear. Of course, unfamiliar folk also arrived and crowded the ice. A session that I thought would be lovely, meriting an extra hour of skating, deteriorated into chaos, partially due to the rampant mismanagement at this facility. I continued to skate in the mob, knowing this might be typical or even better than, the impending summer sessions.
In a way, I am glad the session turned to crap because I did not leave depressed. Although I will skate over the summer months, I do not intend to return in the fall. My husband’s health problems caused me to reprioritize. It is time for me to stop screwing around and plan for the future. I have been working part time and decided to return to a full time professional schedule in the fall. This will mean less opportunity for skating but more money in our household and a different sense of fulfillment in my personal life. I will certainly miss the regular practice that has occupied my abundant free time, but skating cannot continue to be a primary focus of my existence. Of course, I face this change with mixed emotions, but have no doubt that I have made the correct choice.
A new rink is opening this September nearer to my home, which will hopefully offer a couple of accommodating sessions per week. I could not have continued to commute to the rinks where I have skated over the last few years because they are simply too far away. However, this new place will allow me to maintain my participation in the sport of ice skating. I will have to find another coach, but that is not an immediate paramount concern. First, I must settle into a new routine at an unfamiliar rink and mesh its timetable with mine.
In the meanwhile, I plan to drive to my old rink at least once per week over the summer. I also intend to continue with three or more weekly aerobics classes. Outdoor roller skating, including distance skating on quads and artistic inline skating, will complete my summer exercise program. I look forward to the changes in my life and incorporating skating into my new schedule. While all good things must come to an end, the universe never closes a door without opening a window.
Note added in proof:
Although I will be skating less in the fall, I intend to continue writing this journal and maintaining this web site.
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