Subject: Competitive Figure Skating FAQ: Technical Elements
Date: 16 Mar 1996 17:12:27 -0500
Summary: This article is part of the FAQ list for (amateur) competitive
.figure skating.  This section covers technical elements of figure
.skating, such as jumps and spins.



                      COMPETITIVE FIGURE SKATING FAQ:
                      ===============================

                            TECHNICAL ELEMENTS
                            ==================

This article is part of the FAQ list for (amateur) competitive figure
skating.  This section covers technical elements of figure skating, such
as jumps and spins.

This FAQ list is posted monthly to rec.sport.skating.ice.figure.  Send
corrections and suggestions to loosemore-sandra@cs.yale.edu.

This file is available in both plain-text and HTML versions.  If you're
looking at the HTML version (using a browser such as NCSA Mosaic), you
can click on items in the table of contents to get to the appropriate
section.

You can get to the HTML version from the Figure Skating WWW Page at URL:

http://www.cs.yale.edu/homes/sjl/skate.html

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Table of Contents

  * [1] What are the different jumps?  How did they get such funny names?
  * [2] What about spins and other moves?
  * [3] What are the required elements for the short program?
  * [4] What technical elements should I expect to see in a medal-winning
    free-skating program?
  * [5] What's the difference between ice dancing and pair skating?
  * [6] The scoring in ice dancing often seem totally random to me.  What
    are judges really looking for in ice dancing?
  * [7] I've heard the TV commentators talking about the skaters' speed.
    What is this all about?
  * [8]Why do men so rarely do layback spins?

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[1] What are the different jumps?  How did they get such funny names?

    The thing that distinguishes the different jumps is the takeoff.
    Most right-handed skaters jump in a counterclockwise direction and
    land all the jumps on a right back outside edge.  I'll describe all
    the jumps in this sense to minimize confusion.

    These are the jumps you see in competition most often, in approximate
    order from least to most difficult:

    toe loop
        the approach is on a right back outside edge.  The skater then
        reaches back with the left foot and jabs the toe pick into the
        ice to provide assistance for the jump at takeoff.  Often done as
        the second jump of a combination, or as a solo jump after an
        inside three turn.  If the jump is approached from an outside
        three turn and step instead, it's sometimes called a "toe
        walley"; technically the toe walley is supposed to be done from
        an inside edge, but otherwise the two jumps are considered
        equivalent.  (The toe loop is the same jump that roller skaters
        call the "mapes", and that is called a "cherry flip" in some
        parts of the world.)
    salchow
        the takeoff is from a left back inside edge; the typical approach
        is from a three turn.  The right leg swings to the front with a
        scooping motion just prior to takeoff to assist the rotation.
        The jump is named after Ulrich Salchow, who dominated skating in
        the early 1900's.
    loop
        this is also an edge jump, with takeoff from a right back outside
        edge.  Usually skaters approach this jump by skating backwards on
        two feet, with the left foot crossed in front of the right.
        Unlike the salchow, there's no swinging of the free leg into the
        jump; the skater simply springs upward in a cross-legged
        position.  (In Europe, this is also known as a Rittberger jump,
        after its inventor Werner Rittberger.)
    flip
        this is a toe-assisted jump from the left back inside edge and
        right toe pick.  Like the salchow, the usual approach is a three
        turn.  (This jump is sometimes called a "toe salchow" in Europe.)
    lutz
        this is a toe-assisted jump from the left back OUTSIDE edge and
        right toe pick; this means that the approach curve has the
        opposite "direction" than the landing curve.  The most typical
        approach for this jump is a long, shallow edge diagonally across
        the rink.  Named after Alois Lutz.
    axel
        this is the only common jump with a forward takeoff, from a left
        front outside edge.  Because of this, a single jump is actually
        1.5 rotations.  Named after Axel Paulsen, who invented it.

    You also sometimes see these jumps, usually only as single jumps:

    walley
        takeoff from a right back inside edge.  You sometimes see a
        skater do two or three of them in a row, shifting from the right
        back outside landing edge to an inside edge to begin the next
        jump.
    half loop
        this is a jump with a takeoff like the loop jump, but that is
        landed on a left back inside edge.  This is a full-revolution
        jump in spite of the name.  It's mainly used as a linking element
        with a salchow in jump combinations.
    one-foot axel
        this is a jump with a takeoff like an axel, but that is landed on
        a left back inside edge like the half loop.  (Roller skaters
        sometimes call this jump a "Colledge", after 1937 world champion
        Cecilia Colledge.)
    inside axel
        another forward-takeoff jump, this time from a right front inside
        edge to a normal landing on the right back outside edge.  It's
        usually approached from a three turn on the right foot, and you
        might mistake this jump for a double loop if you don't watch
        carefully.  (Roller skaters call this one a "Boeckl", after
        1925-28 world champion Willy Boeckl.)
    split jump
        the takeoff is the same as a flip, and the jump is landed facing
        forwards on the left toe pick and right inside edge.  If the
        skater does a full rotation and lands backwards in the usual way,
        the jump is called a "split flip".  You can also do a split jump
        from a lutz takeoff.  Another variation is the "stag jump", with
        the left leg tucked up instead of extended.

    And, sometimes these terms are used to refer to jumps with problems:

    waxel
        a failed axel attempt, when the skater slips off the forward
        takeoff edge.  A "wowcow" is a similarly botched salchow.
    toe axel
        a jump that is supposed to be a double toe loop, but where the
        skater incorrectly does an axel-like forward takeoff from the toe
        pick instead of the correct backwards toe-assisted takeoff.
    flutz
        a jump that is supposed to be a lutz, but where the skater
        incorrectly changes to an inside edge just before the toe pick
        (so that she actually executes a flip instead of a lutz).  The
        inverse term, for a supposed flip that is actually a lutz, is
        generally agreed to be "lip".  Lips are not as common as flutzes.
    "cheat"
        used to describe jumps where the skater doesn't perform the full
        rotation of the jump in the air, and does a half-turn on the ice
        or a skidded or badly hooked edge instead.  It's possible to
        "cheat" both the takeoff and landing of jumps.

[2] What about spins and other moves?

    back spin
        performed in the same rotation sense as a forward spin, but on
        the opposite foot.  Most right-handed skaters spin
        counterclockwise, doing a forward spin on the left foot and a
        back spin on the right foot.
    scratch spin
        a fast upright spin.  So called because it is done on the forward
        part of the blade, so that the toe pick scratches the ice
        slightly.
    layback spin
        a spin with a backward or sideways lean of the torso.
    camel
        a spin in the "airplane" position, e.g. the torso and free leg in
        a horizontal position.  A flying camel is a back spin in the
        camel position entered by means of a jump with a forward takeoff,
        similar to an axel.
    grafstrom spin
        a low camel spin, skated with a bent knee.  Named after Gillis
        Grafstrom.
    hamill camel
        this is a transition from a back camel spin to a back sit spin by
        first bending the knee of the skating leg and then turning out
        the free hip to "flip over" into the sitting position.  Named
        after Dorothy Hamill.
    biellmann spin
        this is the spin where the skater arches her back and pulls her
        free leg high over her head.  Named after Denise Biellmann.
    illusion (or windmill)
        this is similar to a camel spin, but the skater bobs her torso
        and free leg up and down in phase with the spin.  It looks kind
        of like a windmill.
    harding spin
        this is a spin that looks kind of a like a cross between a camel
        and a layback.  It's usually entered from a camel spin; the
        skater twists into a face-up position and bends the free leg so
        that the foot is held near the knee of the skating leg.  Named
        after Tonya Harding, but more often associated with Josee
        Chouinard.
    death drop
        a flying spin similar to a flying camel, but where the skater
        immediately drops into a back sitspin.
    arabian or butterfly
        a jumping move similar to the entrance of a flying camel or death
        drop, but without the spin afterwards.  Usually done in a series
        of two or three in a row.
    spiral
        an edge skated with the free leg extended and held higher than
        hip level.  A relatively easy move, but effective when done with
        good stretch and speed.
    spread eagle
        a figure skated on two feet with the toes pointing in opposite
        directions.  It can be done either on outside or inside edges.
        Again, this is a fairly easy move and its effectiveness depends
        on being done with speed and a good body position (namely,
        without the skater's bottom jutting out awkwardly).
    ina bauer
        a spread eagle variant where one knee is deeply bent and the
        other leg stretched behind the body.  Typically done with an
        arched back.
    mohawk, choctaw
        these are two-foot front-to-back or back-to-front turns.  A
        mohawk is done on from inside-to-inside or outside-to-outside
        edges, while a choctaw involves a change of edge.  Mohawks are
        commonly used in free skating as a simple turn or in step
        sequences, but choctaws are more typically used only in ice
        dancing.
    three turn
        the common one-foot turn, done on a circle with the cusp of the
        turn pointing inward.  (The tracing is like a numeral 3.) Other
        one-foot turns are brackets, rockers, and counters, and are
        mostly only used in step sequences and ice dancing.

[3] What are the required elements for the short program?

    For men:
        (a) double axel
        (b) a triple jump preceded by connecting steps
        (c) a combination of a double jump and a triple jump or two
        triple jumps, without intervening steps or turns
        (d) a flying spin
        (e) a camel spin or sit spin with a change of foot
        (f) a spin combination with a change of foot and at least two
        changes of position
        (g), (h) two different step sequences

    For ladies:
        (a) double axel
        (b) a double or triple jump preceded by connecting steps
        (c) a combination of two double jumps or a double jump and a
        triple jump, without intervening steps or turns
        (d) a flying spin
        (e) a layback spin
        (f) a spin combination with a change of foot and at least two
        changes of position
        (g) a spiral step sequence
        (h) another step sequence

    For pairs:
        (a) overhead lift
        (b) double twist lift
        (c) side-by-side double or triple jumps
        (d) side-by-side spin combinations, with a change of foot and at
        least one change of position
        (e) pair spin combination
        (f) death spiral
        (g) a spiral step sequence
        (h) another step sequence

    The deductions on step sequence, spiral sequence, and death spiral
    elements are 0.1 to 0.2 points for failure and 0.4 points for
    omission.  For other all elements, the deductions are 0.1 to 0.4
    points for failure and 0.5 points for omission.  There is also a 0.1
    to 0.2 point penalty for including extra or repeated elements.  These
    deductions are taken from the required elements mark.  If a failure
    (such as a messy fall) also disrupts the artistic aspect of the
    program, the judges are supposed to make a deduction in the second
    mark as well.

[4] What technical elements should I expect to see in a medal-winning
free-skating program?

    For singles, the best skaters typically try to demonstrate at least 5
    of the 6 triple jumps.  The most difficult elements that men commonly
    include in their programs are either a triple axel or a quad (or
    both), and at least one triple/triple combination.  The most
    difficult jumps commonly attempted by women are the triple lutz and a
    triple/triple combination.  A well-balanced singles program also
    includes spins (including a flying spin and a spin combination) and
    step sequences (including a spiral or spread-eagle sequence).

    Pairs skating puts less emphasis on jumping, and the most difficult
    solo jump attempted by some top pairs is the double axel.  Pairs are
    expected to do side-by-side jumps (including a jump combination),
    spins, and footwork sequences in their programs, but they put the
    real difficulty into the pair skating elements instead.  A strong
    pairs program will usually include two different throw triple jumps;
    a triple twist lift; at least two other overhead lifts; and at least
    one pair spin and one death spiral.

[5] What's the difference between ice dancing and pair skating?

    Ice dancing is supposed to be ballroom or folk dancing, adapted to
    ice.  In practice, the difference is that ice dancers are prohibited
    from doing the athletic free-skating moves that pair skaters do
    (jumps, spins, lifts, etc) and concentrate on fancy choreography
    instead.  Also, ice dancers must skate to music that is recognizably
    dance music, maintain recognizable dance holds and positions, and can
    only separate briefly while changing positions.

[6] The scoring in ice dancing often seem totally random to me.  What are
judges really looking for in ice dancing?

    It's often harder for a casual spectator to evaluate ice dancing
    performances than free skating because ice dancers rarely make major
    mistakes such as falling.  However, ice dancing is probably the most
    technical of all the skating disciplines; the steps and turns dancers
    perform are not only very difficult, but they also have to be
    executed with extreme attention to neatness and precision.

    Some of the criteria that the judges use are how close the man and
    woman skate together, whether they change positions frequently,
    whether they skate different steps or in a face-to-face position
    instead of doing a lot of side-by-side shadow skating, whether the
    man's steps are as difficult as the woman's, how much speed they have
    as they move across the ice, and whether they skate in exact unison
    and in time with the music.  In general, what the dancers are doing
    with their feet is much more important than their upper-body motions
    or facial expressions, but the judges do look at the posture of the
    skaters, and the extension, turnout, and toe point of the free leg.

[7] I've heard the TV commentators talking about the skaters' speed.
What is this all about?

    The commentators are referring to how fast the skaters are moving
    across the ice, not to whether they are performing fast footwork or
    rushing through their elements.  When you see skating live and in
    person, this is a quality that's immediately obvious even to an
    untrained eye, but it's usually much less obvious when you watch the
    same skating on TV.

    The judges look not only for strong, powerful stroking, but also
    expect skaters to carry the speed through elements like jumps,
    footwork, and lifts, and to flow out of them cleanly.  This
    contributes to both the technical and artistic marks given to the
    skaters (since a program that shows power and flow is considered more
    aesthetic than one where the skater appears sluggish or hesitant).

[8] Why do men so rarely do layback spins?

    It's said that men generally have less flexibility in their backs
    than most women do.  On the other hand, even women skaters who are
    not naturally flexible still have to learn how to do a decent layback
    spin because it's a required element in the short program for them.
    Men don't have this requirement so they don't have the same
    motivation to learn this spin.  Some men are probably also
    hypersensitive about doing something that has a reputation as a
    "girl's move".  For those men who DO take the trouble to learn a
    layback spin, it's a beautiful element that adds variety to their
    programs.

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Sandra Loosemore / loosemore-sandra@cs.yale.edu
