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from the archives
Sylvia Pringle and Gerald Spain have kindly let your editors
have a large number of skating publications that date back many years.
Every so often we trawl through these for interesting
articles. Last month we gave you two write-ups on how to do a couple of
dances. The following paragraphs are taken from an article that was written
over 40 years ago by Courtney and his partner June Markham for the magazine “Skater”.
It is interesting how things don’t change in nearly half a century
It was entitled “Some Reflections on Modern Ice
Dancing”
“……...One
point is particularly noticeable, and that is the fashion, within recent
years, to gain the medal qualifications first and then look round for a
partner. Surely it would be more advantageous if one could work for medal
tests with a partner of a similar standard, under the guidance of a
professional, with a view to competitions and championships as well? This
way, one partner can be of help to the other…………
…………..
see many promising soloists of both sexes; but relatively few well matched
couples are evident. Granted it is difficult to choose a suitable partner but
try not to set too high a standard for yourself. Miracles can be achieved by
sufficiently hard practice……..
…………In
general, we cannot stress too much the importance of solo dancing when
practising for tests, at least up to silver standard. It is much more
important for the man, as the lady tends to try and lead if she does too much
alone. It is the lady's job to follow her partner and to concentrate in
helping to put character into the dance, while the man has the added
responsibility of patterning and guiding………..
………..It
is very noticeable that very few dancers consider it necessary to take
advantage of an occasional figure patch, which would be of benefit in
producing an erect body position. Also it would give a truer understanding of
the relative edges and so avoid some of the unfortunate "flats” often in
evidence. (We unfortunately do not have figure patches nowadays,
the only figures are done at the English Style Club - see our Sept 2000 newsletter. Ed)…..
……….Figure
skating can be an asset to a dancer's knowledge, just as dancing is an
undoubted help to a figure skater when it comes to composing a free-skating
programme………
………..There
does seem to be some lack of imagination regarding individual style and
execution of the dances, most attention being centred on the correctness of
the steps, with the result that the compulsory dances have become
stereotyped. Admittedly, the scope for originality is somewhat limited, but
this can be counteracted by the self-expression in the presentation of the
dance. This does not mean that the edges can be altered in any way, but a
slightly different position of the free leg or the sway of the body may help
to give character to a dance. These points are, in the main, for the more
advanced dancers………….
Some Reflections
on Modern Ice Dancing
The following article was
written 43 years ago by Courtney and his partner June Markham for the
magazine “Skater”. It is interesting how things don’t change in nearly
half a century
WHEN the opportunity
has arisen we have often sat and watched dance intervals all over the
country, at various rinks, and discussed in what way the high standard of
British dancing could be continued and improved. Now we have been asked to
give expression to these views through the medium of The Skater. However, it is pointed out that these are our own views
entirely and may not necessarily coincide with the opinions of those who
judge or teach ice dancing.
One point is
particularly noticeable, and that is the fashion, within recent years, to
gain the medal qualifications first and then look round for a partner. Surely
it would be more advantageous if one could work for medal tests with a
partner of a similar standard, under the guidance of a professional, with a
view to competitions and championships as well? This way, one partner can be
of help to the other. In our own experience, we have found it great fun to
discuss the finer points of dancing in a way that would be quite impossible
if we had been skating under separate instructors. Also, this way, a higher
standard is achieved and more pleasure is gained from complete masterv of the
dancing technique.
Watching dancers in general.
one call see many promising soloists of both sexes; but relatively few well
matched couples are evident. Granted it is difficult to choose a suitable
partner but try not to set too high a standard for yourself. Miracles can be
achieved by sufficiently hard practice.
The comparatively
few numbers of entries for both the British senior and junior ice dance
events make one imagine that far too much emphasis is put on medal tests and
not enough on skating to a championship standard.
Is it the thought of
composing an extra half minute's free dance programme that keeps many very
capable silver medallists from entering a senior event? Surely not. We would
remind readers that it was not until we had been runners-up in the British,
European and world events that we even attempted the gold test. In fact, we
felt that the experience gained in the championship field stood us in very
good stead when it came to the first class test.
Perhaps the silver
medallist's execution of a gold‑standard dance may not be first class, but
then they, have a distinct advantage of being well practised in all the
silver dances. After all the dances for a championship are usually drawn and
probablv not one gold dance may come out of the hat.
In general, we cannot
stress too much the importance of solo dancing when practising for tests, at
least up to silver standard. It is much more important for the man, as the
lady tends to try and
lead " if she does
too much alone. It is the lady's job to follow her partner and to concentrate
in helping to put character into the dance, while the man has the added
responsibility of patterning and guiding. Guiding is mentioned particularly,
and this duty is a sadly neglected one. This is the man's fault, usually, as
many seem incapable of turning their heads when travelling backwards. This is
of course, a generalisation, but there are few exceptions.
One rather unnecessary
occurrence is the increasing habit of allowing young children to dance
together in an adult dance interval. By no means should children be
discouraged from learning to dance, but this practice, especially in
instances of little girls dancing together, neither of whom can
"lead" is both dangerous to themselves and to the grown-up dancers.
Perhaps some
enterprising rinks would introduce special children's dances, when only
children would be allowed on the ice.
At what age should a
child begin to take serious tuition in ice dancing? Well, at the risk of
being in disagreement with many professionals, we venture to suggest not
until they are at least eight or nine years old. Until this age they have
neither the strength of edge nor the height to produce the form necessary in
tests above preliminary standard.
‑
Two Common Faults
Two very common faults,
which are easily rectified, are, firstly in the case of the lady, the fingers
of the left hand spread in an open position on the man's shoulder often with
the wrist arched. In the case of the man these "banana fingers” are
often detected in dance hold, on the lady’s shoulder blade. For both
partners, the fault of looking down, which exaggerates any lack of
confidence, is a common one.
It is very noticeable
that very few dancers consider it necessary to take advantage of an
occasional figure patch, which would be of benefit in producing an erect body
position. Also it would give a truer understanding of the relative edges and
so avoid some of the unfortunate "flats” often in evidence.
To become a good dancer
the skater must have a basic knowledge of figure skating. At least bronze
standard is necessary. This knowledge is of invaluable help when learning to
dance, and faults such as the free hip being held too high and the shoulders
relaxing into a rounded position can be eradicated from the beginning.
Figure skating can be
an asset to a dancer's knowledge, just as dancing is an undoubted help to a
figure skater when it comes to composing a free-skating programme.
There does seem to be
some lack of imagination, when tests are being taken, regarding individual
style and execution of the dances, most attention being centred on the
correctness of the steps, with the result that the compulsory dances have
become stereotyped. Admittedly, the scope for originality is somewhat
limited, but this can be counteracted by the self-expression in the
presentation of the dance. This does not mean that the edges can be altered
in any way, but a slightly different position of the free leg or the sway of
the body may help to give character to a dance. These points are, in the
main, for the more advanced dancers.
This brings us to a
less restricted part of ice dancing. the free dancing. The continental
dancers seem to have a flair for presenting something new and their
programmes are always interesting to watch. This is mainly because they are
keen to experiment. New tempi are tried out and unusual combinations of
melodies are introduced. After all, half the battle is won if the music is of
interest to the audience and, for that matter, to the judges. Not only that,
the music inspires the skaters to think of something new to suit it. New ways
of presentation and new sources of inspiration can be obtained from the
ballet, ballroom dancing, and the stage. Each year it is more noticeable how
much the continental dancers improve their free dancing technique. We should
not lag behind and allow the English style to become fixed in the usual
combination of a foxtrot, a blues, and a foxtrot again as a finale. We must
take a leaf out of our rivals' book and experiment all the time.
Choosing The Music
The
choice of music plays a major part in the making of a free dance routine but,
unfortunately, riot enough thought is devoted to choosing it. This is most
noticeable when music has been chosen which does not suit the style of the
skaters concerned and incorrect interpretation has marred what might
otherwise have been a very successful presentation.
Perhaps the rather similar
free dance routines seen in tests and other places are due to the fact that
there are very few competitions for free dancing. The innovation of a free
dance competition on the same evening as the British figure skating
championships is a welcome one. Perhaps it would be a good idea if local
clubs were to follow suit and introduce them in their sessions. This would
give skaters of below championship standard a chance to compete and so
improve the standard of free dancing in general.
We have tried in this article
to point out errors, offering friendly advice and, in general, giving you our
opinion of dancing today. We hope, anyway, that it has given you something to
think about and that it will stimulate interest in a beneficial manner.
news from the past - at
silver blades streatham
Do you recognise this skater and her distinguished
skating companions?
Here is another clue and another dancer
One more clue
Yes Sylvia and Gerald
Left to right below: Teresa Davies, Carole Windibank,
Bernard Spencer, Janet Wills, Basil Cunlip Green, Peggy Tomlins, John Simon,
Maureen Pierce, Gerald, Sylvia, Mike Abbott, Leslie Norfolk, John Pierce, and
Peri Horne. A gaggle of NSA gold and intergold medalists to boot’
By the way the name I missed was Cliff Richard
And a final picture
GUILDFORD &
DISTRICT ICE SKATING CLUB”
We discovered the following article published in March 1950
“Sunday,
29th January. found 200 members of the club on 13˝ acres of natural ice, on specially
flooded land owned by the Corporation, for which it charge of 6d (3p) was
made. It is estimated that over 1,000 skaters were on the ice at 4.30 p.m.
Club
Secretary R. Jones took advantage by the issue of club propaganda, which also
coincided with the announcement that the Town Planning Committee had accepted
in principal the site on which, the club plan to build its own rink, subject
to acceptance of final plans by Town Council. " The Three Ice Chips
" of club fame also presented their programme for next gala to the 1,000
odd spectators who were delighted to see such lovely skating and acrobatics
by such youngsters.
The club
held its first gala of 1950 on Saturday. 11th February. One hundred and
seventy‑two members made a great exodus from Guildford in five coaches, cars,
and motor‑cycles.
General
skating and exhibitions were the order of the evening. and of the
exhibitions, that very talented skater of Richmond fame. Miss Betty Munro
opened the programme with some wonderful free skating and was given warm
applause by an appreciative audience. Then came "The Three Ice
Chips" the club's famous trio that seems to have captured everyone's
heart.
These
three little ladies will go a long way if they continue, as they have begun,
their daring stunts and pretty steps were greatly admired by all present.
Their skating seemed to open carefully (it was learned later they had a spill
earlier in the week at practise) but when it came to the daring stunts of
their act they seemed to open up, and everyone was astounded by their
cartwheels, spirals, etc., especially when it is remembered that the eldest
is thirteen‑years‑old and the planner of the show.
The final
turn was a minstrel turn by Jackie Vincent and Charlie Cooper. These two boys
gave a clever interpretation of a Negro jive, the footwork of Jackie was good
to watch, whilst Charlie had the audience helpless with laughter with his
jumps and spins that didn't come off, and then he finished with a spectacular
dive over the barrier. All returned to Guildford well satisfied with their
evening and looking forward to the next club evening on 11th March.”
(We asked in our newsletter if anyone remember where
this was held, or even attended the “Guildford and District Skating Club” in
their youth and received back the reply )
Introducing the new
test system
Those
of you that might have recently read “Introducing the new test system” in the October Issue of Ice link may be
interested in the following article, published back in 1948
Schedule of the Preliminary Ice. Dance Test
available to members of the NSA from October 1st 1948.
·
The test shall comprise the Waltz movement and
the Foxtrot movement.
·
The partner of a professional candidate or a
professional who partners an amateur must be a member of the Association.
·
Two judges must be present at the examination
of a candidate. A candidate who has failed cannot take the test again until
after the expiration of one month.
·
A candidate shall be entitled to choose a
partner (amateur or professional) subject to the approval of the judges.
·
The judges can only examine one candidate at a
time.
·
After the candidate has skated the test
movements with the partner, the judges may select another partner to skate
with the candidate either or both of the movements to be chosen by the
judges.
·
Only one movement in this test may be re‑skated
once, and any re‑skate of ~ movement is at the discretion of the judges.
Where a, re-skate is permitted, all the judges must mark the movement
concerned, without any reference to any mark awarded for the movement as
originally skated.
·
Judges shall call off any 'test where the
condition of the ice or music is not satisfactory.
GENERAL REGULATIONS
·
The test must be skated in good form and
generally in accordance with the regulations laid down for carriage and
movement in figure skating in the international style.
·
Close attention should be paid to movement,
rhythm, and correct time.
·
Candidates not keeping in time to the music
will not be passed.
·
While speed is of advantage, it should not be
gained at the expense of good form.
·
Every movement should be skated with ease and
grace.
·
Striking should be simultaneous, and all
movements smooth and in unison. A stroke, from the point of the skate is ‑not
permitted.
·
Movements should be progressive from the side
towards the middle of the rink.
·
Neatness of footwork is essential.
·
The steps of the movements should be accurately
skated.
·
Couples should skate close together and with
erect carriage‑head always upright.
SPECIAL REGULATIONS
·
Waltz Movement (Tempo: 46 bars per minute).
Parallel position should be retained throughout. All steps should be from
heel to heel.
·
Definite edges are to be skated, and not,
straight lines.
·
Double tracking should be avoided.
·
All movements should be rhythmic and undulatory
the variation in the bend of the skating knee being proportionate to the
length of the edge.
·
Knee and toe of free leg turned outwards as far
as possible, toe always downward, free knee only slightly bent.
·
The feet should be lifted as small a distance'
from the ice as is consistent with taking a clean stroke. , '
·
Foxtrot Movement (Tempo: 24 bars per minute).
·
The knee and toe of ‑the free leg turned
outwards, far as possible, toe downward, the free knee only slightly bent.
·
The runs should be smooth and from the blade of
the skate. Impetus is not to be gained from the toe‑point.
·
Definite edges are to be skated and not
straight lines.
·
‑P
·
Each movement to be marked up to a maximum of
six points, in awarding, which the following factors will, be taken into
consideration
(1) Time
(including. movements in unison to the time of the music) and rhythm.
(2) Style
(which includes correct carriage and good form) yet with 61an.
(3) Accuracy
in steps, curves, edges, and neatness of footwork.
·
In order to pass, a candidate must obtain a
minimum of three marks out of six for each movement, and. an aggregate of
seven marks from each judge. One‑tenth marks in decimal points may be used as
further intermediate values.
DESCRIPTION OF MOVEMENTS
·
Waltz Movement‑both start with preliminary
opening edges not exceeding four in number, then the lady turns an LFO three
(as in the ordinary‑waltz) while the man skates an open chassis starting LFO,
timing 2‑1‑3. Four open chassis (forward for man and backward for lady)
follow, then the man turns an LFO three and further chassis follow‑this time
with the lady skating forwards and the man backwards.
·
The movement is to be repeated as long as the
judges require.
·
Foxtrot Movement‑start with the Kilian hold,
with open forward edges not exceeding four in number, then LFO, RF1 run, LFO
with forward swing of the free leg on LFO, timing 1‑1‑2; repeat RFO, LFI run,
RFO with forward swing of the free leg on RFO, and so on - progressing in
serpentine round the rink for as long as the judges require.
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