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Figure skating spirals
A spiral is an element in figure skating where the skater glides on one foot while raising the free leg above hip level. It is akin to the arabesque in ballet.
Spiral positions are classified according to the skating leg (left or right), edge (outside or inside), direction the skater is traveling (forward or backward), and the position of the free leg (backward, forward, sideways).
In the 1920s and 30s, spirals were performed by both women and men with similar technique. By the 1960s, however it was seen as a feminine element that was unusual for men to perform; John Curry recalled feeling judged by coaches when he practiced them. In spite of this, some male skaters are known for their spirals, such as Toller Cranston, Paul Wylie, and Shawn Sawyer.
The spiral sequence was introduced to the women's short program in 1983. During coverage of the 1992 Winter Olympics, a Canadian judge, Jean Senft, explained that it was introduced because of a perceived lack of femininity in women's programs:
As women’s skating moved from the traditional graceful approach to concentration on sheer athleticism, we began to lose something in the transition. A few years ago, women began trying many triple jumps with out much success, falling too often and destroying the beauty of their pro grams. The spiral sequence was brought in to help restore the grace and beauty of women’s skating.
Spirals were a required element in women's singles and pair skating until the 2012–13 season.
The name "spiral" is indicative of the skating edge. This move is generally (but not exclusively) demonstrated on a deep inside or outside edge, either forward or backward. As the skater moves, they glide slightly to the left or right (depending on the edge used), and continues in a spiral pattern around the ice if held long enough.
The basic spiral is performed with the free leg stretched and extended to the rear above hip level. Many skaters try to lift the leg as high as possible, but more important than the height of the free leg is that it be fully stretched and that the tension of the position be maintained in the upper body as well.
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Figure skating spirals
A spiral is an element in figure skating where the skater glides on one foot while raising the free leg above hip level. It is akin to the arabesque in ballet.
Spiral positions are classified according to the skating leg (left or right), edge (outside or inside), direction the skater is traveling (forward or backward), and the position of the free leg (backward, forward, sideways).
In the 1920s and 30s, spirals were performed by both women and men with similar technique. By the 1960s, however it was seen as a feminine element that was unusual for men to perform; John Curry recalled feeling judged by coaches when he practiced them. In spite of this, some male skaters are known for their spirals, such as Toller Cranston, Paul Wylie, and Shawn Sawyer.
The spiral sequence was introduced to the women's short program in 1983. During coverage of the 1992 Winter Olympics, a Canadian judge, Jean Senft, explained that it was introduced because of a perceived lack of femininity in women's programs:
As women’s skating moved from the traditional graceful approach to concentration on sheer athleticism, we began to lose something in the transition. A few years ago, women began trying many triple jumps with out much success, falling too often and destroying the beauty of their pro grams. The spiral sequence was brought in to help restore the grace and beauty of women’s skating.
Spirals were a required element in women's singles and pair skating until the 2012–13 season.
The name "spiral" is indicative of the skating edge. This move is generally (but not exclusively) demonstrated on a deep inside or outside edge, either forward or backward. As the skater moves, they glide slightly to the left or right (depending on the edge used), and continues in a spiral pattern around the ice if held long enough.
The basic spiral is performed with the free leg stretched and extended to the rear above hip level. Many skaters try to lift the leg as high as possible, but more important than the height of the free leg is that it be fully stretched and that the tension of the position be maintained in the upper body as well.