Rotation. Methodical development "Technique of rotation in Russian folk dance How to do rotations correctly in dance

Spins in, which add variety to the program and allow the presenter to demonstrate how he maintains balance in positions of varying difficulty. The correctness of their implementation depends on the discipline of the athlete and his compliance with a number of requirements.

Support rotations (pirouettes) are often demonstrated in 5 basic poses.

Pose	Description
Screw (USp)	The speaker spins around with his legs crossed and arms folded at the chest. Then, the swing limb must be lowered and straightened. The screw is the fastest way to perform pirouettes (possible speed from 2 revolutions per second).
Slope (LSp)	Bending is characterized by a strong bend of the trunk backward or to the side. The head must be thrown back. The fly leg is pulled back, "twisting" it out. The specificity of this position causes loss of coordination and causes dizziness. Therefore, LSp is initially practiced without skates.
Top (SSp)	The skater bends the supporting limb, and stretches the free limb so that it is parallel to the ice surface. In this position, the pirouette is performed.
Biellmann	The speaker rotates, standing straight, and with his hands grasps the skate of the non-supporting leg from behind above his head.
Libela	Pirouette in "swallow". In the course of a circular motion, the body leans forward, and then rises back.

There are several additional variations:

• ring tilt;
• semi-bilman;
• "Checkbox", etc.

Reference! Bilmans are performed primarily by women.

In accordance with the direction of movement and the general nature of the performance, several types of pirouettes are distinguished.

Important! If the skater rotates on two legs at once, then the direction of rotation (forward / backward) is not determined.

How to learn to skate properly

The pirouette is performed in stages:

• An approach.

Has several variations. At the initial phase of development, the three forward-outward with backward is appropriate. Here it is important to glide smoothly while maintaining natural movements and good posture.

• Entry.

The "inception" of rotation is a phase of increased complexity and responsibility. The supporting leg must be bent. The pose is maintained until stability is achieved. The beginning of the movement around its axis is set by a jerk or swing of the second leg (the second is not always appropriate in the case of a camel, but it will be very useful in a spinning top).

• Rotation.

Upon reaching the third stage, the position accuracy is monitored. In "swallow", the pirouette is performed so that only the plane of the skate comes into contact with the ice, not its teeth. In the top, the pirouette is performed on the front 1/3 of the skate (with a light touch of the ice with the teeth). To prevent falling in this position, it is recommended to stretch the free leg and arms forward.

• Check out.

At the final stage, ungrouping occurs (it ends with a slight flexion of the supporting limb). This slows down the speed and helps to correctly execute the exit, which is usually accompanied by a change of leg.

The technique of rotation in, allows you to move both forward and backward. In the second case, the pirouettes are more effective, but they are performed in a slightly different way.

What are the parameters for evaluating pirouettes?

Criteria for evaluating the technique of rotation:

• Acceleration and speed;
• Turnovers (their number);
• Ability to maintain balance;
• Centering time;
• Maintaining control;
• Position;
• Non-standard;
• Compliance with musical accompaniment.

In pair skating, in addition, it is taken into account:

• how identical were the positions of the partners;
• whether the distance between them was stable;
• whether the movements were easy, fluid, and continuous.

A rotation on skates performed at the end of the element is valid only with variation. During a solo performance, participants perform three pirouettes (regardless of the program).

Rotations are not considered very traumatic, but if the knee is twisted too much, the ligaments can be damaged.

Teaching pirouettes begins from the very first lessons. But first, the skater will need to develop his passive and active flexibility by performing special exercises.

To improve your sense of balance and your body, it is recommended to use the "Grace" trainer. For the same purpose, training is carried out with "blackout" (in opaque glasses).

To practice the skills of rotation "on land" use a spinner disk (another specialized simulator) or roller skates.

Attention! Before learning how to perform pirouettes, you need to find the right direction for yourself. If the element is easier on the right leg, then it is better to move to the left and vice versa.

Spin levels

When setting the level of complexity of the performance (1, 2, 3 or 4), the following "features" of the speakers are taken into account:

• complex variation;
• difficult approach to the pirouette;
• jump legs;
• jumping during rotation (the supporting leg does not change);
• complex positional change (the supporting leg is the same);
• distinct change of the ridge rib;
• repetitions of all three basic positions on the second leg;
• sequential multidirectional rotation (, top);
• acceleration;
• executions from 8 revolutions (legs and ribs retain their original position).

The number of compulsory revolutions will vary according to the rank of the athlete.

In the lean, a change in incline is significant, provided that at least 3 revolutions have been made in each position. In the short program, the posture is taken into account, if the athlete took it, having previously completed 8 turns in the bend.

Difficultly variable movements are accompanied by movements (carried out by arms, legs or head) that can affect balance and require significant physical fitness and dexterity to perform.

Important! All complex variable pirouettes performed in basic positions are evaluated only once during the performance (when performed for the first time).

Additional requirements

Requirements for combined pirouettes with a jumping approach:

• the jump is clearly visible (it cannot be confused with or jump);
• the athlete was in a "clean" position in 2 revolutions;
• the position was held for 2 more revolutions.

If the leg change pirouettes are being demonstrated, it will be necessary to take a "clean" position on each leg. In the combined rotations with a change of leg, the change of three basic positions at once is demonstrated: standing, sitting and camel.

Failure to comply with one of the requirements leads to a decrease in the assessment to 70% of the maximum, and two to 50%.

In pair skating and dancing

Athletes engaged in pair skating perform two types of rotations:

• parallel (skaters spin synchronously);
• joint (partners form a solid figure and rotate without destroying it).

The dance only allows the use of joint (PSp) pirouettes, including:

• "English" (the element is performed while sitting);
• steamy camel;
• "Crocodile" (oncoming camel), etc.

Paired participants in the short program demonstrate one rotation (its type is determined separately for each season). In an arbitrary performance, two such elements are performed (joint and parallel).

The highest allowance given to an athlete for a spin is 1.5 points to the base cost of an element (for this, all judges must put "+3").

Spin jump

When performing such an element, the skater usually does not try to make as many turns as possible while in the air. Therefore, elements of this type are assigned to a special category. The quality of their performance is determined by the following characteristics:

• flight altitude;
• rotation speed after landing;
• the stability occupied by the position in contact with the ice.

There are two types of jumps in rotation in accordance with which limb was involved in landing: swing or jerk. And also these elements are classified according to the final position taken by the athlete. For example, jumping into a camel or a top. Separately considered with the position in flight. Somersault, then 2 points will be deducted from it, since since 1976 this element has been considered prohibited.

Execution technique

The element is performed in 3 stages:

• Push.

The take-off point and touchdown point must lie on a line that is tangential to the approach arc. This way, the original direction of movement is preserved, which ensures the stability of the flight, as well as its naturalness, height and lightness.

• Flight.

At the second stage, the athlete takes the pose necessary for demonstrating the pirouette. However, the tight grouping is too ugly and technically inappropriate (landing will be heavy and the rotation too fast). When in the air, the center line relative to which the skater rotates passes through the foot of the jogging limb. The athlete monitors the rigidity of the flight position (excessive relaxation makes it difficult to maintain balance and makes the jump less spectacular).

• Landing.

The speaker lands on the teeth, regardless of the type of push and position. The actions taken after that correspond to the selected pirouette.

By mastering spin jumps, the skater improves his coordination and provides himself with good preparation for multi-turn jumps.

The technique of performing all types of pirouettes has common features, but perfect execution of any of these elements will require patience and perseverance, even from experienced athletes. But with due diligence and attention to all the established requirements, the desired result will be achieved.

Lesson 1.
1. Introductory talk about spins
2. The concept of "point", square
3. Preparing for mid-rotation - Relevé, working out half-fingers, back position - feeling "cross"
4. Working out half-turns and turns in the middle, with fixing the head to a point
5. Elaboration of turns with the addition of Soutenu
6. Exercise "Fashionista"
7. Full turn of Soutenu
8. Diagonal
- types of rotations (rotations with advancement, point rotations, combined rotations)
- rotation by VI position
- spin with Glissade
- chenet
- "pancakes" (simple, with a jump, from the heel)
- rotation with legs tucked in - Saut de basque
9. Middle
- setting hands for rotations

Lesson 2.
1. Conversation about spins
2. Setting hands for rotations
3. Preparing the legs for rotations
4. Running with Saut de basque
5. Saut de basque diagonally
6. Children's version of the spin on bounces in the middle and diagonally
7. Preparation for rotation on the spot with raising the leg (one; alternately - right, left)
8. Tour chaine
9. Rotation in the middle
- on one leg
- with a change of legs
- with overstepping
- on heels

Lesson 3.
1. Hand work
2. Running in a turn with fixing the legs in VI position towards the viewer in the character of the Belarusian dance
3. Rotation with displacement in two columns in the character of the Belarusian dance
4. Combined spins in the middle in the character of the Belarusian dance
- with stepping and turning soutenu
- full turn with two bounces on the supporting leg
- with overstepping
- with the removal of the leg on the heel
5. Preparing for the air tour
6. Voronezh "cockerel"
7. Techniques for ending spins
- with a stop on the forward standing leg with a blow
- with a stop on the forward standing leg with De gage
- with a stop up
- with a stop down
8. Learning the endings of the diagonal spins
- with Saut de basque
9. Bow

Lesson 4.
1. Bow
2. Tour chaine
3. Crouching in a turn with hands in the middle
4. Prepation for rotations
- from Demi plie to VI, II positions
- with a "swoop"
- to tightened
- "through time"
- in a row
5. "Obertas"
- preparation
- Ukrainian
- with a hand in the Ukran character
- with emphasis to the side
- in Russian character
- "goat"
- with a "pistol"
- with a hand in Russian character
6. Combined diagonal spins
- Tour chaine with Saut de basque
- Tour chaine with Saut de basque with hands
- Bow

Lesson 5.
1. Combined promotion spins
- Tour chaine form
- "pancake" shape
- with a shift in emphasis
2. Fractional rotations
- with double
- with the extension of the leg to the heel
- with a hammer (without a hand, with a hand)
- with stepping on heels
- with stepping on heels in the middle
- with stepping on heels and a round in the middle
- "wrapper" with Fouette
- "overtas" with stepping
- "wrapper" En dehors and En dedans
- Glissade, Fouette and stepping spins
3. Rotations in a circle
- "pancakes"
4. Running in a diagonal corner
5. Running and Saut de basque
6. Running with "wrapper"
7. Rotation - padded dismount
8. Bow

Lesson 6.
1. Bow 2. Diagonal rotation - on the heel
- with Tour chaine
- with Glissade
- Glissade, Fouette, Tour chaine
- with the extension of the leg to the heel
3. Options for the end of the spins
- key
4. Diagonal rotation
- busting on heels
- with "pancakes"
- with Saut de basque
- slider
- slider in a circle
5.spin with a whirligig partner
6. Course Rotation - Summing Up
7. Bow

]

In swimming, turning is understood to be a change in direction of movement by 180 °.

All turns are subdivided into open and closed (according to inhalation during rotation), as well as simple and complex (high-speed) - according to the number of rotation axes.

In order to simplify the analysis of movements during turns and for a more successful solution of problems during training, turns are conventionally divided into phases (parts) of movements:

• 1st phase - swimming up and touching the pool wall;

• 2nd phase - rotation;

• 3rd phase - push;

• 4th phase - sliding;

• 5th phase - the first swimming movements under water;

• 6th phase - going to the surface of the water and swimming movements.

Phase 1- swimming up and touching the pool wall. It is necessary to swim up to the turn without slowing down. Highly qualified athletes are characterized by the performance of five consecutive cycles of movement without changing their pace.

Phase 2- rotation occurs in a dense grouping, which contributes to the transformation of the speed of translational motion into rotational. The rotation speed depends on the radius and the moment of rotation. The smaller the radius of rotation, the faster the turn will be completed. The radius of rotation is determined by the distance of body parts from the center of body mass. The denser the grouping, the less resistance water has to this rotation. It is important to ungroup in time and take a starting position before pushing.

When executing the rotation phase, it must be remembered that a small rotation impulse is given from the very beginning of the movement. So, for example, when swimming with a crawl on the chest, the arms move down and back, and the swimmer tends to touch the ankle joints of the legs with his hands, and his chin - the chest. The rotation of the body around the transverse axis occurs with a slight advance from rotation around the longitudinal axis. The bent legs are carried in an inclined or vertical plane and is performed with acceleration at the end of the movement.

Phase 3- push. Before the push, the body is submerged under water to a depth of 0.4 -0.6 m, the longitudinal axis of the body is located almost horizontally, the arms are together, the head is between the outstretched arms. The legs are bent, the feet are on the swivel wall. Too low (high) position of the feet will increase the water resistance when performing the slide. The greatest pushing force is achieved when the legs are bent at the knee joints to a right angle.

The efficiency of the take-off phase is determined by the level of development of the speed-power capabilities of the athlete. The distance and speed of sliding, the effectiveness of subsequent phases depend on the direction of the push and the force of repulsion. The jerk should not be sharp and short, but should be optimal in time with increasing effort until the legs leave the wall. The swimmer "squeezes" himself away from the wall, all the while increasing the repulsion force.

Some athletes use "stepping" water in order to reduce the resistance of the oncoming water flow to body movement.

Phase 4- sliding. After performing the push, the straightened arms are in front, the head is between the arms, the legs are straightened, the swimmer takes a streamlined position. The length of the slide depends on the strength, direction and speed of the push.

Phase 5- swimming movements under water are different for different swimming methods, they are performed depending on how they are regulated by the rules of the competition.

The first swimming movements under water in all swimming methods, except for breaststroke, are allowed to be performed only up to 15 m from the turning wall of the pool. When swimming freestyle, they are done with feet or a crawl, or butterfly, and when leaving the surface of the water, movements are performed with the hands - first one, and then the other. When swimming on the back, the first movements under water are performed with the legs and body using the butterfly method. The swimmer's head should appear on the surface of the water no further than this mark, and after that, rowing movements with his hands begin. The first butterfly swimming movements are the same as on the back, except that the swimmers can be on their chest or on their side, without turning their backs down. In breaststroke swimming, the athlete can do the first cycle of movements under water with a stroke of the arms to the hips, but after the start of the second cycle, when the hands during the stroke will take their widest position, the head should appear on the surface of the water.

Currently, the improvement of this phase of the turns is of great importance in the training of high-class swimmers.

Phase 6- going out to the surface of the water and swimming movements. Simple turns are mastered during the initial training in sports swimming methods and represent a touch with one hand while crawling on the chest and on the back and simultaneously touching the pool wall with both hands when swimming with a butterfly and breaststroke. But with all swimming methods, a simple turn is performed by rotating around only one vertical axis, i.e. the body of the swimmer during the entire turn with all swimming methods except for the method on the back is chest down, and on the back - with his back down.

If a simple turn is open, then at the moment of rotation the swimmer's head is above the water and at the same time it becomes possible to inhale. If a simple turn is closed, then the swimmer performs a rotation with his head lowered without the opportunity to inhale, which allows the rotation to be made faster.

In modern sport swimming, swimmers use three types of difficult turns.

Rice. 4.6. Pendulum swing technique (explanation in the text)

Pendulum swing is a tricky open turn. It is performed by breaststroke and butterfly swimmers. An athlete, not reaching the pool wall 0.5-0.7 m, performs an energetic stroke with his hands and touches the wall with his palms 20-30 cm above the water surface. Then he turns on his side, simultaneously assuming a tuck position and pushing himself down with one hand, performs a rotation. The rotation to the chest around the longitudinal axis of the body is completed during the slide. This way of turning is rather slow, but it complies with the regulations of the competition rules, since when swimming with breaststroke and butterfly, when touching, you must lean against the pool wall with both hands at the same time, below or near the surface of the water (Fig. 4.6, a, b, c). During this phase, the swimmer rotates around the transverse and longitudinal axes, simultaneously lowering the bent legs down and lifting the shoulders up. The lower hand is brought out in the direction of the reverse movement, and the upper one sweeps through the air in the direction of rotation (Fig. 4.6, d, e).

This is followed by setting the bent legs at an angle of 90 ° in the knee joints on the pool wall, the upper hand enters the water, a push is performed with a turn on the chest and takes a streamlined position (Figure 4.6, f, g, h). When performing the rotation, the swimmer's torso and legs must be in the same plane. In the event that the legs lag behind the movement of the shoulders, the duration of the rotation increases markedly.

The first breaststroke movements are started with the hands, then the legs are moved, and the head should appear on the surface of the water by the middle of the second hand stroke.

When swimming with butterfly, the first movements after sliding begin with the feet and the head should appear on the surface of the water at a distance of no more than 15 m from the turning wall of the pool.

In 1964, the International Swimming Federation (FINA), by a special decision, allowed athletes specializing in freestyle swimming to make a turn without touching the pool wall with their hand. This turn was named "High-speed turn somersaults".

Rice. 4.7. Technique "high-speed turn somersaults" (explanations in the text)

The swimmer, without reducing the speed, swims up to the swivel shield (Figure 4.7, a), with one hand ends the stroke, and with the other begins it in the back-up direction, helping with this movement the beginning of the rotation of the body (Figure 4.7, b). In this case, the swimmer makes a movement with his feet down, unbending the legs at the knee joints, thereby increasing the speed of the initial rotation of the trunk. Having received an impulse for rotation, the swimmer tilts his head to his chest, maintaining the rotation speed due to support with his hands down (Fig. 4.7, c, d, e). At first, rotation is performed only with the torso, and then the legs are bent at the knee and hip joints. The end of the rotation coincides with placing the legs on the side of the pool and turning the body to the side (Figure 4.7, e). The athlete puts his feet on the wall, the push begins. At the moment of repulsion with the legs, the body turns to the chest, and the swimmer begins to slide (Fig. 4.7, g, h).

When performing a turn at high speed, the swimmer does not need to create a spin using the movement of the arms and legs.

It is enough to lower your head and shoulders under the water while swimming up to the swivel wall of the pool. The swimmer's back will rest on the "water cushion" and a torque will be generated. The arms, which are at the same time along the body, remain in a fixed position and at the end of the rotation of the body they will take a position for sliding, then during the period of rotation the muscles of the arms and trunk will be in a state of rest, which will have a positive effect on their performance.

Rice. 4.8. Simple open turn technique on the back (explained in the text)

Open simple twist while backstroke crawl... The open turn is the simplest in technique and is used in basic swimming training. When approaching the turning shield, the swimmer, in the supine position, touches the wall at the end of the next stroke, without reducing speed (Figure 4.8, a). Just before turning with the last stroke, a full breath is taken.

The turn can be performed in any direction, depending on which hand touches the wall - if the right hand, then the turn is made towards the same hand, and vice versa. When turning, the swimmer should touch the wall with his hand bent at the elbow so that the palm under the water surface is directed slightly towards the turn, the other hand after the stroke remains at the thigh (Figure 4.8, b). At this moment, an exhalation is made.

The rotation is performed after touching the wall with the hand, then the swimmer takes the position of the group. In this case, the legs move sideways so that the knee joints protrude out of the water. The rotation is facilitated by the support of one hand against the wall and the raking movement of the other towards the body. In the second half of the rotation, the supporting arm is removed from the shield and moves forward; at this moment, inhalation is performed (Fig. 4.8, c). At the same time, the legs are placed on the wall with the feet located parallel to a width of 0.15 - 0.20 m as close as possible to the surface of the water, and the arms are connected in front (Figure 4.8, d, e).

The push is done immediately after the feet are on the swivel board (Fig. 4.8, e). This is followed by sliding, swimming movements under water and going to the surface of the water.

"High-speed turn somersault on the back"... When swimming on the back, for a long time, it was allowed to turn only when the hand touched the pool wall. The rotation was allowed to be done in any plane, but before pushing off, the swimmer had to take a position on his back until the moment when his legs began to separate from the pool wall.

The Back Turning Rules (1991) permit "any part of the body to touch the pool wall." Turning without touching the pool wall by hand is 0.3 -0.5 s faster than with touching. The technique for performing a complex turn without touching the wall with the hand is as follows: two strokes before touching the pool wall, the swimmer must perform a turn on the chest simultaneously with the beginning of a rotational movement with his head down, making a stroke with one or two hands. The last stroke is performed in the same way as the stroke when swimming in crawl on the chest. The rotation is performed in the same way as when swimming on the chest, with the only difference that at the moment after the rotation the swimmer does not turn over on the chest, but remains in the supine position. The arms must meet in a position behind the head before pushing off begins, with the back of the head in a position between the arms in an extended position. When analyzing the technique of swimming on the back, it was found that the work of the legs after sliding by the dolphin (butterfly) under water gives the swimmer an advantage in time compared with the work of the legs by the crawl. If the dolphin's leg movements are not sufficiently developed, then the swimmer is advised to float to the surface immediately after pushing off and start hand work without delay. The importance of the dolphin swimming method in applied swimming is not great.

In complex swimming, after swimming the butterfly distance, the transition to backstroke occurs by touching the wall with both hands at the same time, and the turn is performed by rotating the body backward. Having finished the stage of swimming on the back, you need to touch the wall with your hand and perform a forward rotation, being in the position on the chest. Finishing the stage with a breaststroke, you need to touch the wall with both hands at the same time. Here it is possible to perform a forward roll, or "pendulum".

Errors encountered: lowering or raising the head, being late when performing the first movements and irrational performance of the first movements.

Anyone who is engaged in dancing (and especially in styles such as salsa, rumba, Argentine tango, etc.) will be interested in learning some of the subtleties and secrets of performing dance steps. This is especially true for such a complex element as rotation. Let's talk about how to properly rotate your partner so that she does not fall and fly away)). And the girls will be interested to know: how to hold on during the spins and at the same time look great in the dance. Of course, we are not talking about single turns, but about double, triple and more.

Spinning and spinning

As a rule, girls are very fond of showing off their ability to dance coolly. And if she does a great spin, then you can be sure that your partner just can't wait for you to spin her.

You can even say this: all girls (regarding dance spins) are divided into 2 categories - those who can and love to spin, and those who love, but have not yet learned.

That is why, while performing a dance with a familiar partner, if you know that she easily makes a double turn, try to twist her a third time. Don't stop there.

However, you should not overdo it with spins. It is not recommended to rotate for beginners, since falls very often lead to injuries. The number of turns is an indicator of the level of the pair, and the absence of falls is an indicator of the level of the partner.

Technique of execution and leading in turns (for a partner)

1. Watch closely what is happening around you. This is especially true during a disco, where you can often meet many people who are tipsy. If they are crowding around your couple, it is best to move further away.
2. Observe your partner's stability before, during and after the turn. If it starts to enter, then most likely the problem is in it. In this case, the number and intensity of turns should be reduced. However, if experienced partners lose stability while dancing with you, then most likely it is in you. And most importantly, if your partner starts to fall, catch her, by all means!
3. Be sure to consider the musical tempo. There must be at least one or two counts for each turn.
4. 70% of success depends on the preparation for the turn, and therefore this movement should be prepared with special care.
5. Calculate in advance the number of turns performed by your partner. There is nothing worse than a partner who is not confident in himself and his plans.
6. Be serious about completing the turn. When completing the movement, make it clear to your partner that this turn is the last. Lower her hand in time to prevent the girl from skidding.
7. Let your partner rest before performing the following movements. Do not immediately begin to enter the cycle of the following complex figures, as the girl may lose her balance. Let her catch her breath, do a basic or hug her without stopping the dance. Your partner will appreciate your concern.

In the skater's arsenal there is a large number of rotational movements that occur naturally and are performed relatively easily. These movements include support rotations - pirouettes. They diversify the free program, allow the athlete to demonstrate the ability to maintain balance in difficult positions. A pirouette is a prolonged rotational movement of the body around a vertical axis. Depending on the direction of rotation, pirouettes are distinguished forward, when the rotation occurs in the direction of the supporting leg, and backward, performed in the direction of the free leg.

From the point of view of posture, pirouettes are divided into three main groups: standing pirouettes, squat pirouettes (tops) and swallow pirouettes (Fig. 49). An original type of pirouette is the so-called bend. These rotations can be performed in any of the positions listed above, however, the main sign of inclination is the characteristic deflection or twisting of the body during rotation. Among the inclinations, there are pirouettes with a leg grip (Fig. 50).

A distinction is made between simple pirouettes, in which rotation occurs in a relatively unchanged posture, and complex pirouettes with a change in posture (for example, with a transition from a standing to a sitting position) or with a change of the supporting leg during rotation. In short and free programs, combinations of rotations with a change in position and a supporting leg occupy an important place.

Pirouettes can be performed on one or two legs. In the latter case, the concept of "direction of rotation" (forward or backward) loses its meaning, since both legs are supporting.

The basics of the technique of performing rotations. A pirouette consists of approach, entry, rotation and exit. In fig. 51 shows the traces left by the forward pirouette. Arcs 1, 2, 3, and 4 correspond to approach, arc 5 to entry, point 6 to rotation, and arcs 7 and 8 to exit.

An approach. There are several options for approaches. The most convenient and therefore expedient for initial training is a combination of a three-piece forward-outward with a backward jump. They use approaches in the form of a triple forward-inward - backward-outward, as well as a forward-outward movement. In the approach, it is important to maintain smooth sliding, good posture, so that the rotation is natural, and the preparation for it is invisible.

Entry. This is the most difficult and crucial part of the pirouette. This is where rotation comes in. Once the skater has given the body a steady rotation, then, as a rule, it is no longer so difficult to maintain and maintain it. The trail left by the ridge at the entrance is a line with a smoothly changing curvature. Enter on a bent leg and do not straighten it until a steady rotation occurs.

Rotation to the body can be given in two ways: by pushing the leg when moving from the last arc of the approach to the entrance arc, and also by a circular swinging movement of the free leg and arm at the entrance. In standing rotation and in tops, both methods are used. When rotating in a swallow, the flapping motion is not always effective. Here, it can lead to bringing the free leg forward, and in order to assume the “swallow” position, the skater will have to abruptly pull his free leg back at the end of the entry. This movement often causes loss of balance. The simpler and more reliable is the entry with the free leg laid back and the hand of the same name.

When entering the top, a circular flapping motion is very expedient and effective. Mach, that is, bringing the arms and legs forward, should begin only when the arc reaches its maximum curvature. Entering the rotation while standing is essentially the same as entering the top, but the supporting leg is straightened more here. However, you should not straighten it completely, because this can lead to an imbalance.

It is very important for the stability of the rotation to correctly execute the final section of the entrance arc. In forward pirouettes at the end of the entrance, when the arc reaches its maximum curvature, the three turns forward and outward, followed by a circle with a diameter of 20-30 cm, and only then begins the rotation.

Rotation. In this phase, the accuracy of body position, stability of the position of the axis and the center of rotation are important. In a swallow, it is necessary to rotate on the plane of the skate without touching the ice with the teeth. Beginner skaters often lose balance already at the beginning of the rotation, as they excessively shift the center of gravity of the body forward. To avoid this, it is necessary throughout the entire rotation, especially at the beginning of it, to pull the free leg back.

The spinning top takes place on the front third of the skate. To increase stability at the beginning of rotation, it is permissible to lightly touch the ice with the teeth. The most common mistake here is falling backwards. To avoid this, you need to unfold your free leg and stretch your arms forward. At the same time, the supporting leg is bent, the shoulders are lowered. Standing rotation also occurs on the front third of the skate, with the teeth lightly touching the ice.

Difficult pirouettes require body grouping. Consider how tucking is performed in a standing pirouette called a screw. When rotating on the left leg, the extended right leg, without lowering, is brought forward, bent at the knee and crossed with the left. Then the right leg is lowered, sliding the back surface of the lower leg along the left. At the same time or somewhat later, the hands are grouped. In the final phase, the arms are pressed tightly to the body, and the slightly bent supporting leg is straightened, which gives an additional increase in the speed of rotation. It is necessary to monitor the symmetry of the grouping, because the unequal movement of the hands causes imbalance. In this pirouette, the rotational speed is highest - up to 2 or more revolutions per second.

Check out. Its execution is always preceded by a movement opposite to grouping - ungrouping. This is done to reduce the rotation speed, which makes the exit easier. It is important that the ungrouping ends with a slight flexion of the supporting leg.

Usually, the exit is performed with a change of leg: the previously free leg becomes the supporting one, and the rotation ends with a push, similar to the push back-out in the obligatory figure. This option is the most common exit, it is recommended when learning pirouettes. In the programs of the masters, there are more complex exits (for example, forward-outward with a change of leg, back-in without a change of leg, entry into a stop, into a jump). In any case, one should strive for the fusion of all movements, for such a performance in which the exit is a natural continuation of the rotation.

Bends. They are performed with a significant backward bend or to the side with the head thrown back. Rotation with an unusual head position complicates spatial orientation, causes impaired coordination of movements, sometimes accompanied by dizziness. At the same time, bending down is a very valuable exercise for improving balance. Before mastering the bends, the skater must learn to confidently take the desired pose without skates.

The approach and entry are done as in normal rotations. The tilt position is taken after the start of the rotation. Further, it is recommended to increase the deflection and at the same time, if possible (imperceptible to the observer), perform grouping. Experienced skaters sometimes raise one hand up or down to match the position of the pivot: this provides additional grouping, which increases the speed of rotation.

Pirouettes back. Back pirouettes are extremely valuable for further mastering of jumps. They are performed in the same postures as the forward pirouettes. But they also have some peculiarities. So, despite the fact that the direction of rotation of the body in pirouettes back and forth can be the same, the sensations experienced by the skater are different. Back pirouettes most accurately imitate body movements in flight when performing jumps, therefore they are important as preparatory exercises. They are very spectacular, which is why they are included in various combinations.

When teaching backward rotations, it is recommended to perform the approach (Fig. 51) in the form of a steep forward-inward arc (arc 1). The entrance is a forward-inward arc on the other leg (arc 2), describing which the skater makes an energetic rotational movement with his free leg and arms. Rotation (point 3) can be performed in any position (swallow, spinning top, standing), as well as in intermediate positions. The exit (arc 4) is best practiced on the same leg on which the rotation took place: this helps to improve the exit from multi-turn jumps.

Mastering the forward and backward pirouettes opens up great opportunities for performing various combinations: a spinning top with a change of leg, rotation in a swallow with a change of leg, options for changing the position of the body and leg.

Rotation training. To successfully master the pirouettes, it is important to determine the side of rotation that is convenient for the athlete. Most skaters master left spins faster and endure them better. The simplest and surest way to determine "your" direction of rotation is to perform a backward pirouette without changing legs. If the pirouette and exit are more confident and easier on the right foot, you should plan the best options for your rotations to the left, and vice versa.

An important direction in training off-ice rotations is work on. flexibility. In this case, it is necessary to combine exercises for the development of passive flexibility (twine, swing, etc.) with exercises for the development of active flexibility. For example, to improve the "swallow" position, it is advisable to use a weighting agent attached to the foot of the free leg: it allows you to achieve good results with the development of both passive flexibility (performing backward swings) and active (holding the free leg with a weight in the required position).

This method is also effective in ice training. A good way to improve the position of the body during rotation in a swallow is to learn the so-called swinging swallow - alternately on both legs.

To improve the accuracy of the posture and the sense of balance, it is advisable to use the "Grace" simulator. To increase the level of the skater's general endurance to rotational loads, special simulators in the form of electrically driven rotating platforms and smooth speed control up to 3 rev / s and more help.

In ice training, the main focus should be on finding the optimal entry into the rotation and analyzing the nature of the tracks on the ice, paying the main attention to not scraping and touching the ice with the teeth.

A good way to improve the entry into rotation, to increase the stability of its implementation, is training with blindness. Wearing special opaque glasses, the skater performs the required rotation. At the same time, the activity of the motor, vestibular, tactile and auditory analyzers is exacerbated. Such exercises increase the stability of the skill, make the execution of rotations more confident and stable.

Learning pirouettes forward and backward in various positions helps prepare the skater's body for the rotational loads that he constantly experiences while skating.