FREESKATING PAIRS MANUAL

AUSTRALIAN ARTISTIC COMMITTEE FREESKATING PAIRS MANUAL Skate Australia Inc would like to acknowledge the assistance given by both the Committee Internationale de Patinage Artistique, and by USAC/RS in making available information and diagrams which have been used in this manual. This information has been essential to the presentation of this manual, and their assistance is greatly appreciated. This publication was prepared for and on behalf of Skate Australia Inc. and it is governed by the Federation s copyright. Reproduction and/or photocopying of whole or part of this material without the approval of Skate Australia Inc. will constitute a breach of copyright. Edition 4 2012 Pairs2012 Edition 4

TABLE OF CONTENTS 1. PAIRS SKATING... 1 2. THE PERFORMANCE... 1 3. THE TEAM... 1 4. JUDGING PAIRS SKATING... 1 4.1 GENERAL... 1 4.1.1 Unison... 1 4.1.2 Marking the Routine... 1 4.2 PAIRS ROUTINE ITEMS... 2 4.2.1 Judging Points - Shadow Jumps... 3 4.2.2 Errors in Matching of Shadow Jumps - Descending Order of Importance... 3 4.2.3 Judging Points - Shadow Spins... 3 4.2.4 Judging Points - Lifts - Overhead... 3 4.2.5 Judging Points - Lifts - Combination... 4 4.2.6 Lifts - Difficulty... 4 4.2.7 Judging Points - Twist Lifts... 4 4.2.8 Judging Points - Throw Jumps... 4 4.2.9 Judging Points - Death Spiral... 5 4.2.10 Judging Points - Contact Spins... 5 4.2.11 Judging Points - Footwork... 5 4.3 FOOTWORK CLASSIFIED... 5 4.3.1 Side by Side Footwork... 5 4.3.2 Contact Footwork... 6 4.3.3 Shadow Footwork... 6 4.3.4 General Comment... 6 5. SPINS IN ROLLER PAIRS SKATING... 7 5.1 CATEGORISING SPINS... 7 5.1.1 Importance of the spinning axis... 7 5.1.2 Spin Entrances... 7 5.1.3 Spins (listed in descending order of difficulty)... 7 5.1.3.1 Circle Spins... 8 5.1.3.2 Shadow Spins... 8 5.1.3.3 Hand in Hand Upright or Camel... 9 5.1.3.4 Pull Around Camel... 10 5.1.3.5 Pull Around Camel Over Inverted... 10 5.1.3.6 Pull Around Over the Head Camel... 10 5.1.3.7 Pull Around Catch-Waist Camel... 11 5.1.3.8 Tango or Face to Face Camels... 11 5.1.3.9 Lay Over Camel... 11 5.1.3.10 Face to Face Inner Back Sit Spin... 12 5.1.3.11 Impossible Spins... 12 5.1.3.12 Impossible Sit Spin... 12 5.1.3.13 Impossible with a Twist... 12 5.1.3.14 Hazel Spin... 13 5.1.4 Lifts in Roller Pairs Skating... 13 5.1.4.1 Lift Difficulty... 13 5.2 CATEGORISING LIFTS... 13 5.2.1 Lifts (Listed in descending order of difficulty)... 13 5.3 SPECIAL NOTES ON LIFT EXECUTION... 15 5.3.1 Bucket or Pull Through Lift... 15 5.3.2 Pass Over Axel... 16 5.3.2.1 One - Arm Pass Over Axel... 16 5.3.3 Around The Back Lift... 16 5.3.4 Lutz or Flip Lift... 17 5.3.4.1 Lutz or Flip Lift... 19 5.3.5 Kick Over Flip Lift... 19 5.3.6 Kick Over the Head Flip With a Twist... 21 5.3.7 Swing Lift... 21 5.3.8 Airplane Lift (Basic Take-off)... 21 5.3.8.1 Airplane Lift (Advanced take-off)... 22 Pairs2012 Edition 4 i

5.3.8.2 Press Lift (Two-handed position)... 23 5.3.8.3 Press Lift (two handed, layout position)... 23 5.3.8.4 Press Lift (one handed position)... 24 5.3.8.5 Press Lift (one handed, layout position)... 24 5.3.9 Pancake Lift (Inverted Airplane Lift)... 25 5.3.9.1 Pancake Lift (One handed position)... 25 5.3.10 Cartwheel Lift... 26 5.3.10.1 Cartwheel Lift (One handed or no handed)... 26 5.3.10.2 Cartwheel Lift (T position)... 27 5.3.11 Kennedy Lift (standard execution)... 27 5.3.11.1 Kennedy Lift (Layout Position)... 28 5.3.11.2 Kennedy Lift (one-handed layout position)... 28 5.3.11.3 Twist Lift (double or triple rotation)... 29 5.3.12 Militano (Chair Lift)... 30 5.3.12.1 Militano Lift (one handed and no-handed, chair position)... 30 5.3.12.2 Star Lift... 31 5.3.12.3 Judging Points Militano... 31 5.3.13 Judging Points Star Lift (Variation of Militano)... 31 6. REGULATIONS FOR FREESKATING PAIRS PROFICIENCY TESTS... 33 6.1 GENERAL... 33 6.2 EVALUATION... 34 6.2.1 Technical Merit... 34 6.2.2 Artistic Impression... 34 7. FREESKATING PAIRS TESTS... 36 7.1 NO 1 TEST (AWARD - BRONZE MEDAL)... 36 7.1.1 Routine requirements... 36 7.1.2 Selection of Requirements... 36 7.1.3 Guide for Footwork (Contact & Shadow)... 36 7.2 NO 2 TEST (AWARD - SILVER MEDAL)... 37 7.2.1 Routine requirements... 37 7.2.2 Selection of Requirements... 37 7.2.3 Guide for Footwork (Contact & Shadow)... 37 7.3 GOLD MEDAL PAIRS TEST... 38 7.3.1 Routine requirements... 38 7.3.2 Selection for Requirements... 38 7.3.3 Guide to Footwork (Contact & Shadow)... 38 8. INTERNATIONAL GRADES - INTERNATIONAL COMPETITION... 39 8.1 GUIDELINES FOR JUDGING PAIRS SHORT PROGRAMME SET ELEMENTS... 39 8.1.1 Death Spiral... 39 8.1.2 Contact Spin... 39 8.1.3 One Position Lift... 40 8.1.4 General Notes on Single Position Lifts... 41 8.1.5 Combination Lift... 41 8.1.6 Shadow Jump... 41 8.1.7 Shadow Spin... 42 8.1.8 Footwork Sequence... 42 8.1.9 Throw Jump or Twist Lift... 42 8.2 B MARK... 43 9. APPENDIX A - GENERAL NOTES ON PAIRS SKATING SHORT PROGRAMME - SET ELEMENTS... 44 9.1 DEATH SPIRAL... 44 9.2 CONTACT SPIN... 44 9.3 ONE POSITION LIFT... 44 9.4 COMBINATION LIFT... 44 9.5 SHADOW JUMP... 44 9.6 SHADOW SPIN... 44 9.7 THROW JUMP AND TWIST LIFT... 45 9.8 STEP SEQUENCE... 45 Pairs2012 Edition 4 ii

10. APPENDIX B - REQUIREMENTS JUNIOR PAIRS SHORT PROGRAMME - SET ELEMENTS46 10.1 TIME... 46 10.2 SHORT PROGRAMME - SET ELEMENTS... 46 11. APPENDIX C - REQUIREMENTS SENIOR PAIRS SHORT PROGRAMME - SET ELEMENTS47 11.1 TIME... 47 11.2 SHORT PROGRAMME - SET ELEMENTS... 47 12. APPENDIX D - GENERAL RULES - PAIRS SET ELEMENTS - SHORT PROGRAMME... 48 Class... 49 REVERSED LOOP... 49 Pairs2012 Edition 4 iii

1. PAIRS SKATING A good pairs skating routine is perhaps the most spectacular of all the artistic disciplines with the most audience appeal. Pairs skating, as opposed to singles skating, is the skating of a routine by two persons skating with unison and harmony to give the impression of a true team performance. Unison is the ability of the team to make two bodies appear as one. The team should match all arm, head, body and free leg movements and also match landing positions, spinning positions and footwork sequences. Successful unison is the finishing touch to a good pairs routine. 2. THE PERFORMANCE The routine should contain a variety of all classes of content which is to follow. The content should be arranged in an interesting manner to interpret the music, using the entire skating surface. In a balanced routine the content should be at a similar level of difficulty and linked with interesting and varied footwork and other movements. It is the footwork which portrays the general skating ability of the team. Good form, carriage, strength, control of body line, flow and unison should be displayed throughout the entire performance. The skating should be intimately related to the music and project to the audience in a positive way. Routines which have repeated content, are overbalanced with one type of content item at the expense of another group, which contain difficult items performed poorly, or which do not fit with the music, should be downgraded in both the A and the B mark. 3. THE TEAM To give the impression of unison, teams should be matched physically, have similar skating ability, and be able to display an emotional bond with each other through their skating. If the man is obviously bigger, or a stronger skater than the lady, then the impression of unison is very hard to achieve. Such teams have an advantage in the performance of over head lifts and impossible spins, although it is difficult to get the spin going in the first place. This is because the lady is easier for the man to lift, making precise timing required for teams matched for size less critical to the success of the item. However, they have a disadvantage in achieving the impression of unison generally, in matching footwork, shadow jumps and spins, and in achieving and maintaining momentum in pairs spins. If the size discrepancy or difference in the ability of the skaters detracts from the impression of unison conveyed by the team, then both the A and the B mark should be lowered. 4. JUDGING PAIRS SKATING 4.1 General 4.1.1 Unison Unison is a very important part of any good pairs skating routine. Unison is the ability of two bodies to appear as one. Good unison requires matching of all movements. Unison gives the impression of true team performance. Good unison is the finishing touch to a good pairs routine. A team displaying good unison should receive maximum credit on the A and B mark for the level of their technical ability. 4.1.2 Marking the Routine Two marks are awarded for the pairs routine. The A Mark - Technical Merit The B Mark - Artistic Impression Both the A and the B mark have the same importance. THE A MARK is awarded for:- Difficulty of content. Variety of content. Pairs2012 Edition 4 1

Quality of content and skating. Balance of difficulty of the items. Unison. Positive relationship of the skating to the music. THE B MARK is awarded for:- Ability of the team to interpret rhythm, tempo and mood of music. Strength, cleanness, speed and confidence in performance of items. Balance of the programme. Form, flow, movement, control and unison demonstrated throughout the programme. Choreography and programme arrangement to use the available skating surface. Entertainment value. ASSESSMENT OF ANY PAIRS ROUTINE MUST CONSIDER:- Balance of content items. Harmonious composition of programme in relation to the music. Content should represent all listed content groups. Content should be varied. Content should be at the same level of difficulty. Content items should be linked with varied footwork. Routine should use all of the skating surface in an interesting way. Choreography should be intimately related to the musical selection. Musical selection should have variety of tempo and rhythm. Unison, good form, carriage, strength, control of body line, and flow should be evident throughout. GIVE LESS CREDIT FOR:- Unbalanced routine or poorly constructed routine. Repeated content. Too many of one type of content at the expense of another content group. Content group not represented. Difficult items performed poorly. Poor unison and poor body control. Content items linked with plain skating. Lack of varied footwork and link steps. Skating that does not relate to the music. Poor choreography and poor use of skating surface. 4.2 Pairs Routine Items A pairs routine should contain the following items:- Shadow jumps Shadow spins Lifts Overhead Twist Throw Jumps Contact Spins Death Spirals Contact and singles footwork Shadow - Mirror - skaters in parallel. skaters symmetrical mirror image of each other. Pairs2012 Edition 4 2

4.2.1 Judging Points - Shadow Jumps The judging points for jumps and combination jumps are the same as for singles skating. Both partners perform the same item simultaneously. This may be one partner following the other or one partner beside the other. To receive credit in pairs skating, both partners must succeed in the performance of the item. Higher credit is given for teams who can achieve:- Distance of about 1.5 metres apart throughout jump from take-off to landing. Matched take-off, height, travel, rotation, landing and body position throughout. Combination jumps are particularly difficult to do with unison and teams who perform them well should be adequately rewarded. 4.2.2 Errors in Matching of Shadow Jumps - Descending Order of Importance Not matched take-off, rotation or landing. Matched take-off but not landing. Not matched take-off but matched landing. 4.2.3 Judging Points - Shadow Spins The most difficult item in a pairs routine to match. If there is an error it goes on for a long time and is obvious to one and all. Both partners must succeed in the item to receive credit. Should be performed at 1.5 meters apart. Should have matched entry, rotation, body line and exit. The spin must centre around an axis, have a minimum of three rotations in good body position. Each position in combination spins must be held for a minimum of three rotations. 4.2.4 Judging Points - Lifts - Overhead The difficulty of the lift depends on the hand hold and number of points of contact between the partners during take-off, rotation and landing rather than the number of rotations in the lift. Must have a recognised jump take-off for the lady. Two foot take-offs should be penalised. Lady should do 50% of the work. Good control and speed on entrance. Continuous motion without hesitation from take-off through rotation to landing. Rotation of lift should start immediately the peak of the lift is reached. Full extension of the arms at the peak of the lift. Controlled fast and continuous rotation by the man with movement across the floor. Rotation is achieved by tight Mohawk turns by the man, which should be turned and not slid around. Use of toe stops by the man on any part of the lift is not allowed. Lady should maintain a good body position throughout the lift which is appropriate for the lift being performed. The lift should have the same speed at entry and exit and should travel a good distance across the floor. Stationary lifts or lifts which do not rotate do not receive credit. Descent from the peak of the lift to the floor should be one continuous movement. Lady should not make contact with any part of the man s body during the lift. In particular the man s shoulders should not be used to assist in the ascent or descent of the lady. The lady should be placed lightly onto the skating surface. The lady should land on one foot on a precise edge without the use of the toe-stop or free foot. Good firm matched body positions should be maintained by both partners on the landing. Lifts in which the man loses control and has to lower the lady and then raise her back to the full height of the lift or to start the descent prematurely should be penalised. Pairs2012 Edition 4 3

4.2.5 Judging Points - Lifts - Combination Difficulty of combination lifts depends on the difficulty of the individual component lifts. General judging points are as for single position lifts. Each position in the combination lift should be held for two rotations not including the rotation where the position changes. Change of position should be done smoothly without loss of body control. 4.2.6 Lifts - Difficulty Difficulty is generally related to the contact points between the man and the lady during the execution of the lift. The fewer and more tenuous the contact points and the higher the extension, the more difficult the lift. Some examples ranging from easy to difficult are:- Bucket Lift, Passover Axel Flip, Lutz Airplane Press Lift Kennedy or Lasso Layout Lifts One handed Lifts No Handed Lifts Militano Star Lift Arm around the body - no true extension Hand to armpit, hand to shoulder Full extension of the man s arms to lady s waist Full extension of the arms of both man and lady. Both arms used to get extension and to control landing Full extension of the arms of both the man and the lady but only the left arm is used to lift during the first of the lift and only the right arm is used to control the last of descent. Hand to hand with layout Reverse Kennedy Mitilano with change of hand hold during the rotation of the lift and one or no hand variation. One hand and rotation by lady on landing 4.2.7 Judging Points - Twist Lifts Difficulty depends on the number of rotations by the lady. Both skaters are skating backwards for take-off, the man behind the lady. The lady has a Flip or Lutz take-off. The man must not throw the lady until his arms are at full extension at the peak of the lift. At the peak of the lift the lady is released and completes the rotation of the lift in the air. The lady must get height. The rotation of the lift should be completed before the man catches the lady and lowers her to the floor. The man must not show obvious strain when throwing the lady or lack of control of the body position when he catches her. There are two optional landings. Both the lady and the man rolling backwards. Face to face with the lady rolling backwards and the man rolling forwards. Higher credit is given for the face to face position on the landing. Lower credit is given if the man is in a spread eagle position or travelling backwards on the landing. 4.2.8 Judging Points - Throw Jumps These are jumps in which the lady is assisted by the man to achieve the height, travel and rotation of any recognised jump. Difficulty depends on the number of rotations by the lady. The lady must actually be thrown. The lady must achieve good height and momentum. Rotation in the air must be complete. Pairs2012 Edition 4 4

The man must not show obvious strain or stumble while throwing the lady. The lady must maintain good body control during the rotation and on the landing and not buckle, tip onto the toe stop or drop the free foot. 4.2.9 Judging Points - Death Spiral Can be done on any edge or direction. The OB is the easiest and the IF the most difficult because of the awkward angle of the hand hold for the lady. The entrance is usually a large circle, which ends in a pivot for the man. The man places the toe-stop of the left skate immediately behind the right foot and pivots around it. He should not drag the toe-stop over the floor or adopt a spread eagle position. The man s position should be as low as possible and on the same radius of the circle as the lady. The lady s hips should be inverted with the back arched and the head as low as possible. The hand hold should be with one hand of each partner and as light as possible. The hand hold should not maintain the lady s motion. The lady should be on an edge with at least three wheels on the floor. The death spiral position should be maintained for at least one revolution. Exit should be controlled, with good body line and matched. 4.2.10 Judging Points - Contact Spins Entrances should be on clean and precise edges. Positions must have good body lines and be matched to receive high credit. Spinning edge and position must be held for at least three revolutions. Exits must be clean and precise and the spin must finish on a spinning edge. No toe stops are to be used on the spinning edges. In the impossible spins the man must be on one foot only and he must be spinning on one foot when rising from the impossible sit. Make sure the lady is spinning in the over head camel spins. In combination spins each position must be held for two revolutions. The revolution when the position changes is not counted. The difficulty of a combination spin depends on the difficulty of its component spins. 4.2.11 Judging Points - Footwork The value of footwork in free skating routines can be measured by the fact that it is one of the three major components of the programme and is considered equal in importance to the jumps and spins. Inclusion of original and interpretative footwork into a free skating routine assists the skater in lifting the performance to a much higher plane and would thus allow the judges to assign higher marks for both A Mark and the B Mark. 4.3 Footwork Classified Primary Footwork - Steps or sequences of steps not involving turns of any kind; also leaps or hops without excessive lift. Secondary Footwork - Steps or sequences of steps involving two-foot turns, toe-stop turns and Half Turn Step Jumps without excessive lift. Advanced Footwork - The most difficult variety. All other steps or sequences of steps involving one foot turns, One Foot Half Turn Jumps (3 s, Rockers, Counters and Brackets) without excessive lift, loops and other one-foot manoeuvres, such as difficult changes-of-edge or changes of lean and direction, performed alternately with both skates on or close to the skating surface. The creation and execution of advanced footwork should reflect the highest technical abilities of the sport. 4.3.1 Side by Side Footwork During the execution of side by side footwork in pairs skating, the movement of the body, arms, legs and hands should be matched as closely as possible, presenting the team as one. Pairs2012 Edition 4 5

4.3.2 Contact Footwork Contact footwork is a compulsory item in pairs skating. When presenting contact footwork, a pairs team may execute the same movements as found in individual footwork. Any segment of contact footwork movements must be completed while the team maintains some sort of physical contact. When contact footwork is skated to lively bouncy music, these segments will travel quite a distance down the skating surface. At other times, the footwork may be restricted to a very small area of the skating surface, enhancing a slow section of music in a circular pattern. In any instance, it is important to remember that the insertion of contact footwork must fit the musical selection and not simply be added to fulfil some preconceived notion of the event requirements. In order to add any value to a pairs skating programme, footwork of any type must complement the music, as if the ideas for both the music and the footwork were created at the same moment. Although performed mostly in line, there are certain times in some programmes where, while performing turns, the team members could be aligned one behind the other. Whatever the position of the partners, the steps, hops, and body leans should be constructed with imagination. Although there are many variations of steps, it must be remembered that edges create motion and that motion gives the impression of the spectacular - an important effect from the viewpoint of judge and spectator alike. 4.3.3 Shadow Footwork Shadow footwork is exactly what the name implies - a footwork segment of varying difficulty completed by each partner as a matching image of the other. Shadow footwork should involve a duplicate action of one team member s movements to the other which may consist of any action, motion, or series of steps. The simplest way to picture the execution of a shadow move would be to imagine the team performing spread eagles, with one partner behind the other. Shadow footwork may be accomplished with partners skating either side by side or in line but separated. Pairs programmes should contain at least one segment of shadow footwork. The performance of this footwork not only demonstrates the ability of the team to skate together in unison. It also reveals the strengths and skating ability of each team member. No matter what type of footwork is included in a pairs skating programme, each type should be well planned and well executed. The use of arms, hands, legs and other expressive body movements serves to enhance the value of footwork and will blend the movements to the music. Every effort should be made to match each step in the segment as closely as possible, projecting the image of symmetry for which all pairs teams should strive. FOOTWORK: Indicates the general ability of the team to roller skate. Should contain a variety of turns and edges performed in both directions. Should be done with the feet and not the arms. Should be fast and move across the floor. Can be contact, shadow or mirror. Should be matched in all respects. Skaters should be close together. Should fit the music and be varied and interesting. Should connect and be related to content items. 4.3.4 General Comment When marking freeskating of any sort, it is not necessarily the skater or team with the most difficult item of content who wins the competition. It is the level of difficulty, variety, balance, choreography, relationship to the music and general quality, strength and confidence of the overall performance which is assessed. In pairs skating the additional item of unison is of paramount importance in the assessment of the package and is the finishing touch to the ultimate aim of the polished performance. Pairs2012 Edition 4 6

5. Spins in Roller Pairs Skating 5.1 Categorising Spins 5.1.1 Importance of the spinning axis In addition to edge quality and body position, the axis (baseline of rotation for turns) is the main ingredient of a good spin. When the body is placed in the correct position and a pure edge is pressed, the body begins to spin around the axis. The more the body stretches away from the partner during a circle type spin, the stronger the spin becomes as the spinning axis moves between the two skaters. Pairs spins maintain their momentum (or spinning energy) through two methods - by pulling away from each other or from the axis of the spin. The more the skater pulls away from the centre or axis of the spin, the faster the skater is able to spin. As the partners stretch their spinning position, they increase their spin energy. During the Pull Camel for example, the man spins on the axis while the lady spins around it. The stronger the pivot used by the man, the stronger the position of the spin will become. 5.1.2 Spin Entrances There are many techniques used to initiate spins, but the most common involves the partners circling at a distance around a common centre, moving closer and closer until they meet at that centre. Other methods may include pulling the lady into a spin, or using a recognised jump such as Catch Axel Camels. Whatever method is used, the variety and inventiveness used in designing spin entrances and exits will serve to enhance both the spin and the overall programme. The following list of spins provides skaters, coaches and judges with a general idea of the relative difficulty of the spins. Once again, it should be noted that each skater and / or team may find one or another item easier or more difficult due to height, weight, or technical ability of either partner. Teams close to the same size will find it more difficult to do impossible and overhead spins. Teams where the lady is smaller in stature will find it more difficult to meet and generate speed at the beginning of a spin, as well as to create the desired body lines and overall aesthetic appearance. The characteristics of each team and spin must be evaluated on an individual basis. 5.1.3 Spins (listed in descending order of difficulty) A Impossibles B C D 1 Impossible Sit with Twist 2 Impossible Sit 3 Impossible Camel with Twist 4 Impossible Camel Hazel Spin Lay Over Camel 1 Lay Over Camel (Lady without hand contact) 2 Lay Over Camel Face to Face Sit 1 Face to Face outer Back sit 2 Face to Face inner Back Sit NOTE: While this does not exhaust the possibilities of other spins and positions, it does contain the majority of spins used in pairs skating today. Pairs2012 Edition 4 7

5.1.3.1 Circle Spins Timing is very important in the proper execution of circle spins. The partners start together, pushing forward and away from each other on right outer forward edges. When entering the spin, the partners must remain equal in speed and remain positioned directly across from each other on an imaginary arc. Halfway around the circle, both partners must turn backwards (using either a three turn or mohawk) and begin skating towards each other on a right inner back edge. Just as the partners meet, they step to left outer forward edges and grasp each other, increasing the depth of the left outer forward edge. At this point, it is very important for the partners to remain on edges (not flats) as they begin to spin around each other. From this point, a variety of spins, edges, and holds is possible. Outer Back Camel The outer back Camel is the most important spin for a pairs skater to master. Because most of the combination pairs spins utilise the outer back Camel, this spin serves as the foundation for pairs spinning. Since the proper execution of this spin will determine the ability of the partners to match their relative spinning positions, it is important to master this spin without the use of toestops. Once the spinning position is established, there must be a constant push from the free leg and stiffening of the back and stomach muscles to make the position as strong as possible. The development of strength will allow the later introduction of more difficult positions, such as the man holding the lady above the skating surface. The strength of the spinning position and the amount of energy remaining at the conclusion of the spin outweighs the number of revolutions accomplished. OUTER BACK CAMEL SPIN Without good execution, the number of revolutions becomes worthless. 5.1.3.2 Shadow Spins CIRCLE CONNECTION In modern pairs skating, shadow spins are a compulsory item. In order to attain its full potential, the team must master this type of spin. Each partner of the team must attempt to match the other as closely as possible throughout all aspects of the shadow spin - entrance position, edge quality, and the positioning of the body, arms, hands, and free legs. Since this is a very difficult aspect of the discipline, judges should award a greater degree of credit to a team which can successfully execute a shadow spin. Only practice and a watchful eye can make the shadow spin (or any other item of content) a success. The coach will have to work many hours with the team to achieve this victory. Coach and team alike will need both discipline and determination - two important qualities in any aspect of the sport. Pairs2012 Edition 4 8

5.1.3.3 Hand in Hand Upright or Camel FORWARD Both spins begin on either right outer back or left outer forward edges. During the outer back spin, the right hands will be joined. The left hands will be joined while spinning on the outer forward edge. In either position, the arms must be held firm and motionless, except around the axis of the spin. There will be a slight pull away from the partners to retain the momentum of the spin. The position assumed in the execution of the Hand in Hand Upright will include a slightly bent skating knee, straight backs, erect heads, and straight and extended free legs with the toes pointed down and out. The exit of the spin is optional as long as good body positions are maintained. During the execution of the Hand in Hand Camel, both bodies should be positioned in either the outer back or outer forward camel position. Good body position should be exhibited, with heads erect, backs straight, and arms extended to the sides. The free legs should be fully extended, with toes pointed down and out. The exit from this spin is optional. BACKWARD HAND IN HAND CAMEL OR UPRIGHT Death SpiralBoth partners roll backward in a small circle. The man grasps the lady s right wrist with his right hand and leans his body back, away from the lady. When he does this, the lady also leans back. The man then bends his knees and pivots around his left toe stop. The lady s position should be pushed up at the hips, shoulder leaning down and free leg in a straight line from head to toe. Her head should be held slightly down. To complete the Death Spiral, the man pulls up on the lady s arm as she pushes with her leg to finish in a right outer back spiral position. NOTE: It is very important for the man to maintain a steady backward pull on the lady, allowing her to hold her body position while retaining the momentum of the above. DEATH SPIRAL Pairs2012 Edition 4 9

5.1.3.4 Pull Around Camel This spin begins with both skaters facing forward, with the man grasping the lady s hand with his right hand in the thumb pivot grip. As the man pulls the lady around on a right inner forward edge, she will deepen the edge and rock to the outer back edge while executing the camel position. As this occurs, the man should grasp the lady s left hip with his left hand, pulling the lady in the camel position as he steps to his right outer back and joins her in the camel position. The spinning position of both partners should be matched, demonstrating good spinning form as previously outlined. The exit of this spin is optional. FINISH START PULL AROUND CAMEL 5.1.3.5 Pull Around Camel Over Inverted Done in the same manner as the Pull Around Over the Head Camel, except that the lady leans backward to the inverted position, after which the man s free leg passes over her body. The exit position of the spin is optional. NOTE: Judges should take care to notice if the man uses his toe stop while passing his free leg over his partner s body. This is an error. PULL AROUND CAMEL OVER INVERTED 5.1.3.6 Pull Around Over the Head Camel Also initiated like the Pull Around Camel, the man will complete one full revolution more than the lady by passing his left leg over the lady s body. The exit of this spin is optional. Pairs2012 Edition 4 10

5.1.3.7 Pull Around Catch-Waist Camel This spin begins in the same manner as the Pull Around Camel, except that the man rotates one-half revolution more while holding the lady s left hip with his right hand. The partners should be facing in opposite directions. The exit of this spin is optional. PULL AROUND CATCH-WAIST CAMEL 5.1.3.8 Tango or Face to Face Camels Using the circle entrance, the lady pivots one half-turn farther so that both partners will be facing the same direction. The man should be in the right inner forward camel position; the lady on the left inner back camel position. The man s right and the lady s left hands should be joined in front of the team, with the man s left hand grasping his partner s left hip. The positioning of both partners should match and good spinning posture should be evident. The exit from the spin is optional. TANGO OR FACE TO FACE ACE TO FACE (TANGO) CAMELS 5.1.3.9 Lay Over Camel After executing the circle entrance, both partners change to the right inner forward edges as they meet. The man then changes to a right outer back camel, while the lady switches to the inverted position. It is also possible for the man to change feet at this point and perform an IB camel. The man grasps the lady at the small of the back; the lady grasps her partner s shoulders. The lady must retain control of her free leg by stretching to match the line of the man s free leg (the left side of his body should be facing upward). She must be actually spinning on an edge and supporting her body weight - not letting her skating foot drag. LAY OVER CAMEL NOTE: When executing the camel, the man must torque his free leg as much as possible to keep the spin moving. At the same time, he must also keep his upper body position as strong as possible to support the lady. At no time during this spin can there be any bending down by the lady or bending forward by the man. The exit is optional, but every effort should be made to finish the spin in good style. Pairs2012 Edition 4 11

5.1.3.10 Face to Face Inner Back Sit Spin Using the circle entrance, the partners face each other while spinning on the left inner back edges, free legs extended straight back. Using both hands, the man will grasp the small of the lady s back while the lady grasps her partner s shoulders. To maintain the proper body position, the backs of both partners must remain firm as the partners lean away from each other. Backs and free legs should remain straight, with heads erect. The exit of this spin is optional. FACE TO FACE INNER BACK SIT SPIN FACE TO FACE OUTER BACK SIT SPINExecuted by the same method as the inner back sit spin except that both partners will spin on the right outer back edges. 5.1.3.11 Impossible Spins Using a circle entrance, the team executes a Lay Over camel spin, after which the man moves his right hand down to the lady s left leg and lifts her off the skating surface. The lady must remain very rigid during the spin. To exit the spin, the lady lowers her right leg to the skating surface and both partners stand up, rolling on right outer back edges. 5.1.3.12 Impossible Sit Spin Executed in the same manner as the Impossible spin, except that the man spins in a sitting position. The man must continue to spin on one foot until he achieves the upright position. 5.1.3.13 Impossible with a Twist Accomplished as the Impossible Spin, but as the lady is raised off the skating surface, she flips over and faces downwards. NOTE: The exit of all impossible spins is optional after assuming the outer back edge position. Remember that all existing positions should be done in good form with the heads erect, arms stretched, backs straight, and the free legs straight and fully extended. Pairs2012 Edition 4 12

5.1.3.14 Hazel Spin After a circle entry, the partners will catch each other in a face to face position while skating on left outer forward edges. Simultaneously, the lady will change to the right inner forward edge as the man swings his right leg around and forward to a left inner back position. The lady should then snap to a right outer back sit in which her free leg is extended behind her. The man should grasp the small of the lady s back with both hands; the lady should grasp her partner s shoulders. NOTE: The lady may choose to release both hands while spinning in this position. 5.1.4 Lifts in Roller Pairs Skating When properly performed, the execution of the overhead lift can be the most breathtaking component of any pairs skating programme. Many lifts make up the repertoire of the pairs skaters. The following lift listing is designed to provide judges, skaters and coaches with a general idea of the type and relative difficulty of each of the different lifts. It should be noted that each skater and / or team may find some items more difficult to complete due to variance in the height, weight, or technical ability of the partners. In general, teams in which each partner is similar in size require a greater degree of unison, timing, strength and rhythm to complete the moves. 5.1.4.1 Lift Difficulty The difficulty of the lift depends on the hand hold and the number of points of contact between partners during take-off, rotation and landing rather than the number of rotations in the lift. The most difficult lifts for any pairs team to accomplish are the combination lifts, which are composed of two or more of the lifts listed below. The possibilities for combination lifts are endless. The degree of difficulty for each combination, however, can be measured by the difficulty of the individual lift positions rather than the number of positions attained in each lift. In order to receive full credit as a valid part of the combination, each position in a combination lift must be held for two (2) full rotations 5.2 Categorising Lifts 5.2.1 Lifts (Listed in descending order of difficulty) A MILITANO 1 Star position 2 No-handed by the lady 3 One-handed by the lady 4 Two-handed position B TWIST LIFTS 1 Triple (3) twist 2 Double (2) twist C KENNEDY 1 One-handed, Kennedy position 2 One-handed, Layout position 3 Two-handed, Kennedy position 4 Two-handed, Layout position D CARTWHEEL Pairs2012 Edition 4 13

1 T position 2 T position, legs split 3 No-handed, Cartwheel position by the lady 4 One-handed, Cartwheel position by the lady 5 Two-handed, Cartwheel position by the lady E PANCAKE 1 One-handed Pancake position 2 Two-handed Pancake position F PRESS (OR FORWARD EXTENSION) 1 One-handed, Press position 2 One-handed, Layout position 3 Two-handed, Press position 4 Two-handed, Layout position G AIRPLANE 1 No-handed position by the lady 2 One-handed position by the lady 3 Two-handed airplane position by the lady H KICK-OVER FLIP 1 Kick-over flip with twist 2 Kick-over flip I AROUND THE BACK LIFT J LUTZ OR FLIP LIFT 1 Full split position 2 Reverse split position, one-handed 3 Reverse split position, two-handed 4 Half turn Flip or Lutz K PASS OVER AXEL 1 One-arm Pass Over 2 Two-arm Pass Over L BUCKET OR PULL THROUGH Pairs2012 Edition 4 14

5.3 Special Notes on Lift Execution While each lift is accomplished in a slightly different manner, there are certain fundamental rules which must be observed in the teaching of every lift. A few of these important guidelines follow. When beginning any lift, a combination of the man bending down and the lady jumping up will make it easier for the man to raise the lady to the proper lift position. The man should never have to lift the weight of the lady from the floor - he should only lift the weight of the lady on her way up. While rotating, the man should never push the inner forward edges. He should use his entrance speed to keep the lift moving down the floor and should not use his toe-stops at any time during the rotation of the lift. He should use a series of quickly executed forward to backward mohawk turns, accomplished in the heel to heel position, to complete the required number of rotations. The man s body position should be upright, with forward lean and bent knees only when necessary. In all lifts, the lady must sustain her position as long as necessary until the lift is completed. The lift will be completed with both partners rolling on solid edges, with landing positions extended as much as possible. The employed knees of both partners should be bent as much as possible to obtain the desired landing position. 5.3.1 Bucket or Pull Through Lift The bucket lift is a fundamental lift and a good lift for beginners. As the man rolls backward and the lady rolls forward, the lady grasps the man s right hand with her left hand. After a stretch of the free legs, the man pulls the lady towards him, bending both knees when she gets close and rolling on his right outer back edge. Bending her right knee, the lady jumps up to the man s left hip while turning. At the completion of the move, she reaches around the man s neck with her right hand and grasps his shoulder. HIGHER POINTS RECEIVED FOR POINTS DEDUCTED FOR 1 Control and speed of entrance 1 Unrecognised jump take-off or edge landings 2 The lady s position with back arched and head up 2 Use of man s toe stops on take-off, rotation or landing 3 Control and unison of landing 3 Incorrect body positions of either partner 4 Use of lady s toe stop or dropped free leg on landing Pairs2012 Edition 4 15

5.3.2 Pass Over Axel To begin the lift, both partners should be rolling on outer back edges. The man s right hand is around the lady s back, with the lady s left arm around the man s right shoulder. As both partners step to left outer forward edges the lady, on the man s right side, will swing up to a position facing him on the first half rotation. The man then changes his holding arms from right to left and continues the remaining half rotation, placing the lady down backwards at his left side, with both partners on right outer back edges. In the landing position, the body position of each member should match as closely as possible with heads erect, backs straight, free legs extended and with toes pointed down and out. 5.3.2.1 One - Arm Pass Over Axel The entrance to this lift is the same as the regular pass over, except that on the take-off the lady turns her body one half turn. With her body resting on the man s right shoulder, the lady sustains her position by pushing herself up with her right arm. The man then rotates one half turn, places the lady down on a right outer back edge and matches her landing position on a right outer back edge. 5.3.3 Around The Back Lift The starting position for this lift has the man rolling backward on two feet while the lady rolls on the left inner back edge. With his left hand, the man will grasp the lady s left underarm (palm facing up, thumb towards her chest). The man s right hand is extended over his head, grasping the lady s right wrist or hand. She grasps the man s right wrist or hand. Pairs2012 Edition 4 16

As the man bends to lift the lady, she will toe plant with her right foot and press up to the man s left shoulder with her left hand. As she begins this motion, the man continues his lift using the lady s momentum and raises the lady directly up and behind his body. At the apex of the lift, the lady will be resting on the man s back, with both partners facing in the same direction, arms fully extended. The lady splits her legs with toes pointed, sustaining the position with her left hand while keeping her head erect and her back as straight as possible. After the completion of the required rotations, the man will bring the lady around and place her on a right outer back edge in front of his body as he steps to a left outer edge. Holding the lady s right hand in his left, both partners present a strong landing position. As always, good posture should be observed, with the free legs fully extended and the toes pointing down and out. HIGHER POINTS RECEIVED FOR POINTS DEDUCTED FOR 1 Control and speed of entrance 1 Unrecognised jump take-off or edge landings 2 Lady s position with back arched, head up, legs straight in full split with toes pointed and lady s body position held away from man s back 3 Control of man s body position and rotation 2 Use of man s toe stops on take-off, rotation or landing 3 Incorrect body positions of either partner 4 Control and unison of landing 4 Lady s position hanging on man s back 5 Lift not fully extended 6 Use of lady toe stop or dropped free leg on landing 5.3.4 Lutz or Flip Lift (Reversed Split Position) Both partners roll backwards, with the lady positioned on the man s right side. The lady s left hand is on the man s right shoulder, the man s right hand under the lady s left underarm, the lady s right and man s left hands joined in front of the body and slightly down. The lady toe plants with her right foot, beginning her ascent as the man raises her to a reversed split position. In the fully extended position, the lady will be facing towards the man. The lady will finish on a right outer back edge and, as long as the required number of rotations are completed, the man s landing position is optional. The man may face either forward on a left outer edge or backward on a right outer edge, matching the landing position as much as possible. The usual posture for lift landings should be maintained. Pairs2012 Edition 4 17

HIGHER POINTS RECEIVED FOR POINTS DEDUCTED FOR 1 The control and speed of entrance 1 Unrecognised jump take-off or edged landings 2 Lady s position with back arched, head up, legs straight in full split with toe pointed and no upper body movement during change of split 3 Control of man s body position on rotation 2 Use of man s toe stop on the take-off, rotation or landing 3 Incorrect body positions of either partner 4 Control and unison on landing 4 Lift not fully extended 5 Use of lady s toe stop or dropped free leg on the landing Pairs2012 Edition 4 18

5.3.4.1 Lutz or Flip Lift (Full Split Position) HIGHER POINTS RECEIVED FOR POINTS DEDUCTED FOR 1 The control and speed of the entrance 1 Unrecognised jump take-off or landing 2 Lady s position with back arched, head up and legs straight in full split with toes pointed 3 Control of man s body position on rotation 2 Use of man s toe stop on take-off, rotation or landing 3 Incorrect body positions of either partner 4 Control and unison of the landing 4 Lift not fully extended 5 Use of lady s toe stop or dropped free leg on the landing The team begins the lift rolling backward on either the inner back or outer back edge of the left skate. The lady s left hand is on the man s right shoulder, the man s right hand is under the lady s left underarm, his left hand and the lady s right hand joined I front of the partners. At take-off, the man bends his knees as the lady toe plants with her right foot. Jumping up she pushes hard with her left hand, leaning over it as the man pushes up with his right hand. As he balances her weight with his left hand, the lady must reach full extension, legs in a full split with straight back and head up. The landing position is optional. The lady may land in front of the man on a right outer back edge (with the man finishing in front on a left outer forward edge); or the lady may rotate the half turn in front of the man, landing on a right outer back edge with the man matching her position. Whichever method is used, good posture should prevail as indicated by straight backs, heads up, and free legs fully extended with toes pointed down and out. 5.3.5 Kick Over Flip Lift Pairs2012 Edition 4 19

The lift begins with the skaters in the same position as in the Flip or Lutz Lift. The lady is raised to full extension, locking her left arm while stretching her right leg over the man s head. She should maintain a straight body line. The man lifts with his right hand and arm. At the top of the extension (as the lady kicks over), he releases his right hand hold, catching the lady with either hand as she assumes the landing position. Both partners should complete the landing on a right outer back edge, the lady doing this without any break in posture. The standard posture requirements should be observed. During the execution of this lift, the man should maintain a straight body axis, with no noticeable bending at the waist. The man does not rotate during this lift and should not use his toe stops at any time. HIGHER POINTS RECEIVED FOR POINTS DEDUCTED FOR 1 Control and speed of entrance 1 Unrecognised jump take-off or edge landings 2 Lady s kicks over with legs straight in full split and extended completely over man s head 2 Use of man s toe stops on take-off, rotation or landing 3 Control of man s body position 3 Incorrect body positions of either partner 4 Control and unison of landing 4 Lift not fully extended 5 Sitting on man s shoulder before descending to the floor 6 Use of lady toe stop or dropped free leg on landing Pairs2012 Edition 4 20

5.3.6 Kick Over the Head Flip With a Twist The starting position is the same as the Kick Over Flip. After the lady reaches the fully extended position with her right leg over the man s head, she will make slight contact with her body to the man s shoulders. When the man feels this contact, he will raise his shoulder by lifting with his legs. When the lady feels this, she will snap her body into a rotating position, rotating one turn and landing on a right outer back edge in the same position as in the Kick Over Lift. 5.3.7 Swing Lift (One rotation)both partners roll backward, lady on man s right side, man s right arm around lady s back, lady s left arm around man s right shoulder. Lady holds man s left hand with her tight hand, both step to LOF edges with the man swinging the lady aloft as they step, with lady swinging her tight leg up as the man swings her up. The lady kicks her legs together as her right leg reaches its maximum height. Man turns one rotation, landing lady on a ROB edge in front of him as he rolls on a LOF edge. 5.3.8 Airplane Lift (Basic Take-off) This lift begins with the partners facing each other, man rolling forward. Grasping the lady s hips (thumbs facing in), the man bends to start the lift as the lady toe plants with her right foot. Once the lift begins, the lady presses her body over his shoulders and extends her arms. The man raises the lady s hips over his head to the extended position, there the lady fully splits her legs, arching her back and lifting her head. She must keep her arms locked during rotation. The man lowers the lady in front of him, placing her on a right outer back edge, while he skates to a left outer forward edge. Good posture should be maintained. Pairs2012 Edition 4 21