Justice for Jumping: Part 3

Justice for Jumping Part 3

BY DOUG HAW, MFF, MM

Jump Combinations and Sequences

Jump combinations consist of two or more jumps in which the landing edge of the first jump serves as the take-off edge for the second jump. There is no change of foot or turn between the jumps, although the toe may be used to assist the take-off.

Any jump combination (and sequence) is one jumping pass in scoring.

Athletes must mentally think that even though there are two or three jumps in the combination, it is “one” element in their strategy!

The jumps of a combination should be approximately the same height and length and should flow continuously. The timing for each jump is relatively the same. In a two-jump combination there are two commonly executed second jumps: the toe loop and the loop.

The toe loop jump is easier from a technical point of view because of the toe assist. A loop as the second jump is more difficult because the landing leg must absorb the force or impact of the first jump and create the impulse (more force over less time) of the second jump without assistance.

Balance and timing are critical to the success of a combination jump. If a skater is properly balanced on the “check out” of the landing phase of the first jump, the landing leg simply bends (at the hip, knee, ankle, and ball) to load for the second jump. The free leg is extended forward with dorsiflexion at the ankle. The free foot should be carried inside the landing arc with a slight contraction of the hip adductor muscles in the groin and then the tension is released to create the desired action for the take-off of the second jump (which varies from toe loop to loop jumps). The upper body is also in harmony with the lower body by facing into the circle with the free arm forward and the skating arm backward. Both arms take on the shape of the circle created here (like your arms are holding a giant tractor tire). The skating arm is open palmed (thumb up) with the shoulder blade pinching into the spine. The free arm is forward and relaxed with the palm facing the skater’s body.

The head and the eye focus thus play a huge role in the combination jump. The challenge for stability on landing of the first jump relies on the skater’s ability to control the transfer from rapid generation of angular momentum to slow generation of angular momentum [angular momentum equals product of a skater’s moment of inertia and angular (rotational) velocity]. The head “checks” into the landing arc in concert with the eye focus being critical to achieve stability. The eye focus is locked on a selected horizon (or spot on the ice). This ensures that the head will be carried “up” with the “spine in line”. If there is any curvature of the spine the jump is lost! Every body part that can be recruited into the function of the second jump should be brought into play. The skating arm should be released from the strong check (where the shoulder blade is pinched into the spine) and strongly brought across the chest “fast and furious” to create as much rotation as possible! Remember, the head moves last on the take-off of the second jump!

The size of the arc is an important consideration to maintain flow and energy between jumps. Even though skating is a “curvilinear” sport running on all edges, the skater must “think” the jumps are executed in “straight” lines (shallow arcs) to ensure the hips are always square to the arcs (as they rotate).

Breathing is also a strong consideration in combination jumps. The skater must keep the inhale throughout the whole jump combination execution. The skater needs more speed for a jump combination than a solo jump. Always emphasize the second jump as only “up” as the skater has less speed. Where there is less speed in the second jump – curve on the landing from the first jump slows down the horizontal speed, and this concept is used for a second jump take off.

Pay attention to the length of the arc in between the jumps. Most skaters make the arc (or runway as I mentioned in my first article on “jumpisms”) too short and thus technique will be incomplete and flawed. There needs to be no hesitation throughout the execution of the combination jump!

The principle of the “skipping stone” over water should be employed. Too much height in the first jump results in overloading the second with too much “falling weight” and overloads the timing of the second jump. When executed properly, there is a “down, up, down, up, down” rhythm or timing used. The pattern on the ice is two jumps on the relatively the same arc so the second jump directly follows the first jump which makes them in “tandem” (no “U” turn for the second jump)! Flow and timing should be the major consideration to achieve the “skipping stone” principle. Skaters need to emphasize the height on the second jump for this reason.

Listen for silence…. this ensures that the edges are working efficiently throughout the landings and take-offs.

Exercises

There are several exercises to improve the success and efficiency of jump combinations and sequences.

• Walk through the combination/sequences

• Single/single

• Double/single

• Single/double

• Double/single/double

• Double…hold the landing with the free foot in front and isolate the position while gliding

• Double…hop up and down with no rotation, then single

• Double…hop up and down with no rotation, then double

• For toe loop, try a “split” single toe loop to develop straight free leg on double toe take-off

• Execute first jump then “add on” as many doubles as an exercise to develop strength, rhythm, and accuracy

• Host a “Combo Jump Contest” with other athletes…. the skater with the most successful combo attempts wins a prize! Great motivator!

Toe Loop Combination Jumps

The free foot is extended forward simultaneously with the free arm forward directly above the free leg when landing the preceding jump in the combination.

The skating arm is extended back so the shoulder blade pinches the spine to “check” the landing as well as to create a potential torque to be released for the rotation of the toe loop (like a sling shot).

The weight of the skater is on the ball of the skating foot then rocking to the heel just at the moment of take-off.

The free foot moves first slightly inside the landing arc with a “pinch” or contraction of the groin muscles in the “hip girdle” area. This creates stronger stability over the skating foot. The skater will release the tension of the adductor muscles in the groin in a circular motion from forward to the side of the skating foot with the toe pointing upward. At the side of the skating foot the free foot rotates outward (turned out) as it travels to make contact with the ice behind the skating hip. The shape of the arc slightly changes to a sub curve here as the skater’s lean changes to accommodate the wide free leg.

The free toe is placed “almost” forward on the inside edge of the toe rake with the body leaning forward as far as the free leg is extended back (they are on the same plane or angle).

The skating foot pivots past the tapping foot so the print on the ice of the toe tap is inside the circle and in line with the end of the back outside edge.

The head does not move from the landing of the preceding jump to the take-off of the toe loop and the line of vision or sight line is inside the landing arc (as mentioned above).

The arc of the edge is circular (and on a large radius) except for the slight sub curve when the free foot sweeps wide to the side as it passes the skating foot then resumes the same arc as it extends back.

The two jumps should be in tandem (with even rhythm and a pattern like a rock skipping across the water).

For a full visual of an excellent execution of a toe loop combination, Google “Yuna Kim’s triple Lutz triple toe loop”.

Loop Jump Combinations

When landing the preceding jump in the combination, the free foot is extended forward, inside the landing arc simultaneously with the free arm forward directly above the free leg.

The skating arm is extended back, so the shoulder blade pinches the spine to “check” the landing as well as to generate a potential torque to be released for the rotation of the loop (like a sling shot). I think there is less torque generated between a jump and loop than a jump and toe loop due to the wide free leg movement.

The sight line or line of vision is more into the circle on the loop take-off than the toe loop (to ensure the skater’s weight is directly on the skating foot).

Side view of landing position of first jump

The chest is “checked” or “faces” into the circle. The shoulders are directly over the skating foot blade.

The skater draws up with the free thigh to create the “h” position to take-off with the outside of the free leg knee. The free heel remains inside the arc the entire process.

The free foot is positioned on an angle (approximately forty-five degrees) to the vertical position of the landing leg as if it were on an outside edge, throughout the landing to the loop jump takeoff.

The upper body rotates through the waist with the hips square to the arc, and the back facing into the circle just prior to take off (the hips “catch up” with upper body to take off in a square position facing forward into the direction of travel).

The two jumps should be in tandem (with even rhythm and a pattern like a rock skipping across the water) with one jump directly in line with the other.

Front view of landing position of first jump

Sequence with an “Euler”

The jump sequence with an “Euler” should be placed on a continuous circle for the flight patterns. The skater feels as if they have to make the edges shallower (larger radius) than if each of the jumps were done in isolation. The “skipping stone” theory is a must to carry the flow from one jump to another. The trunk of the body must remain firmly held through each landing/take-off phase to prevent a rocking horse effect. The role of the arms and the distance the arms are held away from the body is very important to eliminate hooking on the take-off edges (otherwise the skater looks like a dog chasing its tail). It is important that the skater uses edges and not toe-scratches on the landings or each jump in succession will become smaller. On the landing of the first jump the skater must keep the free leg in front and slightly inside the landing arc for the “Euler” take off. On the landing of the second jump (Euler) the free leg is extended back behind the free hip with a “turned” out free foot. The head does not move from the landing of the preceding jump to the take-off of the next jump, and the line of vision or sight line is inside the landing arc (as mentioned above).

It is critical that the “Euler” take-off edge is shallow to keep the circle consistent and the BI landing arc is large enough to execute the final jump that will produce a jump that travels.

The skater should “think” the “Euler” covers the greatest distance of the three jumps. Work towards a rhythm or lilting action throughout the sequence. As close to a consistent circle arc of all three jumps is critical to the flow and energy of the sequence.

Article reviewed by Dr. Lee Cabell

Doug Haw is PSA Master rated in Figures, Free Skating and Moves and Canadian NCCP Level 5 Olympic coach status. He is an author of MIF as well as a presenter of seminars worldwide. Currently, Doug is a Governor on the PSA Board of Directors. Please contact hawskate@gmail.com for more information.

Doug Haw, MFF, MM