Мұз шабу спортындағы фигуралар тарихы

Element in a figure skating competition

Compulsory figures or school figures were formerly a segment of figure skating, and gave the sport its name. They are the "circular patterns which skaters trace on the ice to demonstrate skill in placing clean turns evenly on round circles". More coaches are learning the new methods developed by World Figure Sport to teach them to skaters, as some skaters and coaches believe that figures give skaters an advantage in developing alignment, core strength, body control, and discipline. The World Figure Sport Society conducts workshops, festivals and world competitions in compulsory (now known as fundamental figures), special, creative, free, flying figures, and fancy skating

Tracing figures in the ice is the oldest form of figure skating, especially during its first 200 years of existence when it was a recreational activity practiced mostly by men. Combined skating, or "patterns of moves for two skaters around a common center marked by a ball and later an orange placed on the ice", had a "profound historical significance" to the sport that eventually manifested itself in ice dancing, pair skating, and synchronized skating, and dominated the sport for 50 years in England during the 18th century. The Art of Skating, one of the earliest books about figure skating, was written by Robert Jones in 1772 and described five advanced figures, three of which were illustrated with large color plates. Jones' limited body of figures, which emphasized correct technique, were the accepted and basic repertoire of figures in 18th century England. The Edinburgh Skating Club, one of the oldest skating clubs in the world, described combined figures and those done by multiple skaters; interlocking figure eights were the most important. According to writer Ellyn Kestnbaum, the Edinburgh Skating Club required prospective members to pass proficiency tests in what became compulsory figures. The London Skating Club, founded in 1830 in London, also required proficiency tests for members and pioneered combined skating, which contributed to the evolution of school figures. Artistic skating in France, which was derived from the English style of figure skating and was influenced by ballet, developed figures that emphasized artistry, body position, and grace of execution. Jean Garcin, a member of an elite group of skaters in France, wrote a book about figure skating in 1813 that included descriptions and illustrations of over 30 figures, including a series of circle eight figures that skaters still use today. George Anderson, writing in 1852, described backward skating figures, including the flying Mercury and the shamrock, as well as the Q figure, which became, in its various forms, an important part of the repertoire of skating movements for the rest of the 1800s. Anderson also described two combined figures, the salutation (already described by Jones) and the satellite. By the 1850s, the most important figures (eights, threes, and Qs) were developed and formed the basis for figure skating at the time. In 1869, Henry Vandervell and T. Maxwell Witham from the London Skating Club wrote System of Figure Skating, which described variations of the three turn (the only figure known before 1860), the bracket (first done on roller skates), the rocker, the Mohawk, the loop, the Q, and other figures. The Mohawk, renamed in Canada to the C Step in 2020, a two foot turn on the same circle, most likely originated in North America. Figure skating historian James Hines called grapevines, which was probably invented in Canada, "the most American of all figures". The Viennese style of figure skating, as described by Max Wirth's book in 1881, described connecting figures, which ultimately led to modern free skating programs. In 1868, the American Skating Congress, precursor to U. S. Figure Skating, adopted a series of movements used during competitions between skaters from the U. S. and Canada. Until 1947, for approximately the first 50 years of the existence of figure skating as a sport, compulsory figures made up 60 percent of the total score at most competitions around the world. Other competitions held in the late 19th and early 20th centuries included special figures, freeskating, and compulsories, most of the points they earned going towards how they performed the same set of compulsory moves. The first international figure skating competition was in Vienna in 1882; according to Kestnbaum, it established a precedent for future competitions. Skaters were required to perform 23 compulsory figures, as well as a four minute freeskating program, and a section called "special figures", in which they had to perform moves or combinations of moves that highlighted their advanced skills. Compulsory figures were an important part of figure skating for the rest of the 19th century until the 1930s and 1940s. The first European Championships in 1891 consisted of only compulsory figures. In 1896, the newly formed International Skating Union (ISU) sponsored the first annual World Figure Skating Championships in St. Petersburg. The competition consisted of compulsory figures and free skating. Skaters had to perform six compulsory moves so that judges could compare skaters according to an established standard. Compulsory figures were worth 60 percent of the competitors' total scores. Special figures were not included in World Championships, although they were included as a separate discipline in other competitions, including the Olympics in 1908. The early Olympics movement valued and required amateurism, so figure skating, almost from its beginnings as an organized sport, was also associated with amateurism. Athletes were unable to support themselves financially, so as Kestnbaum put it, "thus making it impossible for those who had to earn a living by other means to attain the same level of skill as those who were independently wealthy or who practiced professions that allowed for flexible scheduling". According to Kestnbaum, this had implications for attaining proficiency in compulsory figures, which required long hours of practice and purchasing time at private rinks and clubs. In 1897, the ISU adopted a schedule of 41 school figures, each of increasing difficulty, which was proposed by the British. They remained the standard compulsory figures used throughout the world in proficiency testing and competitions until 1990, and U. S. Figure Skating continued to use them as a separate discipline in the 1990s. After World War II, more countries were sending skaters to international competitions, so the ISU cut the number of figures to a maximum of six due to the extended time it took to judge them all. Judging scandals and the broadcasts of figure skating on television have been cited as the reason for the decline of figures. The U. S. was the last country to include figures in their competitions, until 1999. By 2023, nine championships had taken place. Judging was done blind, after the skaters left the ice and without the judges knowing which competitor completed which figure. By 2020, the championship and the revitalization of figures was supported by many skaters, including U. S. Olympian Debi Thomas, who competed at the 2023 Championships. Compulsory figures are also called "patch", a reference to the patch of ice allocated to each skater to practice figures. Figure skating historian James Hines reports that compulsory figures were "viewed as a means of developing technique necessary for elite skaters". He states, "As scales are the material by which musicians develop the facile technique required to perform major competitions, so compulsory figures were viewed as the material by which skaters develop the facile required for free skating programs". Compulsory figures has been called "the slow sports movement" or "yoga on ice". The highest quality figures had tracings on top of each other; their edges were placed precisely, and the turns lined up exactly. The slightest misalignment or shift of body weight could cause errors in the execution of figures. Most figures employ "specific one foot turns not done in combination with other one foot turns". Each figure consisted of two or three tangent circles. Each circle's diameter had to be about three times the skater's height, and the radii of all half circles had to be approximately the same length. Half circles and circles had to begin and end as near as possible to the point in which the long and short axes intersected. The figure's long axis divided it longitudinally into equal sized halves, and the figure's short axes divided the figures into equal sized lobes. Curves, which are parts of circles, had to be performed with an uninterrupted tracing and with a single clean edge, with no subcurves or wobbles. Brokaw insists that curves had to be done on all four edges of the skate while skating both backwards and forwards. He states, "It is the control of these circles that gives strength and power, and the holding of the body in the proper and graceful attitudes, while it is the execution of these large circles, changes of edges, threes and double threes, brackets, loops, rockers and counters, which makes up the art of skating". Curves also included the forced turn (or bracket) and the serpentine. A change of foot, which happened during the short time the skater transferred weight from one foot to the other, was allowed in the execution of figures, but had to be done in a symmetrical zone on each side of the long axis. Skaters could choose the exact point in which they placed their foot in this zone, although it typically was just after the long axis, with the full weight of the body on the skate. It was at this point that tracing began. After the skaters completed tracing figures, the judges scrutinized the circles made, and the process was repeated twice more. According to Randy Harvey, compulsory figures took five hours to complete at U. S. National Championships and eight hours at World Championships. At the 1983 European Championships, the compulsory segment began at 8 am, and lasted six hours. According to Louise Radnofsky, who claimed that the execution of figures could be "very boring—and worse to watch", the most exciting physical move was a change of direction. Radnofsky also stated, "Results of a performance were generally visible only to skaters and judges before being swept away". The ISU published a judges' handbook describing what judges needed to look for during compulsory figure competitions in 1961. Skaters were judged on the ease and flow of their movement around the circles, the accuracy of the shapes of their bodies, and the accuracy of the prints traced on the ice. Judges took note of the following: scrapes, double tracks that indicated that both edges of their blades were in contact with the ice simultaneously, deviations from a perfect circle, how closely the tracings from each repetition followed each other, how well the loops lined up, and other errors.

Special Regulations for Figures (Special Regs). U. S. Figure Skating Association. Retrieved 19 January 2024. Meagher, George A. (1895). Figure and Fancy Skating. Bliss, Sands, and Foster.