Page Lipe continues her discussion of doing loop jumps in combination as the second or third jump of the combo (see Part 1 here). In this video, Page offers more insights and begins by sharing a “trick” that often works to prevent skaters from releasing the free side. She has the skater “punch back” to their axis side with the free arm and hand.
She also recommends a standstill hopping drill to develop the balance and awareness of “sticking” the landing with proper alignment. Notice the detailed description of this position. Page wants BOTH shoulders over the axis hip (lots of shoulder twist!) and wants the head up and slightly to the landing side. Page likes to take both skaters hands and “shake” them to see if they have a solid core and overall solid position.
An important factor required for doing loop jumps in combination is core strength and control. Page notes that core strength is largely gained from off-ice training and she leaves it up to the skater to build that strength themselves. She tells them they need to build core strength but she relies on the internal motivation of the skater who really wants double loop combos to work at it.
Next Page goes back to the desired alignment of the loop. She says, “I talk to them about stretching (the axis) side and then stacking (the free) hip on top of (the skating) hip.” This concept of keeping the free hip up is very important in all loop jumps, but it’s particularly important if the loop is the second or third jump of a combination. The landing of the previous jump will tend to pull the free hip down, destroying the alignment and timing, and making the combo impossible or of poor quality.
Part of the challenge for many skaters and coaches is the timing of a double loop as the second jump. As Page says, “Some people, when they land (the first jump) have to just automatically go do it, and some people have to feel that they’re riding the edge up.” Page works with the skater’s individual timing, and tends to stay focused on alignment and balance on the skating side.
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