I don't want to argue either teams twizzles here, but no matter if I agree or not, simple physics is actually saying that you're wrong. Not only does a hop create an extra force thus can throw you easier off-balance (think car in a turn; the faster the more likely it is to get carried out of the turn), it also creates a condratictory force to a turn in many ways. If you hop, you have to land which is actually a break in the movement; your knee needs to bend and then to push up again so you can turn and travel. And the body direction of the hop and the turn are two different ones as well - the hop goes straight, the turn, obviously, rotates. There are a lot of counter-forces at work with the hop.
Wait - we're talking about a car that is balanced and centered over one of its front wheel tires with the car's body aligned vertically above that point, correct? Man, I wish people would stop doing that - it causes accidents, even if their car has been working out and has a strong core.
This whole statement in italics is simply guessing the physics, not simple physics. The actual physics is closer to the step into a camel spin.
Later today I'll use the diagram of a camel spin and then the screen caps of a Davis/White twizzle entry.
Here's an explanation of the dynamics of a camel spin:
The skater steps forward into the center of the circle that was created by the back crossovers, reverses direction, and then pushes into the camel spin.
As the skater enters a camel spin, the skater should step onto a strong and deep curve. The skater's shoulders should be level. The skating knee should bend deeply as the skater leans forward into a spiral position.
Compare it to Weaver & Poje's (slower) twizzles. They do three, so no hop into the first set. But they get into their catch-foot position with no forward tilt and no knee bend. And btw, Tessa and Scott do the same hop into a catch foot in the middle section of one of their twizzle passes but for them that's considered the "easier" of the three twizzles according to Eurosport, with the entry and exit sets supposedly more difficult - even though their free leg is held close to their bodies immediately, their torsos aren't tilted forward, and their knees are straighter. When Meryl and Charlie lead in with that - it's amazing!! Stunning!
What it looks like to me - and the simple physics of the camel spin and Charlie and Meryl's twizzle entry appear very similar - is Charlie and Meryl are using basic camel spin physics to get into the fast twizzle rotation. What Charlie and Meryl's entry does is assist the speed of the rotation using angular momentum.
You know what would be super impressive? If they did that and began their twizzle over a narrow axis (harder to stablize). Like, you know, Scott and Tessa do in their "easier" middle set.
This move as DW do it is a bit destablizing but their ability to twizzle despite the instability is less impressive because of their alignment. They distribute their center of gravity over a wider and balanced area - their legs are stretched behind as they reach behind to catch the foot, and their torso is tilted forward - and their knees are bent. That alignment takes much of the difficulty out of the entry. It's compensating for the "difficulty."
Another rotational move relying on a "hop" - a butterfly jump/spin - one of Charlie White's specialities:
This Butterfly Jump is not a true jump, rather a flying jump spin similar to the flying camel spin, the Butterfly Jump is not taken off from the forward outside edge skated in upright position, but usually from short spin-like steps the take-off curve forward outside being very short.It seems like hops and jumps into spins are very popular features of SHOW moves. Which means of course they should get Level 4 in elite international competition.
How to Make a Car Spin
The car analogy is only apt if the car in question is balanced on and centered over one of its front wheel tires and the body of the car is vertical. Simple physics.
For example, the increase in rotational speed of a spinning figure skater as the skater's arms are contracted is a consequence of conservation of angular momentum.Meryl and Charlie are contracting their arms in the second set but they slow down. Their arms are locked behind them which may prevent them from doing a quick balance check should that twizzle go awry, but locking the arms behind them means they don't have to control their arms WHILE twizzling - as they did in the Bollywood program. Moving the arms around in front of you (off axis) in a controlled, separately choreographed pattern while sustaining a strong, tight rotation around your axis in the twizzle, remaining upright and stable is impressive. Think about which is harder - simple physics. You can twizzle - you're a very strong twizzler, good balance, good rotational speed, you're over your skates. Now, what is going to be more difficult - controlled choreographed movements of the arms in front of you while sustaining that rotation around the axis and keeping it contracted, or locking your arms behind you along the axis of your rotation?
As I said - oddly, the contraction is supposed to increase rotation but Meryl/Charlie slow down. Maybe adding arm styling would slow them down even further.
Rotation is a key feature of Meryl and Charlie's choreography, but I don't think it's as controlled as it could be. It's a bit wild. So how do you capitalize on their fast rotation and keep controlled? I think getting the message out that sloppiness and wildness means something is harder and better is one way to do that. Who reads CoP anyhow? That approach can be applied throughout the judging of the program - just assign levels of difficulty to features that ASSIST the skater in performing the move, and the sky will continue to be the limit for Meryl and Charlie's scores. As seen in another example down below.
Scott Moir used to have a little bit of an uncontrolled free leg in his forward inside twizzle. (I think it was forward inside). His rotation was tight, speed was good, leg straight, but that leg would begin to drift a bit away from where it was crossed over his working leg. In the Olympic year I believe they addressed this by using a catch foot. He's got the best balance in ice dance, IMO, so it was better to make the leg look a bit neater.
FF and his free leg is stable when he's not in catch foot. How did that happen? He improved it. He can do things like that - you know, get better.
Meryl and Charlie's dance spin: Meryl and Charlie's "The Awesome" dance spin always begins with the back outside camel position. Here's some words about back outside camel spins from icoachskating.com:
The back camel spin is a difficult skill to learn for a number of reasons. First, nothing really “swings around” to help create rotational energy for the spin so the skater needs to create all of the spin energy directly from the edge on the ice.Very interesting. I may presume, then, that if something IS swung around - say, your partner's entire body while she's in camel position - that will help create rotational energy for the spin, especially if the force of her swinging around is generated by your big, strong arms?
gif to follow in a new post.
I think icoachskating.com must be mistaken, as at least once this season a commentator said that Charlie and Meryl's entrance into their dance spin was impressive/hard.
The screen caps below just show alignment, not Davis White's twizzle entry sequence vis a vis hop and jump entrances to spins (which will come in a new post), but have a look at alignment:
Both screen caps are from Worlds. We can see how much more polished Meryl and Charlie become by the end of the season.