Pair skating implies adaptability. One must not only be an independent skater but must also watch his partner and meet that partner’s stroke or change of stroke. Evenness and accuracy in individual skating are more necessary in pair skating than in solo skating for on that accuracy depends the manner in which the partner is met after separating strokes. In many figures the difficulty is enhanced by not only having to execute the figure but meet the partner at the right spot and the right moment afterward. It is in some respects a finer art to skate well with a partner than it is to skate well alone. Where charm and grace are revealed in individual skating, the addition of a partner who skates equally well accentuates the grace and beauty of this poetry of motion.

Many other delightful features are characteristic of pair skating. It is the sociable form of skating, As in dancing, where few are expert enough to do solo dancing, thousands enjoy dancing with a partner. There is stimulus to individual achievement in skating with a partner. Weak figures are aided in their development by encouragement and the helping hand. Rivalry results and helps toward progress. The mere presence of an assisting hand will often aid the ambitious skater in the first mastery of a difficult balance or the sustaining of a long spiral. Individual skating, when it is highly perfected, tends somewhat toward an over-abundance of dance steps and toe movements, while pair skating remains skating at its best—the long, sweeping, exquisitely poised curves carried over two hundred feet of glistening ice.

For pair skating a certain amount of preliminary progress in individual skating is necessary. Each skater should be able to do the outside edge forward circles and at least strike out alone on the backward edges. Each should be able to execute the threes on both feet, at least forward. With these fundamental accomplishments it is possible to do very pretty and very interesting pair skating. Figures which seem not at all remarkable when skated alone have added interest and beauty when skated with an equally competent partner. Even the waltz, which is in some respects the most effective of all pair skating numbers, can be done by skaters who have not advanced further than this point.

Practise first, skating forward, one behind the other, right and left hands touching and letting the skater behind swing across the direction of the skater in front. Thus at the start of the stroke, the skater behind will be at the right side of the skater at front and at the end of the stroke will be at the left side. The arms of the skater in front swing behind and from side to side as the partner crosses. It is most important that in this as in almost all pair skating figures, the fingers merely touch; each partner should skate practically an independent circle. There never should be interference with the balance of one partner by the other. Only in the waltz is a firm swing of partners customary and advisable; or in the more difficult change of edge-three.

When some slight familiarity with this figure is attained then stand side by side, the forward skater’s left hand in the partner’s right. Strike out boldly on the right outside edge still touching hands, with intent to make a big circle. After about one-quarter of the circle has been skated let go of hands, continue skating the circle alone for one-half of its distance, which will bring the skater at the back across the circle being skated by the one in front and to the right side of the forward skater. Here, as about three-quarters of the full circle is skated, the forward skater’s right hand will be caught by the partner’s left hand and the figure finished in that position. This is very simple, very graceful and very effective. It should be skated in the form of an eight and each full stroke will then bring the skater back to starting point. It has the advantage of interfering less with the correct balance of the skaters and the correct carriage of the arms than the former figure. The better skater of the two should skate behind. The forward skater should pay very little attention to the partner, all the matching of stroke and the catching of hands being attended to by the partner behind.

The circle eights, forward, hands joined with those of the partner and the stroke swinging the skaters around a great circle where the skater behind gradually crosses the direction of the skater in front, may be followed by same stroke backward. It will facilitate progress if the weaker skater skates the circle eight backward and the more expert of the partners skates it forward. The better skater will thereby be able to aid the poorer skater. Start, for instance, facing each other and with opposite hands touching or clasped. Let the poorer skater, who is attempting to learn the outside edge circle backward, strike out on the right foot aided by a vigorous push from the good skater facing forward. The better skater will do the circle on the left foot forward outside edge while the poorer skater will do it on the right foot backward outside edge. When the beginner is able better to skate on the right foot than the left the foot on which he is most expert should be used in the first trial, so as to give encouragement and confidence. Every figure must be learned on both feet and can be so learned if one persists. Generally it will be found that people ambidextrous in the use of the hands skate equally well with both feet. Strongly right handed people will generally skate better with the left foot and should practise more, therefore, with the right foot.

When reasonable familiarity and security has been obtained skating backward while the partner is skating forward, then both may skate backward, first with hands touching throughout the full circle and then executing the circles by touching hands at the start, skating alone one-half of the backward circle and then joining the opposite hands at the close of the stroke. This is similar to the position recommended for learning the forward outside circles together.

The inside edge backward circles are much more difficult to learn than the outside backward circles. They are best learned when the poorer skater skates inside edge circles backward while the better skater makes the circle on the forward inside edge of the opposite foot and the partners face each other with both hands touching throughout the circle. As proficiency is attained, one hand may be removed and merely the fingers of the partner’s hand touched for assistance in this difficult balance. It will rarely be found, however, that the inside backward edges are required to be skated together. But they are so important in individual skating and so much easier to learn with a partner than alone, that they should be regularly practised when pair skating.

A beautiful variation of the hands-over-the-head circles is that where the first circle is skated on the forward outside edge with both hands touching all through the circle and passing over the forward partner’s head. Then a swing of the partners occurs, a three on one foot is executed by both and the eight is completed by another circle skated backward on the outside edges of the opposite feet. Such a figure is easier than it appears.

One of the most agreeable and simple figures for pair skating is the “once-back.” Both partners skate this figure on the same foot and simultaneously. The gentleman stands to the lady’s left, her hands behind and to the left touching his. A bold, strong outside edge circle is started by each skater on the right foot. When one-third the circle has been skated a three is made and immediately an outside edge backward stroke on the other foot. Both partners are now going backward on left outside edges. When two-thirds of the circle has been skated a three on the left foot is made and the pair strike out on the right outside forward edges to the spot where the figure was begun. The gentleman’s arm should slightly support the partner at the three turns.

After the change of edges, starting on outside and then on inside edges forward, have been mastered, touching hands and with release of hands, the next figures to introduce are the changes of edge with a three. This figure is known as the “Q,” and is by no means as difficult as it looks when skated by two. It is started on the outside edge, both partners holding hands behind the lady’s back. Then follows a change of edge and a deeply cut three, during the execution of which the lady is swung strongly around the man at the finish of the figure.

The most popular and one of the easiest of pair skating figures is the waltz. There can be no comparison between the delight of waltzing on ice and waltzing on a ballroom floor. There is an exhilaration and rhythm about ice waltzing which nothing equals. The skating stroke is long and swaying and fits the music better than dancing steps can be made to do. Probably the waltz, owing to its ease of accomplishment, will be the most stimulating influence toward making ice skating popular among both men and women. Almost any couple capable of skating the simplest of the school figures can learn the waltz on ice, whether they dance or not, in a very few trials.

The steps are the forward and backward outside edges and the threes. One has the advantage of a partner at the threes who is placed where help in the balance is most desired. There is an advantage in knowing the change of edge, but it is often attempted for the first time in this waltz skating. The only disadvantage in the waltz which women who are not good skaters experience, is due to the fact that the woman skates backward most of the time so as to allow her partner to lead. There is more danger of bad collisions on the ice floor than on the ballroom floor and a good waltzing partner is even more desirable on the ice than in the ballroom.

The waltz is started with the woman skating the backward outside edge while her partner skates the forward outside edge. After a short stroke a three is made by each on the foot with which the stroke was started, then a stroke on the outside edge of the opposite foot, another three and then a third stroke on the same foot with which the figure was commenced. Here a change of edge can be made and the figure carried out into the form of an eight. There are innumerable variations of this simple figure, including undulations or waves made by changing edge at various places, the figure can be directed into large or small circles and continued in spirals or circles. It is possible to make of it a very carefully located figure skated to place or a bold, free figure skated in field.

Care should be exercised to keep the strokes in time with the music and to make the strokes of each partner match. There should be no conscious effort or swinging of the partner. Do not cross the balance foot over the skating foot as the new stroke is made nor raise the balance foot high during any of the strokes. After the third stroke of the waltz step has been made let there be a slight change of edge by the lady; this will bring her into the right position, slightly across her partner’s line of direction and place them both in the right position for the new stroke. Skate rhythmically and sway to the time of the music. Skate deliberately and with every appearance of enjoying it. Nothing could be further from good form in ice waltzing than a fast, nervous method revealing insecurity of balance and pose.

Spirals are splendid figures for pair skating. They may be skated on outside or inside edges, with the man behind and facing in the same direction or in front on the opposite foot and facing in the opposite direction. In this latter pose some of the most daring and spectacular of skating movements can be executed; they are as easy as they are striking.

Jumps and pirouettes, done by both partners or by one, are also pair skating possibilities. One of the most spectacular pair skating jumps consists of a leap by the lady from the outside forward edge to the outside backward edge around her partner, or sometimes almost over his shoulder. This is done at high speed and is very pretty as well as very daring. This is true skating and at the same time acrobatic skating of the most difficult character.