Rotation technique. Dance spins - recommendations on technique Types of turns in swimming

During training and competitions, you have to repeatedly perform turns at the side. Well and quickly executed turns allow you to maintain and increase the speed of the distance.

When swimming front and back crawl, the swimmer must touch the side during the turn and at the finish with any part of the body. When swimming breaststroke and butterfly, according to the rules, the swimmer must touch the side when turning and at the finish line with both hands!

Types of turns in swimming:

1. Rotate pendulum (used in breaststroke and butterfly);
2. Somersault turn (front and back crawl);
3. Simple closed turn;
4. Simple open twist.

Rotate the pendulum:

• The swimmer swims up to the side and touches his hand (for example, right) opposite the other shoulder (left).
• Leaning his right hand on the wall, he inhales;
• Then he lowers his face into the water, turning to the left. Having assumed a tuck position, bend your legs at the knees and hip joints. During the rotation, the left hand performs a stroke underwater in an arc to the right, thereby helping to rotate the swimmer's body.
• Place your feet on the wall of the pool, straighten your arms, head between them; then push off from the wall.

Technique for performing a somersault in front crawl

It is a forward somersault with a 45 degree side turn.

Phases of a somersault turn in front crawl: approaching the wall of the pool, rotating, repelling, sliding, reaching the surface.

1. Approaching the pool wall. Seeing the wall of the pool, the swimmer must coordinate his actions so as not to lose speed when turning. Before the turn, the swimmer performs a final long stroke without inhaling (usually with the right arm).

3. Repulsion. After placing your feet on the wall of the pool, the push-off phase immediately begins.

4. Sliding. The swimmer glides with his arms and legs straightened, his head between his hands, and as soon as the speed reaches the competitive speed, kicking begins, and with the first stroke the body appears on the surface of the water.

Somersault turn in back crawl swimming

The turn in backstroke begins 2 strokes before the wall of the pool.

1. The first of the strokes (left hand) begins while still lying on your back. Next, a flip is performed on the chest simultaneously with a sweep of the (right) arm and a subsequent second stroke (with the right arm), pulling oneself to the wall of the pool.

3. Repulsion. Immediately after pushing off, the arms and legs straighten. The push-off should be directed downwards for better gliding and dolphin-like movements of the body

4. Exit to the surface of the water and work with your feet. At the end of the slide, upon reaching competitive speed, the legs begin to work and then, as they emerge above the water, a powerful stroke is performed.

Simple closed twist

1. In the last stroke before the pool wall, inhale, lower your head into the water and touch the pool wall with your hand.

2. Simultaneously with touching the wall of the pool, the legs are pulled into a tucked position. The other hand, without touching the wall of the pool, performs rotational movements that help to quickly turn.

3. After placing your feet on the wall of the pool, push-off begins, hands together in front of you, head between them down.

4. Upon reaching competitive speed, the swimmer comes to the surface and begins working with his arms and legs.

Simple open twist

A beautiful and clear turn is an elegant highlight that adorns our dance. However, the most common problem that appears when starting training is dizziness and, as a result, loss of clarity in movements. This is what this series of articles will be devoted to - what ways to avoid dizziness when turning and what to do if such a situation does happen.
There are 2 completely opposite techniques for maintaining clarity when turning - holding a point and defocusing your gaze.
The technique of holding a point is based on the fact that during a rotation the dancer selects a point and holds it with his gaze while his body rotates. This gave rise to two options for focusing on a point—on a distant object and on a near object.

Holding a point on a distant object

Focusing your gaze on a distant object is the most common way to avoid dizziness. Let's consider the mechanics of movement when turning in one place:
- the dancer begins to turn, the head remains pointing straight, the selected point is held with the gaze
— the dancer has turned 90 degrees, the head remains pointing straight, the selected point is held with the gaze
- the dancer turns more than 90 degrees (a position when we can no longer leave the head in a straight position), the head turns in the direction of rotation of the body at a higher speed than the body, the selected point is not held with the gaze
- the dancer turns more than 180 degrees, the head comes to a straight position, due to the fact that it has already turned in the direction of the turn, the selected point is held with the gaze
- the dancer finishes the rotation, completing a turn of up to 360 degrees, the head is in a straight position, the selected point is held with the gaze

Preparation

However, you cannot do without additional preparation before starting training. Additional preparation will be faced with the task of maintaining the dancer’s axis of rotation without distortion and without harming the body.

Mandatory exercises before performing holding a point on a distant object:

- turn your head in different directions, keeping your head strictly vertical.
The peculiarity of human movement is that when we turn our head to the side, it does not remain vertical, but slightly “falls” in the direction of the turn. To correct this, ask an assistant to gently turn your head to the side to a strictly vertical position. Physically, this is felt as additional work of the neck muscles on the opposite side. Practice and control will allow you to maintain a strictly vertical head position during any turn. If the moment of “collapse” of the head is not removed, then during rotation the body is a single straight axis, and the head gives a bend to this axis. The consequence is that the axis is unstable and it is more difficult for us to maintain the turn.

- rotation with motionless, beautifully horizontally placed hands.
The problem is that when spinning, many of us instinctively begin to pull one or both arms towards us. As a result, the size of the turning arm changes, which again affects the retention of rotation (remember physics lessons and figure skaters who, by changing the positions of their arms and legs, control the characteristics of their turns). In addition, this one does not look very aesthetically pleasing. The only way out is to turn on good music, place your hands and practice turns, controlling their immobility.

In move

The technique of holding a point on a distant object while rotating in one place is clear. But what if we move? There are also “life hacks” for this case:
- moving in a straight line
When moving in a straight line, it only seems that it is impossible to find a stationary distant point. This point will be the first thing we can catch our gaze in the direction of movement at the level of our head. To put it simply: we look where we need to go.
It is very convenient to train such a point in the gym in front of a mirror, rotating on the mirror. We choose the reflection of our eyes as a fixed point and try not to let them out of sight until the end of the rotation track
- moving in a circle
Here the technique of holding a fixed point in the direction of rotation will not work for us, because this very direction will constantly change and we just have to choose what will be relatively unchanged when rotating in a circle - the position of the center.
If you hold a point with your gaze on the floor itself, then there can often be such a mistake as a lowered head, so let’s choose a point about 0.5 meters above the floor - and the head at such a point does not look lowered, and the point itself is easy to hold

Holding a point on a nearby object

This technique is much less common than the technique of holding a point on a distant object, but it can achieve very high rotation speeds without losing focus or experiencing dizziness.
The essence of the technique is that an object is selected that will be visible to the eye and rotate with us. I use something for this powerful ring (so you can see it in any light). Starting to rotate, we focus our vision on the ring, which is put on a horizontally placed hand - it will be a stationary object for us.

Rotation technique with defocused vision

But what if during rotation our head does not remain motionless, but must make additional rotations/swings of the hair? In this situation, it is almost impossible to keep your gaze on the point! In this case, there is practically only one way out - defocusing the vision.
The dancer, before starting to perform an element, defocuses her vision and, after finishing the element, collects it again on one of the fixed points

Afterword

But what should you do if you still feel dizzy, but you still have a very large part of the dance to finish? If we get dizzy while rotating, then during training we remove it by rotating our heads in the opposite direction. In dance, this can be played out by making turns in the opposite direction. 1-2 turns are enough to restore focus.

I hope the above techniques will help you avoid dizziness and skidding when cornering. It’s not for nothing that they say that each dancer had her own favorite pillar into which she was carried. I wish you all creative success and non-traumatic dancing!

“Basically, I can do 60 pirouettes on a good day,” says the young 12-year-old holder of the record for consecutive spins (a series of pirouettes without stopping), Sofia Lucia, with a smile.

Sofia Lucia broke the record for the number of pirouettes (55) and entered her name into the Guinness Book of Records on March 30, 2013. It is noteworthy that during the rotation she was not wearing simple or, but tap shoes from Capezio.

We invite you to watch the video showing the record:

So, do you want to learn the spinning secrets shared by Sofia Lucia and improve your personal performance in pirouette spinning?

#1. Posture

Rotations are performed with a taut and straight body, “tailbone pulled in,” “neck long,” chin pointing upward. This will help you level the balance and tighten the axis necessary for long-term rotations. "My first piece of advice for dancers who really want to achieve impressive results is I do ballet over 15 hours a week, take Pilates and private jazz classes. I believe this helps me stay in great shape, which in turn helps me spin for so long , as far as the force is enough and as far as dance shoes allow." - says Sofia Lucia.

#2. Dot

All dancers know that to spin you need to "hold the point", but I wonder if you are able to change the point quickly enough? In order to rotate for a long time and a lot, you need to train a sharp and lightning-fast change of point. The point should be kept at the level of your eyes and slightly higher. Don't look at the floor, otherwise you will end up there.

#3. Alignment (cross)

“You should concentrate on aligning the line of your shoulders with the line of your pelvis, they should be parallel.” - explains Sofia Lucia. If you don’t align the lines of your shoulders and pelvis when you start spinning, you won’t be able to get your balance and your spin won’t last long, a maximum of 3 pirouettes. To do this, you should train in front of a mirror, stand in relevé and make sure that the lines of your shoulders and pelvis (hips) are parallel.

Also, in front of the mirror, you should control your body position, stand sideways and make sure that you are not leaning forward or leaning too back.

#4. Balance

When performing pirouettes, you balance on a half-finger (relevé), practice balance without rotation. If you can’t stand on a half-toe without rotating, then you won’t be able to stand in a turn. Practice half-toe balance without rotation, train both left and right legs, stand for eight counts at a very slow pace, this will strengthen your axis.

What types of rotation do you train, classic turnout or jazz closed? Train each type of balancing until you can, it will come in handy in your career as a dancer; modern show groups use all types of techniques. To make it more interesting and not so boring, arrange a competition with your class friends - who can stay in the pirouette position without spinning longer?

#5. Your thumb

Where does your finger point when rotating? If your toe is not pointing in the same direction as your knee, the rotation is not correct and you will not be able to achieve multi-rotation. Stand on your half toe and make sure that you are not “bumping” and that your thumb is pointing in the same direction as your knee. There's nothing worse than a club-footed dancer!

If your foot is positioned correctly, your weight will be distributed correctly and you will be able to create a better axis for rotation. Make sure that while spinning you are not jumping on the half toe, that you are not “playing” up and down and that your instep is as tight as possible. Throughout the entire rotation, you should stand on the maximum possible half-toe.

#6. Use a dance floor (parquet)

Push off the deep plié floor with all your strength to create the maximum possible rotational energy. Imagine a jack-in-the-box toy, you push it down into the box and when you open it, it shoots upward with maximum force, while you direct this energy into rotation using your hands.

Push off from the plié with enough force to stand on a half-toe and extend your knee, and of course no more than necessary, otherwise you may not be able to resist.

There is also a technique in which, while performing a plie, the dancer exhales and then inhales briefly during the first turn, which allows increasing the moment of rotation using additional force.

#7. Appropriate shoes

Sophia Lucia set a record for the number of pirouettes in tap shoes from the world famous brand Capezio. She found that the smooth metal surface of the plate on the toe allowed it to rotate without much friction on the floor. Thus, depending on the choreography, wear a specialized one. It is not recommended to spin without shoes; you may scratch the skin on the balls of your feet.

#8. Hands

Have you noticed that when performing a series of pirouettes, the arms in subsequent turns are closer to the body than in the first turn? Absolutely right! During a series of pirouettes, it is very important not to lose the energy of rotation; for this, the dancer must skillfully gather his hands to the body, distribute the energy for each turn, so that in each subsequent turn the hands are a little closer than in the previous one. Try it in practice, if you don’t bring your hands together, then the rotation will not be fast or long, but if you suddenly pull your hands towards your body, you will spin sharply at a higher speed.

Rotation technique

Recently I was able to discover a technique that prevents awakening and allows you to induce a new dream by force of will. I have found that awareness of the sleep state often interrupts its progress, leading to immediate awakening. Since action in a dream corresponds to events in the physical world, it could be assumed that relaxation of the dream body could prevent awakening by reducing muscle tension in the physical body. The next time I was in a lucid dream, I tested this idea. As soon as the dream began to fade, I fell to the floor, completely relaxing my body. However, contrary to my assumption, it seemed to me that I had woken up. However, a few minutes later I realized that this was just a false awakening. Further experiments confirmed the correctness of the assumption. I discovered that the main element of this method is not relaxation, but a sense of movement. In subsequent dreams, I experienced a variety of movements and realized that falling on my back and spinning were most effective for creating a new lucid dream.

The technique is very simple. As soon as the image begins to fade, you must either fall on your back or start spinning like a top (using your dream body, of course!). In order for the method to work, it is necessary to obtain a vivid sensation of movement. Usually this procedure causes a scene change in a dream. For me, the new setting is often the bedroom in which I sleep. After this, I can continue to admire the new lucid dream scene if I can remember that I was asleep when the transition began. Without such extra effort, it may seem that a new dream is a real awakening. And this despite the obvious manifestations of absurdity in the content of the dream!

This method is very effective. In the more than one hundred dreams I have had over the past six months, which I cited in the three-year report that accompanied my doctoral dissertation, I have used the described technique 40 percent of the time, and 85 percent of the time I have been able to create a new dream. Consciousness returned to me in 97 percent of my new dreams. When the rotation gave birth to a new dream, its setting was always closely related to the bed on which I slept, and to the bedroom in general.

The experiences of other lucid dreamers who have used this technique are very similar to what I have described, but the new dream in them is not always associated with a bedroom scene. One such dreamer, after using the rotation method, found herself outside her bedroom in five out of eleven cases.

This result suggests that after applying rotation, a person usually ends up where he expects to be. In my case, the almost constant occurrence of bedroom dreams may be an unfortunate consequence of the environment in which I discovered this method. From time to time I tried unsuccessfully to create some other dream. However, although I was eager to be outside my bedroom, I couldn't say that I really expected it. And yet I do not lose hope that one day I will be able to get this annoying association out of my head (if that is the case). After all, faith can move mountains, at least in dreams.

Why can imaginary movement affect sleep? A neurophysiological explanation can be given for this. The vestibular system, located in our inner ear (and helps us maintain balance), controls information about head and body movements. This information enters the brain and, together with vision, helps it create an optimal and stable picture of the world. It is in this that lies the confidence that the world will remain in the same position, even if we bow our heads.

Because the sensation of movement during rotation in a dream is as vivid as the sensation of real movement, the brain acts in the same way in both cases. The rotation technique stimulates the vestibular system and helps activate the REM sleep system located next to it. This assumption is not without foundation, if we recall the connection between the vestibular apparatus and rapid eye movement during REM sleep, discovered by neurophysiologists 24 .

There is another side to this “psychological coin”. Barbara Lerner has repeatedly noted the importance of movement in sleep to achieve the integrity of the body image 25 . If movement is a psychological function of dreaming, as she suggests, then there must be a mechanism linking imagery to the psychology of REM sleep. Moreover, if imaginary feelings can reduce susceptibility to external stimulation of the same kind, then why not imaginary movement suppress real body sensations and prevent awakening. If the brain is completely occupied with creating a strong internal sensation of rotation, it will be more difficult for it to respond to the opposite sensation coming from the outside. This is an example of what is called "boot stabilization" of the system. Charles Tart explained this with the following analogy: “If you want someone to become a good citizen, you must engage him completely in the activities befitting a good citizen, then he will have no energy left for anything else.”26 In our terminology, "being a good citizen" means continuing to dream, and "activity" means spinning in a dream.

There is another technique that is less effective than rotation, but which is based on the same principle. This technique involves focusing attention on the dream element. Moers-Mesmer described the technique of gazing at the ground in 1938 as a means of stabilizing sleep. Almost simultaneously, similar methods were discovered by many researchers, including Scott Sparrow and Carlos Castaneda. This is how the “Don Juan” variation on the theme “look at your hands” appeared.

Another way to prevent awakening and loss of awareness is to stabilize consciousness using “positive feedback.” Returning to Tarte's analogy, one could say that a citizen engaged in some activity is always considered good. There are several methods that fall under this classification. It is suggested, for example, to use statements that constantly remind you that you are in a dream state (you can, for example, repeat the phrase “This is a dream, this is a dream ...”). According to another method, it is necessary to “go with the flow” of sleep all the time and not try to resist events. If we assume that the neurophysiological explanations for my rotation technique are correct, then it can also be attributed to the phenomenon of positive feedback. If rotation in a dream leads to the continuation of REM sleep, then we have before us a type of activity in a dream - rotation - leading to a further increase in activity.

The third way to stabilize a lucid dream is called "limiting stabilization." This method, according to Tart, is analogous to restricting a citizen's ability to take part in undesirable activities. In relation to lucid dreams, the “unwanted activity” can be awakening and loss of awareness. This method underlies many lucid dream stabilization systems. Some people are encouraged to do certain exercises, eat healthy, and avoid indigestion to promote sleep. Others are encouraged to cover their ears or sleep alone. However, there are also universal recommendations: it is necessary to avoid emotional conflicts in the waking state and excessive enthusiasm during lucid sleep. Finally, I would like to advise lucid dreamers not to think too much during sleep and not to lose themselves in the dream.

First, let's define the terms. I don’t pretend to be strictly academic, I’ll just try to define the key concepts as dancers use them.

Let rotation– circular motion of a body relative to a fixed axis. A turn is a rotation in progress, although it is very often used among dancers as a synonym for the word rotation.

Axis- a straight line around which rotation occurs

Pulse, aka force– short-term application of force in a certain direction.

There are three types of turns in salsa: simple, or separated; rotation, or spin turns; And turns as such, that is, rotations in advancement.

In its simplest form, split turns are right and left turns, and advancing turns are inside and outside turns. However, these types of turns are based on spin turns, so let’s look at them in detail.

Spin turns

These rotations occur in one place, consist of preparation, impulse, actual rotation and stop.

Pulse

An impulse, as follows from the definition, is a short-term thing. It appears as a result of a “potential difference” between different parts of the body. You can grab it with your hands, shoulders, hips, knees and much more. The whole trick is that no matter where the impulse comes from, it must come to the body, into the frame (shoulders + hips) and start the turn independently. It is important to know that if the core muscles are relaxed, then the impulse will not pass and will not work. The same is true if the muscles are too tight: in this case, the impulse will be extinguished in them. Before, during and after the turn, the whole body should be collected, as if running.
Too many people stretch out the momentum, causing it to “pull” the turn. Imagine that you need to roll a ball from point A to point B. If we are not talking about the accuracy of the trajectory now, then it would be more logical to push the ball, give it an impulse that would roll it to the finish line on its own. A person who stretches an impulse is like someone who rolls a ball with his hand all the way from point A to point B.

Turns with extended momentum tend to be heavier, slower and less controlled.
So, it is necessary to collect the impulse in the body. For this we have the abdominal and chest muscles. If we take the impulse with our hands, then we need to try to “stop” our own hand with the chest muscles, and then immediately relax them. This will cause the impulse from the hand to pass into the body. If the latter is in good shape, then the impulse will pass to the thigh opposite the hand.

If the impulse is taken from twisting the shoulders relative to the hips, then the abdominal muscles allow you to create the proper level of coupling, and now, after the shoulders and hips come to an even position, an impulse appears in the body, directing the rotation.

We find the most effective method of creating momentum is to connect the arms between the arms in the chest muscles. In order to do this, you must first become familiar with the spring. A spring is a condition in the muscles when they are not relaxed, not clamped and “connected” to each other. You can feel it if you stand a person and open your arms to him in the style of free hugs. If he holds a spring, then when you begin to move one hand outward, you will feel resistance in the other. If not, then only the muscles of the arm on which you are pressing will resist your pressure. When the hands are in conjunction, they become a system that reacts and works together, redistributing tension between its parts.
This system has two states – zero (neutral) and non-zero. In the zero state, the chest muscles are relaxed, in any other state they are collected and seem to strive to return the arms to a neutral position. This concept of a spring is one of the components of volume during guidance.

So, in order to gain momentum, we spread our arms into a free hugs position, gathering the muscles of the chest and the entire body. Now comes the hardest part. It is necessary to release the pairing in one of the hands on the opposite side of the turn. That is, if you turn to the right - in your left hand. The arm will immediately go to the neutral position, and the moment it comes to it, you need to stop it with the chest muscles and immediately relax them. Congratulations – the impulse to turn is already in your body! Pairing allows you to multiply the strength of the impulse you receive, and stopping the arm with the pectoral muscles sends it into the body.

So, let me once again define the basic principles regarding impulse control:
The impulse is carried out only in the collected body: it is impossible to overstrain, as well as completely relax the muscles
The impulse is short-lived and arises only from the “potential difference” in different parts of the body, that is, turns a la “door” will most likely be incorrect
The impulse must be carried into the body so that it “turns” into a turn. Rotation cannot follow momentum
A spring in your hands allows you to increase the strength of the impulse. Spring is good

Body position and foot function. Preparation

There is one important point that spoils turns for many people. This moment - incorrect foot function.

The foot is essentially what your entire body rotates on, so it rightfully deserves a portion of the chapter in this article. The foot cannot be separated from the entire rotation; it is the first to react to frame displacement. In simple terms, this can be defined as follows: the directions of the foot and body should always coincide. Otherwise, the axis immediately shifts and the rotation is distorted. It is also important to note that if the weight when turning goes to the middle of the foot, that is, on the balls of the foot, then the foot itself will rotate around this middle during the turn. Not the heel around the toe, but the toe and heel around the center.

In order to make the right turn, it is very important to sit correctly. You sit on your foot, your weight should be in the middle of your supporting foot. This can be easily checked by stretching your arm straight to the tips of your fingers along the seams. The direction of the toes will indicate the position of the weight relative to the foot. The next step is simple. All in, back straight, shoulder blades back, gather all the muscles you can find.

Hands in front of you at chest level, palms down, fingertips touching in the middle of the chest. Try to maintain this body position while turning. If you plan to create a joint in your hands, then it is better to extend them forward, keeping the joint in the index fingers. If the impulse is taken from the body, then it is better to bend the elbows. Begin to slowly repeat the trajectory of the future turn, making sure that the foot rotates with the body. Well done.

Now about the preparation.

Proper preparation is the key to a good turn. As a rule, in order to turn, it is enough to twist the upper part of the body relative to the lower part (shoulders relative to hips) by 45˚. With the press assembled, this twist is more than enough. The rule “the longer the swing, the better the turn” works very conditionally and only for extended, smeared impulses.
If the impulse is taken by connecting the hands, then twisting is not at all necessary, although this helps psychologically. It is important that in this version the entire body rotates, since the impulse comes from the hand.

Watch the volume in your hands. If you pull your elbow back while twisting, your shoulder will come forward and break your entire volume. The body will become asymmetrical, and most likely the impulse will be crooked.

Rotation. Focus

This stage, as a rule, passes too quickly and imperceptibly, so there is no point in describing it in detail. It is important to know that your condition and your preparation are 90% of the turn. Rotation is a result of how you hold your body and how you take momentum.

It is also important to note the moment of concentration here. For many people, spin is stressful. Therefore, when they start to turn, such people tense their muscles, stand on their toes, close their eyes - in general, they do everything to ruin their turn. When turning, it is important to be concentrated, but not tense. It's like using a pottery wheel - any wrong move and that's it. The slightest distortion or change in position or level during a turn can ruin it.

In order to make the turn easier to control, and also to avoid falling from the spin and fainting, a trick was invented. Focus is the point that is held while turning the gaze. Focus has many benefits. In particular, the functioning of the vestibular apparatus is improved. Of course, after a certain amount of training. It becomes much easier to endure a large number of turns if you hold the point than if you don’t hold it. The focus also greatly structures the entire turn. The body knows where it came from and where it needs to go. This gives him the ability to turn sharper and easier.

To catch a focus, you must first select a point that will become it. It is better if this point is at the level of your gaze. Get ready to turn and slowly begin the turn while keeping your gaze on that point. Your head will remain in place and will soon be level with your shoulder. From this moment the fun begins. If you try to turn your head now and return the point, you are unlikely to succeed: the body is not yet turned enough. Therefore, you need to continue turning your body and at the same time quickly move your head to the other shoulder. Now you see the point again, and the body calmly rotates to the head.
The whole secret is in the ability to correlate the speed of rotation of the head and body. From the moment when the head still cannot catch the point on the other side until the moment the focus is fixed, you need to force the body to rotate exactly at such a speed that the head is comfortable. Something like this =)

Axis

Actually, now about the most important thing. The axis of rotation is the straight line around which your body rotates. It should pass along the axis of symmetry of the body and, if you stand on one leg in preparation, along the inside of this leg. It is important to keep the axis straight. Any tilt causes asymmetry and distorts the axis. Turning with a distorted axis requires additional and very different balancing. We will not touch such rotations.

Rotation is largely determined by where its axis is. For many people, this axis is located on the supporting leg itself during rotation. Not to say that this is critical, but this style of turning deprives its owner of many advantages. First, time: the turn around the leg has a larger radius, so it takes longer. Secondly, speed, actually for the same reason. The large radius does not allow for high rotation speed. Third, balance: since the turn around the leg is longer and takes longer, the likelihood of losing balance in it increases.

In other words, rotation around the axis of symmetry is better controlled, faster and more precise.

Turning around the leg often happens when a person tries to turn on their tiptoes. Standing on his toes, he automatically shifts the axis to his foot.

In general, in order to rotate around an axis, your body must twist the rotation with one part (shoulder + hip), and unwind it with the opposite one. Then the axis will remain in the middle.

And a little more about weight. If you lower your entire body weight to the floor during rotation, the axis will also shift to your leg. That is, it is not recommended to put pressure on the supporting leg while turning. During the rotation, the weight should be “lifted” to the center of the body, as if you were dancing a twist.

So, let's briefly list the basic principles of rotation:

• The key to a successful turn is proper preparation. Set yourself up for the turn, concentrate, collect your body. Sit on your supporting leg, weight on the ball of your foot. Now lift the weight off the floor, into the center of your body. Hands in front of you, head straight, eyes focused. Twist your shoulders or create a spring. Remember: the spring lasts as long as your muscles are collected.
• Twisting the body creates a joint in it if the press is assembled. Start rotating with your shoulders, then, after the body comes to a level position, with the entire frame. The impulse will already be in your body. Remember: the foot rotates around itself - this is the key to maintaining your axis. While spinning, move your head and catch the focus.
• To stop the turn, place your foot on the floor or squeeze your pectoral and abdominal muscles. Remember: tight muscles dampen impulse
• Exhale and smile