Discover The History Of Figure Skating!

Learn all about the fascinating world of figure skating history with Skate Guard Blog. Explore a treasure trove of articles on the history of figure skating, highlighting Olympic Medallists, World and National Champions and dazzling competitions, shows and tours. Written by former skater and judge Ryan Stevens, Skate Guard Blog also offers intriguing insights into the evolution of the sport over the decades. Delve into Stevens' five books for even more riveting stories and information about the history of everyone's favourite winter Olympic sport.

A Slippery Slope: Figure Skating's Contribution To Skiing


Here's a "did you know?" moment if there ever was one. Skating and skiing may not just share the spotlight every four years when the Olympic Winter Games roll into a city (not so) near you. They've been kissing cousins for a while. The skiing world actually has the contributions of two figure skaters and those they inspired to thank for the development of what is now a decimated skiing form called Ski Ballet... which suffered the same fate as figure skating's compulsory figures when the International Ski Federation ceased holding competitions in the discipline in 2000. 

Picture it... March 1998. You're curled up in a alpine lodge by a fireplace warming up with a hot chocolate and reading Skiing Heritage Journal... and you stumble upon this: "In 1929, just as alpine technique was threatening to be dominated by a monolithic Alberg System, predictably aha! there came a strong reaction by an Austrian amateur skater named Fritz Reuel. He produced some crazy-looking turns on the wrong, or inside, ski; he even had the gall to write a book called The New Possibilities In Skiing. The book showcased skating turns - made on the inside ski. Reuel urged skating down the slope was even better than stemming down the slope. Reuel got a publicity break when his inside ski turn was given some exposure in the 1930 Arnold Fanck ski film, White Ecstacy. In the film, which was widely popular, there is a sequence showing ski clown Walter Riml trying to learn how to ski with Reuel's book in hand. Riml does a skating turn, a bit shakily at first, then several more with great fluidity - a sequence which remains the first 'freestyle turn' filmed... The skating turn was later named the Reuel, correctly pronounced but incorrectly spelled the 'Royal.' It is still the basic freestyle turn. By now it has a longer, useful life in a less altered form than any other turn of the 1920s." Avon Hilton explained in the September 1993 Skiing Heritage Journal that the Reuel was "a turn on the inside ski. You pushed off with the outside ski and then held it up in the air. You had to link the turns because to do just one of them didn't amount to much. It was not really what you could call a technique, but people who tried it generally did it where no one could see them because they usually fell at first." In addition to being a skater and skiier, Dr. Fritz Reuel was also a professor of physical education. His Reuel - or Royal - became a popularly accepted transition and the basis of a freestyle ski stunt called the 360 degree Royal Spin.

According to John Fry's book "The Story Of Modern Skiing", Reuel's figure skating inspired turns inspired Doug Pfeiffer to begin teaching classes in what he called "monkey business" or "exotic skiing" in 1956 at Snow Summit in California's San Bernardino Mountains. He'd apparently learned of all things - the mambo - in Squaw Valley and translated the turns in the dance to the ski hill. He wrote the world's first English language book on freestyle skiing and demonstrated moves with names quite similar to well known skating moves - the Flying Kick Turn, the Crossover Kick, The Flying Sitz and the Backscratcher. He also introduced, according to the Canadian Encyclopedia, "spinners, tip rolls and crossovers". 


Pfeiffer's teachings resonated with Phil Gerard, who like Reuel had a background in figure skating. Gerard was a choreographer, professional ice show skater and  even a Broadway dancer in shows with Sammy Davis Jr. Gerard, like Reuel and Pfeiffer, introduced more skating inspired moves that could be performed on short skis and choreographed dances on skis - in effect inventing what is known as ski ballet. Fry's book describes Gerard as "gaunt, intense, with profuse jet-black hair framing an ashen face, he occasionally appeared wasted from a prior evening's surfeit of drugs and alcohol. But he was athletic and immensely talented. He was not alone in advancing the idea the idea of performing to music, as figure skaters do. He coached blond, charismatic Suzy Chaffee, who, more than anyone, brought ski ballet to the public limelight." Ski Ballet would go on to be demonstrated as a sport at both the 1988 Calgary and 1992 Albertville Olympics, but was ultimately dropped like a hot potato by the IOC and I said before, ultimately dropped entirely in 2000 after waning significantly in popularity after being rejected by the good folks at the Olympics. 


Today skiing and skating share another important commonality: the snowplow stop. It's one of the first things you learn in CanSkate and ironically one of the first manoeuvres you learn in a beginner ski class as well... only the more modernly used name in skiing for a snowplow stop is a wedge. People make a lot of comparisons between both the basics of skating and skiing much as they do about roller skates or blades and skates but I don't about you, but put me on a pair of skis or roller skates and I have about as much grace as a bull in a china stop. I'll stick with my edges and toe picks, thank you very much, and I have even more respect for anyone to can make a connection between the two. On second thought, the hot chocolate in the alpine lodge sounds more my speed these days... maybe with a little Irish Cream in there, you know, to jazz things up a little! Cheers to you, Fritz Reuel and Phil Gerard!

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on FacebookTwitterPinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

Zsófia Méray-Horváth And The Coffee That Should Have Been Irish


Before we get to the meat and potatoes of today's history lesson, I want to be fair and say that this topic isn't exactly one that hasn't been explored before on the blog. Back in March of 2014, the skater in question was briefly featured in the first of "The Other World Champions" series. Today we're going to go much more in depth than a little biographical stub... and be really easy on this blogger who had to sift through multiple foreign language source materials with a fine tooth comb, a Google translator and a cup of coffee that was not Irish and definitely should have been.

Photo courtesy Sveriges Centralförening för Idrottens Främjande Archive

Our story begins in of all places the municipality of Arad in Transylvania (then part of Hungary) four years before the first entry in the journal of Jonathan Harker in Bram Stoker's epic horror novel "Dracula". On December 30, 1889, Zsófia Méray-Horváth was born. Before we get into who she was and her many contributions to skating, I want to first try to explain some confusion surrounding her genealogy and name. In the sixteenth century, a Croatian man from the Horváth family married a woman from the Méray family in Kassa, which is located in the present day Czech Republic but was then a thriving Hungarian city. The names were combined and over two centuries went through many slight variations. However, Zsófia's father Károly opted to revive the combined Méray-Horváth last name. When she started entering international figure skating competitions, the name Zsófia was Germanized to Öpika, the preposition 'von' got added somewhere along the way and Zsófia Méray-Horváth became known in skating circles by the names Öpika von Méray-Horváth, Öpika von Méray and Öpika Méray-Horváth. You have to wonder what she would have liked us to call her, but out of respect for her birth name today I'm going to use Zsófia Méray-Horváth.



Now that we have all of that confusion cleared up, let's start by talking about her youth and how she got involved in figure skating. Zsófia's father Károly was a prominent - and I mean prominent - sociologist, engineer, editor and writer who was at one point Vice President of the Society of Social Sciences (Társadalomtudományi Társaság) of Hungary. Although obviously a busy man, Károly was by accounts a doting father to his daughter and three sons.

Photo courtesy Sveriges Centralförening för Idrottens Främjande Archive

Zsófia started skating - as most skaters did back in those days - outside on ponds in Transylvania and was quickly recognized as someone with clear talent. At the invitation of Mihály Károlyi, Hungary's future Prime Minister. the family did what many skating families still do to this day - packed up and moved! In Budapest, Zsófia became the star skater at the Budapesti Korcsolyázó Egylet (the Budapest Skating Club) and for the first time received real instruction in the sport.


Following in the footsteps of her aristocratic clubmate Lili Kronberger - who was the second female skater to win the World title in 1908 (a feat she repeated in 1909 and 1910), Zsófia travelled to Vienna, Austria in 1911 to compete in her first international competition, the World Championships. She finished second behind Kronberger that year. By the following year, Lili Kronberger had retired from competition and following the advice of Károly, Zsófia's younger brother Lóránd - a motorcycle enthusiast - became an engineering apprentice at Shell in Galicia. Zsófia travelled to Davos, Switzerland as Hungary's only ladies competitor and claimed the gold medal in a field of seven ladies. 


With continued support from Mihály Károlyi, the Budapesti Korcsolyázó Egylet and her family, Zsófia made the trip to Stockholm, Sweden to defend her World title and did so with a considerable lead on her closest challengers, Phyllis Johnson of Great Britain and Sweden's Svea Norén. In an equally convincing fashion, she won her third and final World title in St. Moritz, Switzerland in January 1914 with an almost twenty point lead ahead of Austria's Angela Hanka. Even though she was probably one of the most conservatively dressed of the ladies skaters of that era, Zsófia was criticized in a 1914 issue of "The Sketch: A Journal of Art and Actuality" for her mere 'indecency' in taking part in a sporting event as a (GASP) woman! Give me a break.


At only twenty three, the future seemed bright. When World War I broke out, Berlin's Deutsches Stadion had already been completed in anticipation of the 1916 Summer Olympics. Figure skating was again planned to be included on the roster for a Winter Sports Week held in conjunction with the Summer Games and in 1914, work continued in preparation for the Games. Many thought that the war would not last that long or grow to the scale it did at the onset. As the three time and defending World Champion, Zsófia was the odds on favourite to be the second ladies Olympic Gold Medallist in figure skating.


Things didn't work out that way. The World Championships were cancelled from 1915 to 1921 as were the planned 1916 Summer Games. Lóránd left Shell and enlisted in the military. Károly invested all of the family's money into state loans that turned out to be unsafe. The Méray-Horváth family lost every last fillér. In order to support the family and literally put food on the table, Lóránd and his brother Endre opened a small shop called Paraffins that made candles and soaps and barely scraped by. Zsófia married and became known as Madame Scelnar and got a job teaching foreign languages.

Gillis Grafström and Zsófia Méray-Horváth

After an extremely rough several years, between Zsófia's teaching job and the brothers shop, the family slowly got back on its feet. Lóránd and Endre later started manufacturing motorbikes and - much like Norwegian skater Johan Peter Lefstad, carved out quite a name for themselves in the process. However, the Wall Street crisis and Great Depression's global impact soon put the burgeoning company out of business and the once comfortable family again fell into poverty. Following World War II, when Hungary was under Communist rule, members of Zsófia's family - including her mother, brother Lóránd and his wife - were put in forced labour camps but survived.


Whether the three time World Champion suffered the same fate during this time period is unknown as is much of her later life. Called "a very spirited woman" in the 1920 Fritz Gurlitt Verlag book "Sport Brevier", the Transylvanian born skater never returned to the ice and died in Hungary on April 5, 1977. The story of her later life remains an unsolved skating history mystery but her pioneering contribution to developing women's figure skating remains a golden moment in a career cut far too short.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on FacebookTwitterPinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

Aye, Aye, Captain: On The S.S. Skater With A Skater

Photo courtesy Musée McCord Museum. Reproduced for educational purposes under license permission.

Born in Montreal, Quebec on February 25, 1831, John Miner moved with his family to Detroit, Michigan in 1834. His interest in all things nautical began as a boy when he was a carpenter's apprentice and by age fourteen, he was already out on the lakes. At age twenty, he married Julia Busha and built his first ship, a sloop called Sweeper. Together, Julia and John had three children. In succession, John built, owned or commanded a long list of ships from schooners to steamers: the Michigan Flower, Storm, Whittlesey, J.B. Chapin, Kate Hinchman, John Miner, Victory, Star, Concord, William Goodnow, Magnet, Benton, Mary Mills, George Worthington, Henry Howard, Morton, Empire and the John S. Richards.

He was an esteemed captain and builder of ships for fifty years, never losing a single ship or a man in his employ while at sea. A March 2014 article from the Detroit Historical Society noted that "Miner's reputation as a true gentleman has been well noted throughout the historic record. A man of fair business dealings in every sense, he was known for his infrequent use of alcohol, tobacco, and other social vices." No Caribbean rum for this straight edged captain, apparently. I won't hold it against him. The final ship he designed and built was called a passenger propeller called the Skater, undoubtedly named after this captain's passion for (you guessed it) figure skating.

Left: Captain John Miner in action. Right: A pair of Captain John Miner's stilt skates, which are in the possession of the Detroit Historical Society

The Detroit Historical Society's article gives some wonderful insight into the good captain's passion for skating: "While building and sailing ships was a lucrative occupation for Miner, his true passion in life rested in the winter recreational sport of ice skating. Miner was known to spend as much time as possible on the ice as soon as the winter cold froze area ponds and lakes. He was apparently quite a marvel at speed, acrobatics, and agility. Miner submitted a patent in 1897 for an innovative skate runner designed to greatly increase speed. Having won numerous prizes and medals, his biggest self-accomplishment was a solo performance before England's Queen Victoria. One of Miner's more fanciful and entertaining feats was the use of his 'stilt-skates' which elevated him an astonishing two feet off the ice while performing unbelievable manoeuvres." Miner's 'racing blade' design (more suitable for speed than figure skating) was officially patented on Valentine's Day, 1899.

Close-up of a pair of Captain John Miner's stilt skates. Photo courtesy Musée McCord Museum. Reproduced for educational purposes under license permission.


An article from the book "History on Ice and Roller Skating - 1916" published by Julian T. Fitzgerald, offers some further explanation of the captain's skating career: "This great skater was the father of stilt skating, having made and used the first pair of stilt skates in America. He won the speed and figure skating championships of Michigan 1861, he competed in the first National figure skating Championship at Pittsburgh, Pa. 1871, against (E.T.) Goodrich, (Callie) Curtis and (Johnnie) Engler." At some point along the way, the captain also developed a taste for roller skating, as it would have of course been much more common back in those days for skaters to learn to perform proficiently both on rollers and ice skates. Even within the last month of his life at seventy eight years of age, he was still roller skating regularly at Wayne Rink in Detroit. An honorary Protopopov or Richard Dwyer if there ever was one! Captain John Miner passed away on July 10, 1909 of an asthmatic/bronchial condition and is buried in Detroit's Mount Elliott Cemetery. Whether you're out on a ferry or a yacht, the next time you find yourself out at sea, raise a glass to the good skating captain... but since he didn't drink, if he asks it's just soda.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on FacebookTwitterPinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

The 1939 New Zealand Figure Skating Championships


In 1987, the New Zealand Ice Skating Association celebrated its fiftieth jubilee with a wonderful historical document written and published by Rhona Whitehouse. In it, I was fortunate enough to read a deliciously obscure yet fascinating account of the country's very FIRST National Championships which were held in July of 1939 at the Manorburn Dam in Alexandra "on a magnificent icefield covering sixty acres and extending two miles and a-half." A description of the scene taken from the July 23, 1939 edition of the Otago Daily Times sets the scene quite descriptively: "A more picturesque setting could hardly be imagined. From the rocky crags forming a natural grandstand, the spectators looked across a basin of sun-drenched ice, on which, between events, about 1,000 skaters wove an animated pattern full of colour, the skates flashing in the sun. On the brown slopes above were grouped the 300 cars, trucks and other vehicles which, with the help of taxis, brought most of the participants to the scene, the remainder arriving on bicycles or on foot. It was a perfect day, and the refreshment booths did a roaring trade in hot pieces and saveloys." Keep in mind, of course, that as New Zealand is in the southern hemisphere, the seasons would of course be inversed and June through August would serve as the country's winter. Winters would be a hell of a lot more seasonable than we would be used to here in Canada. We're talking a high of sixteen and a low of seven Celsius so pretty balmy compared to what I am used to here in the winters to say the least. The weather was noted as particularly mild even for the locale and time of year so the ice on the flooded field was not as thick as usual. The Otago Daily Times noted that "uncertainty as to when the ice would be bearing prevented a larger entry from the north, but there was a high standard of performance. The Central Otago skaters were too good for the visitors."

Competitions were held for both men and women in both speed and figure skating. In the seven entry men's figure skating event, the victor was A.W. Robertson of Oturehua, who fended off a formidable challenge from B. Hjelstrom to take the title. G.J. Rivers of Alexandra finished third. The ladies champion was Sadie Cameron of Alexandra, who outskated Miss N. O'Kane, Miss N. Hall and Mrs. J. Gilkison of Dunedin to take the gold. Whitehouse noted that "very few skaters could do free skating and the figures required for the championship were elementary. They were Forward Outside Eight, Forward Inside Eight and Change of Edge starting on either foot." The results were indeed based only on school figures... so if Trixi Schuba had a time machine and an aunt in New Zealand she could have gone back and mopped the field with the competition without question. What made Sadie Cameron and A.W. Robertson's wins so impressive was that both skaters were self-taught. Robertson had no coaching whatsoever and learned to figure skate on dams and ponds. Cameron was twenty five when she entered the 1939 National Championships and learned to skate on "rickety ice." According to Whitehouse, the "only tuition she had was from an elderly Swedish gentleman who told her to 'lane ophir' (lean over). She said skaters had no idea about legs, body or shoulder position." Even though the figures both Robertson and Cameron skated to win their National titles were novice, by today's standards it is pretty incredible to think of a skater winning a National Championship of any sort without ever being coached, isn't it?

The onset of World War II in 1939 meant that these National Championships of New Zealand would prove to be the last until 1946 but the very humble beginnings of skating in a country you don't always associate with winter sports serve as a reminder that every story starts somewhere and builds from the ground up.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on FacebookTwitterPinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

The Adolphus Hotel: An Unlikely Southern Skating Mecca


In 2012, the Adolphus Hotel in downtown Dallas, Texas celebrated its one hundredth birthday. The hotel opened two years before World War I and has played host to some pretty famous guests over the years, most notably Queen Elizabeth II, The King Of Norway, Edith Piaf, Amelia Earhart, Babe Ruth, the Vanderbilt's, Oscar de la Renta, Estée Lauder and Julia Child. The hotel also played an unlikely and incredibly important part in figure skating history.


From 1936 to 1965, the hotel had a rolling retractable tank ice skating rink installed in its Century Room. The Century Room was a multi use space that was many things to many people: a Hawaiian restaurant, nightclub, ballroom with live music by Glenn Miller and His Orchestra and skating venue... and make no mistake, it was the place to be and be seen in the Texas city in its day.


When ice show producer Art Victor came to the U.S. from Europe in the thirties, his first job was the production of the College Inn Ice Revue at Chicago's Sherman Hotel, which was wildly successful and proved that skating shows at hotels absolutely worked. From there, Victor went to Hollywood to produce a show at the Tropical Ice Gardens before turning his attention to the Adolphus Hotel in Dallas. A January 1943 article from Billboard Magazine explained that "when the hotel installed its rink, many assured the manager, H. Fuller Stevens, that he would have to close after eight weeks. They are still amazed at the business the hotel is doing with its all-year ice policy. Victor knows skating and how to get the best out of the available talent. When his skaters tell him that the steps he wants them to do are impossible, he put on his skates and shows them. Many skating stars have been discovered and developed by him." Under Victor's direction, the shows established the concept of bringing in permanent casts for the hotel shows to save on transportation and rehearsal expenses and new productions were put together every four weeks. One of the most popular during Victor's time at the helm was Dorothy Lewis' Ice Time show.


Things changed at the Adolphus. In the summer of 1943, U.S. Olympic speed skating turned figure skating star Dorothy Franey Langkop was offered a six week run with her skating show at the hotel after performances in the Iceolite Revue with Sammy Jarvis at the Book-Cadillac Hotel in Detroit, St. Louis Park Plaza Hotel and shows in Chicago, Mexico City, Kansas City and at Rockefeller Center in New York established her as a bona fide skating attraction. Franey choreographed, directed, produced and starred in her Dot Franey Ice Revue which opened in The Century Room in October of that year was held over for the next fourteen years. She created new shows for the hotel every six weeks. In its heyday, the Adolphus Hotel ice shows were so hugely popular with the society women of the south that reservations for her lunchtime shows had to made two weeks in advance. The shows featured ice comedians, adagio pairs acts, ensemble pieces and of course Franey, who skated on speed skates, figure skates and stilt skates in the shows. For the record, Dot Franey was kind of a big deal.


A huge part of the appeal of the Adolphus Hotel skating shows was the fact that they offered audiences the whole dining/entertainment/dancing experience. As the rink was retractable, after audiences were finished eating, drinking and being entertained, they could get down on the dance floor when the rink was rolled back. As well, skating was much more of a novelty in the southern U.S. at the time than in the north and as Linda and Steve Bauer noted in their book "Recipes From Historic Texas", "most Southwest citizens had never seen skating on ice."


Although the shows waned in popularity in the early sixties and the ice was removed, The Adolphus Hotel is still very much in operation today. The Century Room is now called The French Room and serves as a fine dining establishment. The Adolphus may have traded in its lutzes for lamb shanks and langoustines but this unlikely Southern skating mecca of yesteryear's contribution to skating history is indisputable.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on FacebookTwitterPinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

Don't Mess With The Golden Glider


Aside from my affection for train travel, Sheldon Cooper and I likely wouldn't have a lot to chat about. I don't know a thing about theoretical physics and I've never read a comic book in my life. Just not my thing. That said, when I found out about the subject of today's blog, I simply couldn't resist sharing.

First appearing in D.C. Comics' "Flash" back in June of 1977, The Golden Glider was a fictional character created by Cary Bates and Irv Novick... and long before Tonya Harding gained notoriety as skating's 'bad girl', this comic book character was skating's super villain. Although I don't read comics, I've watched some of the earlier Batman movies (Michelle Pfeiffer as Catwoman - you just can't not!) so I totally get the premise of these comic book characters having an alter ego. You know, like the Canadian Heritage Moment commercial with the quote referring to Superman: "by day he's a mild mannered reporter, glasses, you know, secret identity". 

The Golden Glider was the alter ego of the character Lisa Snart, an Olympic figure skater who was helped during her skating career by her lover and secret coach The Top, who was (you guessed it) another rival to The Flash character. The Top gets killed, so the skater vowed revenge and she transformed into this big, bad villain who wore an orange skating costume, a mask and skates which create their own ice flow, allowing her to skate on air. She even had diamonds and jewels that she used as hypnotic devices and explosives. I'm sorry, but Tonya had nothing on this girl. Well, maybe the triple axel, but a baton against skating on air with explosives? The 1994 U.S. Championships could have easily gone very differently.


Killed off in the comic book's May 1996 comic book #113, the character would later be magically revived in a D.C. Comics 2011 revamp called "The New 52". The popularity of The Golden Glider even spawned another skating comic villain named Ice Kate who appeared in a 2003 comic book series aimed at younger teenagers called "Teen Titans Go!" Actress Peyton List even portrayed Lisa Snart (The Golden Glider) on the 2014 TV series "The Flash" on the American television network CW, which was renewed for a second season in 2015.

I've got to be honest here and say I was quite shocked to learn that a figure skating comic book character has been in existence since the seventies and I'd never heard of it, especially considering the surge in popularity of films based on comic books in recent years. That said, in a way I can't really be that surprised. Skating has crossed over in one way or another into almost every aspect of entertainment at one time or another - why not comics too? All I do know is this. If I were a technical controller, I'd be extra careful who I gave that edge call too. After all, they might have a mean streak like Lisa Snart.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on FacebookTwitterPinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

The I.P.S.A. World And British Open Professional Championships

Photo courtesy "Skating World" magazine

The first professional figure skating competitions in Great Britain were the Open Professional Championship Of Great Britain In The International Style, organized by the National Skating Association and first held in 1931. The first winners were Howard Nicholson, Melitta Brunner and Sadie Cambridge and Albert Enders. Singles competitors performed both school figures and free skating, and there was no prize money at all, which may surprise you. These were professionals competing for a title out of pure love for the sport!

Sadie Cambridge and Albert Enders

In April 1933, an ice dance competition open to both amateurs and professionals was held at the Westminster Ice Rink in London. Married couple Eva Keats of Great Britain and Erik van der Weyden of Belgium took home the gold. Two months later, a competition for professional ice dancers only was held at the Queen's Ice Club in London. Perhaps controversially dancing with a woman other than his wife, van der Weyden and Elsie Heathcote won this particular competition.

Things got much more organized in 1936. The British Ice Teachers Association was founded that year as the Ice Teachers Guild. It was one of the first coaching associations formed in the world and played an important role in organizing competitions for professionals both pre-World War II and after, under the name the Imperial Professional Skaters Association. That year, before Great Britain even had an amateur ice dance competition, a professional competition for ice dancers called the British Pro Waltz Championships was won by Lesley Turner and Robert Dench. Skaters like Hope Braine, Nate Walley, Pamela Prior, Joan Dix and pairs team Sadie Cambridge and Albert Enders took home titles in singles and pairs skating during this period. In April 1937 at the Harringay Ice Arena, Pamela Prior was the only entrant in the women's event but was still expected to achieve specific scores in both compulsory figures and free skating to earn the crown. She was only seventeen years old.

Mostly show skaters competed in these events from early on but many bigger names like Cecilia Colledge and Swiss brothers Jacques and Arnold Gerschwiler dipped their foot in the water. Also competing were Herbert Alward, Marilyn Hoskins, Ronnie Baker, Len Liggett and Pamela Murray and Muriel Roberts and Walter Gregory, the inventors of the Rhumba compulsory dance. Often, the Championships were held in conjunction with other events organized by the National Skating Association, such as amateur junior competitions.

These events came to a halt during World War II. Some rinks remained open, others were taken over, damaged or closed and the ones that were opened served double duty as bomb shelters with gas masks in the cloakrooms. By 1946, the Professional Championships had returned.

Moira June MacDonald, Open Professional Champion in 1949, 1951 and 1953

In her formidable textbook of ice dance history, Lynn Copley-Graves explained how the free dance, part of a May 1949 proposal by Reginald Wilkie and Bill Hickok to the International Skating Union, got its trial start in professional and not amateur competition: "Great Britain held a yearly Open Professional Ice Dance Championship. On December 9, 1949, two professional couples tried out the new ISU rules in England, the first reported use of the rules in a major competition. The free dancing of Gladys Hogg and Bernard Spencer won both acclaim and the title. Gladys and Bern, already two of the finest British dance trainers of the era, set a standard for what free dancing could be." Finishing second behind Hogg and Spencer but also noteworthy in their contribution to skating history by performing one of the first two ISU free dances in the world were another British couple, Violet Thomson and Kenneth Vickers.

George Miller preparing for the Open Professional Championships in 1957. Photo courtesy "Skating World" magazine.

In 1956, the National Skating Association relinquished control of the Open Professional Championships to the Imperial Professional Skating Association of Great Britain, and a Championship Committee consisting of Roy Callaway, Joan Hawkins, Don Crosthwaite and Peggy Tomlins set to work revamping the event. The 1957 Championships marked the first time that skaters would compete for prize money - a total purse of five hundred pounds. T.D. Richardson noted that there was initially a lot out doubt as to whether or not the event would work out under the organization of I.P.S.A., and when there were few international entries in 1957, there were "a lot of 'I told you so's'."

Photo courtesy "Winter Sports" magazine

The judging system was revamped, with six judges (five in dance) and marks given on a 10.0 scales. The total points, not ordinals, decided the winners, and each judge presided over one aspect of the skater's performance. In singles skating, there was a judge apiece for spins, jumps, steps, general performance, musical interpretation and artistic conception. In pairs, judges looked at spins, jumps and lifts, steps, performance, musical interpretation and artistic conception. In compulsory dances, they assessed correct edges, correct pattern style, correctness of footwork, rhythm and timing and interpretation of music, and in the free dance contents and difficulty, rhythm and timing, unison and co-ordination and musical interpretation. The competition were then titled at the World's and British Professional Championships. "Skating World" magazine noted, "Should a British competitor place first in any event, then he or she would become both British and World Champion. The highest placed British skater would take the national title in any event, regardless of World placings."


A hugely important development for the competition came on May 31, 1958, when the BBC televised all four disciplines of the event held at Nottingham Ice Stadium, allowing television audiences in England their first glimpse at professional competition. With Alan Weeks and Max Robertson as commentators, this television coverage continued well into the sixties.

Carol and Michel, Rosina and Raymond Lockwood and Peri Horne and Basil Cudlipp-Green, pairs medallists in 1958. Photo courtesy "Skating World" magazine.

Though British skaters dominated the event in the sixties, the pendulum often swung in favour of international skaters as well. Italy's Anna Galmarini and Japan's Miwa Fukuhara managed to claim international titles that had eluded them as amateurs, while four time World Champions Eva Romanová and Pavel Roman of Czechoslovakia showed they were every bit as talented as pros when they took the title in 1965.

Betty Loach and Howard Richardson, Marjorie McCoy and Ian Phillips and Gillian Thorpe and John Phillips, ice dance medallists in 1966. Photo courtesy "Skating World" magazine.

In 1969, another pair of four time World Champions, Diane Towler-Green and Bernard Ford, won the event - now billed as the W.D. and H.O. Wills Professional Ice Skating Championships at Wembley - defeating Yvonne Suddick and Malcolm Cannon and Vivienne Dean and John Phillips for the win. Perhaps the most compelling winner that came out of this event was 1965 pairs winner Marianne Althammer of West Germany, who tours later would spend eighteen days in jail in Poland after getting into a fight with Warsaw police while touring with Holiday On Ice.

The men's podium in 1970: Michael Edmonds, Donald Jackson and Paul McGrath

In 1970, the event was again held at Wembley and with Towler and Ford not returning to defend their title, Yvonne Suddick teamed up Ian Phillips to take the ice dance crown. In the men's event, World Champion Donald Jackson of Canada managed to hold off some strong competition from American Paul McGrath for the win, receiving first place marks from every judge and the only three perfect marks of the entire competition. In my interview with Lorna Brown, who won her World Professional title in Jaca, she recalled finishing second in Wembley: "I then competed in the World Championships in Wembley the first time and came second to a European Champion who was also an Olympic and world bronze medallist by 0.2 and the pro marks were out of ten. I skated to 'On The Waterfront' and I remember the ice was liquid blue so I was in my element." By 1974, the competition moved to Jaca, Spain and rebranded itself as the Campeonatos del Mundo de Patinaje Artístico Professional sobre Hielo or in English, the World Professional Championships.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on FacebookTwitterPinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

The Canadian Professional Figure Skating Championships

With eighteen entries in the ladies event alone at the 1979 World Professional Championships in Jaca, Spain, the Figure Skating Coaches Association of Canada (which was then basically Canada's answer to the PSA), decided to organize the first of two competitions called the Canadian Professional Figure Skating Championships. We looked at the Candid Productions nineties event in the 2013 blog linked earlier, but today we're going to go old school.

It all began in 1980 when the Figure Skating Coaches Association of Canada booked the Scarborough Centennial Centre for a weekend in January to hold the very first Canadian Pro Championships as part of a selection process for the Jaca World Pro. Then-chairman Gordon Crossland told reporter Sidney Shapira that "we had to hold a national championship. We had so many girls who wanted to go to the worlds. We're the first country to hold a national championship." He was incorrect as England had actually held its own national professional competition many times previously, but Canada did beat the U.S. to the punch in this respect by a year. Competitors in singles and pairs performed both a technical program similar to the short program with required elements and an artistic program and interestingly, ice dancers performed traditional compulsory dances in addition to their artistic program. School figures were not included and judging was on a 10.0 scale. In the inaugural event, the medal winners were Weston's Ken Polk, Ste. Foy, Quebec's Raymond Naismith and Scarborough's Jack Frizelle in the men's event and Toronto's Carol Farmer Wright, Scarborough's Elizabeth Purtle and Toronto's Diane Hunt. All were offered spots at the Jaca event that April. The following year, medallists included Ron Shaver, Lynn Nightingale, Jamie Lynn Kitching-Santee and Judie Jeffcott and Keith Swindlehurst.

Jamie Lynn Kitching-Santee's jacket from the 1981 event, which her daughters use to skate in today!

When the Labatt's ProSkate series gained popularity, it complicated matters with regards to using the Canadian Pro event to decide on skaters for the Jaca World Pro. In fact, two time Canadian Champion Heather Kemkaran's win at the 1982 event at the North York Centennial Arena opened the door for OTHERS to compete in Jaca. Michael Cosgrove's March 22 article in The Globe And Mail explained that "usually, the winners would advance to the world professional championships in Jaca, Spain, in early April. But, because Kemkaran, pairs champions Shelly Winters and Keith Davis and dance champs Susan Carscallen and Marty Fulkerth are involved in the Labatts' ProSkate circuit, which starts a four-city Canadian tour in Montreal at the end of the month, none will be competing in Spain." With Kemkaran out, the representatives in Jaca that year among the ladies were silver medallist Carol-Ann Simon, bronze medallist Susan Wilson and fourth place finisher Shelly-Lynn Owen. In the men's event, British Columbia's Henri April edged Ottawa's Jean-Pierre Martin by a mere .15 for the gold.

Jamie Lynn Kitching-Santee. Photo courtesy Toronto Public Library, from Toronto Star Photographic Archive. Reproduced for educational purposes under license permission.

The competition continued until March 1984, although no prize money was offered to skaters in the fifth and final edition of this incarnation of the Canadian Professional Championships held at Toronto's Varsity Arena. Men's medallists that year were Mitch Giffin, Jack Frizelle and John Knight. In the ladies event, Susan Smith became Canadian Professional Competition in what was her first competition since competing at the 1981 Eastern Divisionals in Ottawa. She bested Gia Guddat, future skating partner of Gary Beacom, and Suzanne Dionne for the title. Ice dance medallists were Karen Taylor and Robert Burk, Marie McNeil-Bowness and Hans Peter Ponikau and Lenore Kay and Danny Sorley. Although they didn't compete in the Toronto event, reigning World Champions Barbara Underhill and Paul Martini were added to the Jaca roster that year, where they won along with other well known Canadian skaters who did not qualify through the event like Brian Pockar, Candy Jones and Don Fraser and Daniel Beland. Even just reading about the confusing process of how skaters "got selected based on the results of the qualifying round" but other skaters were added or removed reminded me instantly of the equally confusing Challenge/Masters Cup problem at the U.S. Open that reached a head in 1997 when skaters who won the Challenge Cup like France's Axel Médéric were ultimately excluded from the Masters Cup round "due to their scores". Even open professional competitions appear to have had their own politics.

In 1985 and 1986, the Jaca World Professional Championships were not held. As a result, this qualifying competition was essentially redundant and ended unceremoniously. The Jaca event returned in full force in 1987 and Canadian skaters Daniel Beland, Shaun McGill, Julie Brault, Kelly Johnson, Jonathan Thomas, Micheline Sally and John Coyne all finished in the top three in their respective disciplines. Whether or not an open professional competition in Canada lasted long, it was a thing that indeed happened and I'd personally love to see happen again. I'm looking at you, Gary Beacom who killed it this year at Adult Nationals!

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on FacebookTwitterPinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

Jackson Haines: The Skating King

Cover photo of the 2023 book "Jackson Haines: The Skating King", a biography of The Father of Figure Skating  

Jackson Haines left America during the height of the Civil War and embarked on a remarkable journey across Europe. With his ingenious translation of ballet onto the ice, he revolutionized the world of figure skating. Mesmerizing Czars and Emperors with his breathtaking performances, he became a catalyst for the creation of several of the world's oldest skating clubs. He left such an indelible impact that he is remembered today as The Father of Figure Skating.

In this captivating biography, figure skating historian Ryan Stevens masterfully recounts Jackson Haines' incredible story, from his modest origins in New York to his tragic death in Finland in 1875 - both on and off the ice.

If you are curious about the history of figure skating, this book will both surprise and fascinate you.


PRAISE FOR "JACKSON HAINES: THE SKATING KING"

"Jackson Haines in my opinion is one of the most important ice skaters in the history of figure skating. His influence on the art and sport of figure skating should not be underestimated. When you follow the historical journey of ice skating you can see his footprint (or should I say blade print) in today's competitive and artistic skating. He was the father of spins, he populated music with skating and the use of the most elaborate costumes. This book by Ryan Stevens is a wonderful read and insightful account of the man that would be called The Skating King." - Christopher Dean OBE, Olympic Gold Medallist (1984), World Champion (1981-1984)

"I've known the name for many years and I thought I knew his place in history. This book has given me a whole new level of insight to a man who created his own path and helped pioneer the sport I love." - Robin Cousins MBE, Olympic Gold Medallist, figure skating (1980)

"Ryan's journalistic ability to unearth historical details and mix them into a compelling story is first-class! While balancing accuracy and fairness, he reveals a man whose life demonstrated enormous talent and creativity, celebrity and human frailty. You may not like every part of Jackson Haines, but you will definitely marvel at his genius and at the sacrifices he made as an artist and inventor of modern skating." - Debbi Wilkes, Olympic Silver Medallist, television analyst and author of "Ice Time: A Portrait of Figure Skating"

"Informative, lively, and scholarly without being dry, packing in a wealth of figure skating history information that uses the life of Jackson Haines to bring together the influences and innovations that make figure skating a notable sport and attraction today. Libraries and readers interested in a biography which also serves as a sports history, holding the ability to reach out into a general-interest audience, must obtain Jackson Haines: The Skating King. Its blend of scholarly history and engaging information is impeccable." - Diane Donovan, Midwest Book Review

"Jackson Haines, The Skating King, tells the real story of the man considered to be the father of figure skating. Stevens has meticulously researched Haines' life from his upbringing in the United States, to his successful entertainment career in North America and Europe, to his untimely death at 36. Extensive footnotes attest to the accuracy of Stevens' information. Look no further for the truth about Jackson Haines." - Yvonne Butorac

Three photographs of Jackson Haines, the Father of Figure Skating and a search box with the text "Pre-order Jackson Haines book", advertising the new figure skating book "Jackson Haines: The Skating King"

ORDERING INFORMATION

"Jackson Haines: The Skating King" is an English language book available in paperback, hard cover and eBook editions where books are sold.

Paperback

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Prefer to shop local and support an independent bookseller? Learn more here!

Hard cover*

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*PLEASE NOTE: Due to a manufacturing facility issue, there is currently a 4-5 week processing delay for all hard cover orders. Should you wish you to receive the book in a timely fashion, I would highly encourage you to purchase the paperback version.

eBook

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Subscription Services


Library and Retail Orders

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If you experience any difficulty with any of these ordering links, simply search the book's name on the bookseller of your choice's website. If you have any ordering/delivery issues, please reach out to the retailer directly for assistance. 

EXPECTATIONS

What this book is: 

- An extremely comprehensive biography of a figure skating pioneer, compiling a wealth of previously unknown information and primary source research into one volume. 

What this book is not: 

- An instructional figure skating book that explains the difference between a toe-pick and toe-loop. 
- A historical fiction book. This book deals in facts and largely avoids speculation about aspects of Jackson Haines' story that cannot be verified.

MEDIA

Feature in "Skating" magazine (print) - October/November 2023 issue





Interview on Awesome Gang