HOW TAKAISHI GETS THROUGH THE WATER

Star (Christchurch), Issue 18085, 19 February 1927, Page 24

HOW TAKAISHI GETS THROUGH THE WATER

Why did Takaishi, the Japanese swimmer, put up such great times over short distances in Australia? A Sydney writer in the article below analyses his style. The starting methods of the Japanese differ very slightly from those of our Australian champions. Our swimI mers make a practice of shooting ) straight for the water, going in some- | what flatly. The visitors spring upwards and outwards, entering the i water farther from the board than is ! the practice with Australians. As they cover a greater distance in the air, they naturally enter the water later than Australians, and. if they are but slightly late leaving the board, apparently are badly left; but this “defect” has* many desirable features. Takaishi must rank as Weissmuller’s greatest rival as a sprint swimmer. He is beautifully muscled, and is fashioned on the lines of a bronze statue, without any excessive development. Remarkable Flotation. To analyse his stroking is extremely difficult. Jt is entirely different from anything we have' previously seen. While swimming slowly, his extreme relaxation gives an impression almost of floppiness. lie swims a six-beat crawl with a peculiar little wrist flick in the

middle of the recovery. The arm work is very length, and apparently without effort. The arms are placed loosely in the water, fully extended, and pulled straight through; perhaps a little inside the line of the shoulders. Takaishi’s flotation is wonderful. lie seems to be right on top of the water in an ideal planing position, but I have an idea that his vigorous footwork has a lot to do with driving the body well up above the water level. A man who does not have to lift himself up by his arms as a preliminary just goes right ahead with the pulling forward action of the arms. Takaishi’s stroking is not quick, but neither is it measured or slow. From observation it would appear that if in a tight corner he could quicken up considerably without loss of form. Revolutionary Armwork. Saitoh’s back stroke armwork is revolutionary. Our swimmers place the arms in the water behind the head, with the palms of the hands turned outwards, and the elbow bent to ease the muscular tension. The shoulder is then slightly rolled to permit of the hand being taken through the water in a vertically circular motion. Saitoh places his hand on the water palm upwards. That permits him to reach a foot further than is the case of a man swimming in the old style, while the essential muscular relaxation is assured. The hand is then half turned, palm outwards, and the stroke taken in a horizontal plane somewhat akin to half a breast stroke. His footwork is good, but not unorthodox, and flotation is all that could be desired. The Japanese visitors are in their early twenties,,and learnt the intricacies of swimming from books. There are no coaches in Japan. Both are of pleasant disposition, and possess smiles that “ won’t come off.”