tell a friend

Pairs Flying 101

• Blue Moon home page
• feature index
• forum
• contact

Part 3: Basic Maneuvers
Friday, December 14, 2007

A Beginner's Guide to Pairs Flying
Part 3: Basic Maneuvers

By Jeff McCown
Windjunkies, South Padre Island, Texas


Now that you've had a chance to practice follow and flank maneuvers from Part 2, and assuming your kites are not too badly battered, it's time to crank up the aerial mayhem and work on actual maneuvers.

First, there are a couple of things you will need to actively think about, one of them being peripheral vision. As you fly these figures and manuevers, you will not only need to see your own kite but your partner's kite as well. This is where the concept of "big eyes" comes into play. The more sky you can see, the better off you are. So whenever possible, try to see your partner's kite as much as possible.

Also, now is the time to seriously put body stagger to good use. Even with matched linesets, a small amount of body stagger will do a lot to prevent buffeting of the follow kite in turbulent air, sometimes called "tail wash." This dirty air happens when the follow pilot is standing forward of the lead pilot. As the air comes off the sail of the lead kite, it rolls and swirls. This air flows away down wind where the follow kite then flies through it. This buffeting action can make the follow kite very difficult, if not impossible, to control. Here is an example: As the kites fly across the window from left to right, the lead pilot should be standing about two feet forward and to the right of the follow pilot. As the kites near the right side of the window, call an up-about or down-about turn. As the kites make the turn, the lead pilot should take a short step backward, and the follow pilot should take a short step forward to reverse their stagger. If you learn to manage this small but crucial skill, your flying will not only be smoother but will look better as well.

Now let's look at some maneuvers. The first maneuver to learn is simple but quite elegant. This is the Flank Infinity. This maneuver is a simple figure eight on its side (also the mathematical symbol for infinity) where the curves of the "eight" are flown in a downward direction with 45-degree climbs coming out of the curves. To enter the maneuver, fly single file from left to right and one-quarter sky altitude. At window center, climb at approximately 60 degrees to three-quarter sky or just above. Just before you reach the right side of the window, fly a long sweeping curve downwards to just below one-quarter sky. As you fly the curve, lead should take an outside line and wing should fly inside of the lead by about ten feet so that through the half-sky line the kites will be side by side. As you fly through the bottom of the curve, the #2 kite will pull out in front of #1 and lead during the 45-degree climb to the left side of the wind window. Once again, climb to just above three-quarter sky and begin a long, sweeping downward turn. This time #2, who is leading, will take the outside line, and #1, in the follow position, will take the inside line. As with the earlier turn on the right side of the window, as the kites cross the mid-sky line, they will be side by side. As the kites continue through the bottom of the turn, #1 pulls back to the lead position with both kites climbing 45 degrees in single file. Once you have crossed the center window/mid-sky intersection, the maneuver is complete. This figure should be centered in the window with the mid-point of the 45-degree climbs intersecting with the center point of the wind window.

The next maneuver divides the window into four loops instead of two. This is the Flank Cloverleaf. For this explanation, we will enter the figure from an upward vertical line, even though it can be entered from any of the four directions. First, visualize the wind window divided into four equal quadrants by the half-sky line and the center window line. The kites will travel these two planes in both directions and be connected by a three-quarter loop in each quadrant with a diameter of half-sky (refer to Part 2: Calling Maneuvers for a review of this definition). To learn and practice this figure, start by flying a ground pass from left to right with kite #1 leading. At center, call for a flank up. The kites should now be side by side. As the kites fly upward through center window, call "Flank cloverleaf right . . . now." At the execution, fly a three-quarter loop to the right exiting the loop at half-sky. Now the kites should be flying at half sky from right to left with kite #2 leading. Before reaching the left side of the window, call "Down . . . now." Fly a three-quarter loop downward and exiting the loop vertically side by side. The next call will be "Left . . . now." Fly a three-quarter loop to the left symetrically matching the earlier right-hand loop. The exit will be at mid-sky flying left to right with kite #1 leading. As you fly across the window, make the call for the fourth, and final, loop, "Down . . . now." This three-quarter loop will exit in the vertical plane a third time side by side. As you fly vertically through half sky, the maneuver is completed. The beauty of this maneuver is in its graceful curves that can be entered from any of its four directions, thus making the cloverleaf versatile as well.

The "Four Squares" is next in progression. This figure is flown the same way as the Cloverleaf, except each "leaf" is square instead of circular. For this figure, we will use the ground pass and flank up through the center of the window as discussed with the previous figure. Also, as before, visualize the wind window in four quadrants and fly a square in each quadrant beginning with upper right first, then lower left, followed by upper left, and finally lower right. This maneuver happens fairly quick, so detailed calls won't really work. This is a good one with which to practice series calls. After the incoming ground pass and flank up, the series call is made as the kites fly vertically upward through center window: "Four squares, right . . . now." The call of the right hand direction is a modifier to say which direction the first square is entered. If the upper left square had been chosen, the call would have been "Four squares, left . . . now." After the series call to start the figure is made, the first turn is to the right. The kites make a 90-degree turn, and the kites change from side by side to single file, #1 leading at window right. The next call is "Turn." (No need to worry about direction right now. We know we are flying a square.) This is a hard 90-degree turn down, and the kites are again side by side. At mid-sky, call "Turn" again, and the kites will fly from right to left single file with #2 leading. At window left, you have a choice, so a direction must be named. Call "Down." Again, the kites are side by side. Before crashing into the ground, "Turn" is called, and you should be at ground pass level with #1 in the lead. At center window, "Turn" is called again, and the formation is side by side flying to the top of the window along the center line. At the top of the window, you again have a choice, so a direction must be named. Call "Left." This turn puts the kites again in single file with #2 leading. At window left, call "Turn." This turn is down with a side by side formation. When at mid-sky again, call "Turn" to fly a line from left to right and kite #1 leading. For a final time at window right, there is a choice, so a direction has to be named. Call "Down" and turn to side by side, then "Turn" before crashing, back to single file, and #2 leads. At center window "Turn" is called for the vertical side by side line to complete the figure.

Opposing Cloverleaf. This figure is really the same as the Flank Cloverleaf described earlier except the kites will travel the diagonally opposite circles and will make head-on passes in both horizontal and vertical directions. To learn this figure, start out flying a ground pass from left to right single file. At center window, flank up and call "Split cloverleaf . . . now." Kite #1 splits away right and #2 splits left on the turn command. #1 flies the upper right "leaf," and #2 flies flies the lower left. The kites will pass "head-on" in the vertical plane #1 flying down and #2 flying up. The next turn call comes before #1 crashes into the ground. Next, #1 flies the lower left "leaf," and #2 flies the upper right. Then the kites will head-on pass horizontally. With the next turn call, #1 flies the lower right leaf and #2 will fly the upper left. Once again, there is a vertical pass. The final turn will have #1 flying the upper left and #2 flying the lower right. As the kites make the final horizontal pass, flank up. The #1 kite should be on the right and #2 on the left flying upward side by side. The maneuver is complete when the kites have crossed the mid-sky plane. Just like the previous cloverleaf, this one can be entered from any direction. This description is merely an example based upon how it is flown in our current ballet. This figure also makes a good transition between trick sequences.

The next split maneuver is called the Split Flat Infinity. This maneuver looks best when the vertical passes are close and tight and the turns snap together. To begin this maneuver, fly across the top of the wind window single file, kite #1 in the lead. At the right side of the window, call "Half sky down-about . . . now." After the turn, the kites should be flying at half-sky with #2 leading. At this point call "Split flat infinity . . . now." The figure begins at half-sky and mid-window. On the execution call, #1 splits upward and #2 splits downward. At the top and bottom of the window, the "Turn" call is made, and both kites flank left. At the left side of the window, the next "Turn" call cues a vertical pass. #1 passes on the right, #2 on the left. The lead kite goes to the bottom of the window and #2 goes to the top, and the next "Turn" call is made, and the kites flank right. At center window, the next "Turn" call means the kites flank in for another vertical cross, and again, #1 passes on the right, #2 on the left. The next "Turn" is when #1 is at the top of the wind window and #2 is at the bottom, and both kites again flank right. At the right side of the window, "Turn" is again called. Both kites close to mid-sky, and the final "Turn" is called where both kites flank left to a single file formation, #2 in the lead at the left side of the window. Call "Half-sky down-about . . . now." At ground pass level with #1 in the lead, the figure is now complete.

The final basic maneuver looks more difficult than it is and will occasionally make spectators ask you how you flew it without twisting your lines. Truth be known, they don't twist at all. The twist is an illusion. This maneuver is called the Exchange. The maneuver begins by flying single file up the center of the window. When kite #1 reaches about three-quarter sky, call "Split flank . . . now." Kite #1 splits right, #2 splits left. At the edges, call "Down-about . . . now." Next, fly a horizontal pass, kite #1 above and #2 below, and continue onto the window edge. Now call "Down-about . . . now," and begin a second pass. Just as the kites meet at center window, call "now." Kite #1 makes a down-about and kite #2 makes an up-about. Each kite is now flying the opposite direction on the opposing kite's line. At window's edge, call "Down-about . . . now," to begin the third pass. Call "now" again at window center, and kite #1 flies an up-about and kite #2 flies a down-about. #1 is once again on the upper line, #2 on the lower line, and continuing onto the opposite window edges. At the edge call "Up-about . . . now," to turn back to center window. The next call will be "Flank up . . . now." At the center line, both kites flank up into a single file line as when the maneuver started.

These manuevers will give you a starting "playbook." Don't forget that you can also change the directions of entrances and exits and, therefore, change the entire look of the maneuver. As usual, don't be afraid to use your inmagination, experiment, and above all, have some fun!

For further insights, click on the link to access the accompanying video.

If you'd like to save a copy to your hard drive, please right click and save - http://www.bluemoonfabrications.com/video/basic_maneuvers.wmv


...continue reading

posted by kmac @ 7:00 PM, ,

---

Part 2: Calling Maneuvers...
Monday, May 14, 2007

A Beginner's Guide to Pairs Flying
Part 2: Calling Maneuvers

By Jeff McCown
Windjunkies, South Padre Island, Texas

Now that you've decided to plunge headlong into pairs flying and found a compatible partner and maybe even matching kites and line, it's time for some tips on sychronizing your aerial daring duo. I have heard many stories, legends, and myths about the early days of sport kite flying among pairs and teams. I have been told that every team probably had different methods of calling a routine. This would almost certainly make any type of mega-fly impossible, unless all members got together beforehand to discuss cueing maneuvers. Teams or pairs that lived or flew in the same general area and saw each other on some semi-regular basis would work out their own commonality of calls; however, they would still be different from other areas of the country. These pockets of commonality eventually became known as "tribes," but for bigger mega-flys, another step needed to be taken.

Sometime in the 1990s, three books were published to show kite flyers a way to start teams: "The Basics of Team Flying" by Troy Gunn and Jerry Hershey, "The No Secrets Handbook of Team Sport Kite Flying" by Al Hargus, III, and "Kite Precision" by Ron Reich. To my knowledge, these three publications probably did the most for defining common calls. Another thing that had to be worked out was direction. Some folks called maneuvers by "kite" direction, and others based their calls on "window" direction. Kite direction meant that if all the kites were flying upward, a left turn would go towards the physical left side of the wind window; but if the kites were flying downward, a left turn would go towards the physical right side of the window. You can imagine the confusion and havoc this could cause. Now directions are standardized by window direction, meaning that right and left turns always move to the right or left side of the window regardless of whether the kite is flying upwards or downwards. In a nutshell, up is up, down is down, left is left, and right is right.

In order to start making calls, a basic understanding of the parts of the call is necessary. Basic calls happen in two parts: the maneuver or direction, then the execution. The maneuver portion is where the lead is stating a maneuver and/or direction to be performed. An example would be, "Roll left," meaning the pair would execute a tight roll maneuver in the left-hand direction. Another example would be "Fall in and follow." Here the lead is stating that the follow pilot should meet with the lead coming into the lead's tail and following the lead kite in a single file manner. The second part of the call is the execution. This part of the call determines when a turn or maneuver is to begin. Usually it is a single syllable, staccato word, such as "now," "turn," or "go." Using the previous call for a roll as an example, the two parts together would be "Roll left ....now." We already know that a roll maneuver is going to be done in the left-hand direction, but the execution command of "now" is what actually starts the roll so both kites can be together and clean.

The next important thing to remember when learning to make calls is timing and cadence. Timing the call is critical to getting a turn or maneuver to happen in the right place and at the right time. You should give the call early enough to be able to state it clearly but not so early that your partner loses the call mentally before the execution command. If the call is too late, you will be giving it in a hurried fashion to the point that your partner may not hear or understand the call properly. This, in turn, can lead to a maneuver not happening cleanly and/or the pair being spatially out of position in the wind window. The main thing to remember is to THINK AHEAD! As you are flying the current maneuver, mentally you should already be thinking about the next move coming up. This will do more towards getting the call made at the right time than anything else.

On the flip-side of timing is cadence. Cadence refers to the rhythm in which a call is spoken. Usually, a call is two or three short words followed by a one-half to one second pause, then the execution command is given. The time delay between the maneuver call and the execution command should be long enough for you and your partner to be able to comprehend and mentally let it filter through but not so long that overanticipating the call will make you jump the execution command. This space between the parts of the call is a little different for everyone. You and your partner will have to experiment some to find what works best. The key thing to remember here is that whatever call rhythm and command delay works best, you should stick with it. After you get used to it, you will find that your flying will tighten up significantly.

Now that there is some understanding of the mechanics of calling maneuvers, let's take a look at some of the actual calls and how they are described. The most basic to start with are follows and flanks. A follow maneuver is just what its name implies. The follow pilot falls in behind the lead pilot and follows wherever the lead pilot goes in "follow the leader" fashion. The follow pilot should aim at the outside wing of the lead pilot on curves. This will keep the spacing between the two kites better through the curves. Typical calls for follow maneuvers are: follow right, follow left, fall in and follow (typically used when recalling the wing pilot from a maneuver where he/she has been split from the lead), follow up (or down) the center (typically used for climbing from a ground pass or dropping from full sky to make ready for some type of split maneuver). These are just some ideas of how to use a "follow" command. All that is needed is to make it fit how you fly. An interesting reverse is "tail lead." this is where the captain puts the wing pilot in the lead while the captain still makes the calls.

The next type of call to consider is the "about," also sometimes called the "u-turn." This call most likely has its roots in the military command of "about face." An about turn is simply a tight u-turn where the pivot point of the turn is on the wing tip of the kite or just outside the wing tip. When flying a horizontal line, abouts would be called as "up about" or "down about." If flying a vertical line, this turn is called as "left about" or "right about." The thing to remember when flying "about" turns is that these are 180-degree maneuvers. If the kites are flying side by side, the turn happens at the same time for both kites. This means that side by side entering the turn; side by side exiting the turn. The left kite stays the left kite and the upper kite stays the upper kite. If the kites are flying in a follow form, when the turn is made, the following kite will then become the lead kite when flying the opposite direction.

Next is the "flank call." Flanks are interesting because each turn changes the formation from follow to side by side alternately. In the same manner as about turns discussed previously, flank turns are also up, down, left, right, with the command being "flank up," "flank down," etc. Instead of a curved turn, the flank turn is considered a "hard angle" maneuver. Typically done at 90 degrees, the flank should be flown as a synchronous snap turn but slightly rounded off. It has been found that ripping the turn too hard takes away from the turn happening cleanly. It's just about impossible to get two kite sails to snap together as if they were one kite.

As stated earlier, each flank turn changes the formation being flown. If flying a horizontal ground pass in follow, the captain could call "flank up....now." Both kites would turn up at the same time and would be flying vertically side by side with the lead kite still on the right and the follow kite on the left. Assuming that this turn was made at center window, the captain could call "Flank right....now." Both kites would snap turn right 90 degrees and the lead is once again lead. At the right side of the window, the call could be "Flank down....now." The kites now once again fly side by side but downward. At half-sky, call "flank left....now." This time going to the left, the follow kite becomes lead kite since the direction is the opposite. At the left side of the window, the call could be "Flank down....now." The kites turn to a side by side formation downward. At the bottom of the window (before crashing!) the call could be "Flank right....now." As both kites turn at the same time, the lead kite is, again, in front where it started. Just remember that in flank turns, if the kites are oriented horizontally, they stay horizontal; if the kites are oriented vertically, they stay vertical.

The next maneuvers to discuss are loops and rolls. Both are 360-degree figures, but it's their diameters that define them. Rolls are set with the pivot point being on the wing tip. Loops are defined by a degree of sky. This will be talked about in more detail later. Rolls only have four essential directions: left, right, up, or down. However, there is also the split roll where one pilot flies an up or down roll and the other pilot flies the opposite roll. In the vertical plane, they are split left and right. Calling a roll happens just like you might think. A typical roll might be upwards such as "Roll up....now." Vertically, it might be "Roll right....now." In the case of split rolls, the lead pilot's direction would be stated first, "Down up split roll....now." In this case, lead flies a downward roll, and wing flies an upward roll. When the roll is completed, both kites continue along their original path in the same orientation as when the roll was started.

Loops are the same maneuver as rolls just larger and modified by the "degree of sky" to define its size. Degree of sky is a dimension of distance from the ground to the top of the wind window. The typical modifiers divide the window along horizontal lines of one quarter, half, three quarters, and full. If you're flying 100 to 120 ft. lines, a one-quarter sky loop would have an approximate diameter of 20 ft., a half-sky loop about 40 ft., a three-quarter sky loop about 60 ft., and a full-sky loop about 80 ft. The additional modifier of up or down is only needed if the loop is started from a path at about mid or half sky. If flying at ground or one-quarter sky, the loop direction is generally accepted to be upwards. If the flight path is at three quarters or full sky, the direction is generally accepted to be downwards. Examples of loop calls are: "Full-sky loop....now." (If started from ground, it flies upwards. If started from full sky, it flies downwards.) "Half-sky loop down....now." or "Three-quarter sky loop up....now."

About turns, mentioned earlier, can also be modified by degree of sky. In review, we remember that about turns are 180 degrees instead of 360; therefore, when the kite reaches the next altitude or degree of sky, the kite will be flying in the opposite direction. The most common of these turns are half sky and full sky. Here are some examples: "Half sky up about....now," "Full sky down about....now." These are the same u-turns described earlier only modified by an altitude. They allow you to move fairly quickly through the vertical plane of the window in an orderly yet semi "showy" manner.

Once some basics have been worked out, they can be called more quickly and efficiently by using a series call. A series is defined as a collection of basic maneuvers arranged in a specific order to create a larger maneuver. The name of the series should be given at least a small amount of thought. The key in naming the series is to be able to accurately "trigger" the series from your memory. In the case of my pair, Windjunkies, we had a maneuver that started as a horizontal split with returns and splits about vertical, horizontal, and both diagonal axis. We named it "starburst series" because to us that is what it looked like. When the series came up in our ballet, it was called as: "Starburst series....go," then each turn was cued as it came along as "Turn...turn...turn," etc. Once the series has been rehearsed to the point of being second nature, individual turn commands and descriptions may be dispensed. The whole idea is to get down to the basics of name and cue. Name the series, execute, then just cue the turns with "turn" or "now." Just remember that if the turns happen on a specific beat in the music, you must give the turn call at the right time so that reaction time puts the turn where it should be.

The next level is what could be termed as flying by execution only. When you have flown a routine long enough and have it fully memorized, the entire routine becomes a series. This could be the ultimate level of calling. It allows the captain to more precisely place turns and maneuvers because you don't have long, cumbersome, and sometimes confusing calls. All that is needed is three words, "now," "go," "turn," and mostly you will only use two words. In the current Windjunkies ballet, I'm only using "turn" to cue turns and "now" to cue tricks and landings. If flying to music, certain sections may not need calls at all. Specific turns or tricks are cued by the music itself and, therefore, can be placed even more precisely.

We have just covered a good number of the specifics in regards to calling maneuvers, but there are some calls that are more general in nature. These are "coaching" calls. To my knowledge, there is no standardized form of coaching the pace of a routine. There will be times, particularly when flying to music, that the pace might speed up or slow down to where you are either ahead or behind the music. When this happens, you can try to fit in a quick line like, "just ahead" or "just behind." Also, a good old-fashioned "speed up" or "Slow down" works just as well. The idea here is to find a way to communicate to your partner or teammates that works best for you.

The final type of call to discuss is probably the most important and is the only one that can be made by either pairs partner or any teammate. This call is "Stations." The main reason for calling "Stations" is for safety. Since many of us fly in public areas such as parks or beaches, someone unknowingly wandering into your flight arc is a very real possibility. The second reason for "Stations" is if something goes wrong during a practice routine. When working on a new maneuver or series, come confusion is bound to happen. When it does, "Stations" can be called, and like in an emergency or safety situation, everything immediately stops and all pilots break from the formation and go to a predesignated place in the sky, which is typically some form of arch across the top of the wind window. Being this is the only command that can be given by any pilot, I cannot stress enough its seriousness. The "Stations" command should never be given in jest or as a joke, and when heard, should be executed with all dispatch.

We have just scratched the surface of how to call maneuvers. For further information, try to find a copy of one or all three books mentioned earlier. Since they all have these calls illustrated, they will be able to make more sense. Just remember, the idea is to have fun. Use your imagination and experiment.

We have created a video to go along with this series to illustrate the calls mentioned in this article. Hopefully, it will help you understand cadence and reaction time a little better. It will also show you the kites' movements to the calls to help show some very basic flying skills of pairs. video

...continue reading

posted by kmac @ 10:11 PM, ,

---

The Next Dimension: A Beginner's Guide to Pairs Flying
Tuesday, March 27, 2007

By Jeff McCown
Windjunkies, South Padre Island, Texas


Part I: Getting Started


So you've had a sport kite for a while, and you've flown some to the point that your control is together: left, right, up, down, various geometric shapes, you can land and launch at will and maybe even learned a trick or two. You now find yourself wondering what is the next dimension or level to which I can take this new skill. You may want to consider pairs flying.

It can be said that pairs flying is the best of both worlds. You have the creative freedom of individual flying (you're only limited by your own skill), and the challenge of precise formation flying afforded by a team; plus, the pairs format gives more space for throwing in tricks (two can learn a new trick faster than three or four on a team).

In this first part of a series, a number of things will be discussed to help get a pair started. It's not meant to be an all-inclusive list, but a general overview of things to consider when wanting to start flying pairs.

Now that you've decided to fly pairs, the first thing needed is a partner. Your partner should be the most important consideration, because the issue of compatibility can make or break most pairs. One issue to consider is time. Do your personal schedules match to be able to put in the amount of practice time needed to reach a common goal? The more technically advanced your flying becomes might mean more practice time would be needed. On the other hand, you might just need an occasional flight to relax after the occasional bad day at work.

Time scheduling is, for the most part, directly tied to the common goal. This is another key point to compatibility. The common goal will typically determine how much time will be spent practicing. If you both decide to fly only for recreation, for fresh air and exercise and just the thrill of having your kite in the air, then one or two sporadic nights per week will suffice. If you both decided, eventually, to pursue exhibition performances, called demo flying, or competition, then it might be necessary to schedule more practice time. Bottom line is, kiting is one of those things that the more you put in, the more you get out of it.

The idea of flying style is another point to be addressed. Will your pair be content to just fly the basic geometric shapes and curves, or will you pursue the more technical side by adding tricks? If one member chooses a simpler style and the other wishes to fly a more technical style, the technical partner may feel held back. Conversely, the less technically oriented partner may feel unduly pressured. A good compromise can be reached by keeping the geometric and loopy style but add in two or three of the simpler tricks like stalls, axels, or slides.

A correlation can sometimes be drawn between flying style and musical taste. If your pair decides to try choreographing flights to music, agreement on the music to which you fly will be important. The most direct way to do this is each person brings a selection of music to be considered by both partners. The selections are given a listen by both partners, and eventually a choice is made that suits the technical ability, musical taste, and aerial vision perceived by each pilot. This will be covered in more detail later in the series.

Now that you've found a partner, the next thing to do is get the kites to match. If you were fortunate enough to find a partner that flies the same model of kite you do, then at this point, you're ahead of the game. The reasons for having "matching" kites are pretty simple. They need to fly the same speed, turn the same corners, and have the same flight envelope in general. Also, when the sail colors and graphics are the same, it all just tends to look better in the sky. If you and your partner have different kites, you might be able to get them close after some tweaks and adjustments, but to fly your best, a matched set should definitely be given some thought. If you're not sure about which kites to check out, talk to other pilots in your area, particularly those who are experienced in pairs and/or team flying. If no other pilots are close by, you can do Web searches for kite dealers or club forum pages as well as kite manufacturers. You'll be surprised where a chain of Web links can lead you. One of the best places to begin an information search is the American Kitefliers Association website at www.aka.kite.org.

While you're thinking about kites, you should also think about line sets. Things to remember when deciding what lines to fly and how many sets to make are wind variances where you live or fly, type of kite(s) you might fly and size of your flying field, and also, lest we forget, your budget. If you can, try to have two sets of lines, one shorter lighter set for light winds and a heavier longer set for high winds. For my own pair, Windjunkies, we fly four different sets: 90 lb. by 110 ft., 150 lb. by 120 ft., 200 lb. by 135 ft., and 300 lb. by 135 ft. The 200 lb. set tends to be the one we fly most with either a standard or vented kite. These line sets are also repeated so we have one set for practice and one set for performance or competition. Line lengths between each pilot should also be the same length. It has been found that staggered lines can make the kites fly unevenly and usually this also makes the wing (follow) pilot have to move or run more to keep the same speed control.

Now that the issues of kites and lines have been addressed, the next order of business is to get into the air. First, we need to define the role of each pilot. As each pilot is standing side by side ready to launch, the pilot on the right is the captain or lead pilot. The person on the left could be called the second or follow or wing pilot. The job of the lead pilot is to, typically, make the calls for the maneuvers and set the pace and flow of the routine being flown. The job of the follow pilot is to answer or obey the calls given by the lead and hold the formation, be it single file, line abreast, or echelon, as well as holding horizontal and vertical lines when being split from the lead.

The most basic maneuvers are follow maneuvers, turns in an up and down or left and right direction as well as basic shapes. As you begin then get better at follow drills, you will see your lines not only crossing and touching, but even twisting or wrapping around each other. Don't worry. This is actually a useful skill to be acquired and can be used a number of ways to construct parts of a pairs ballet. Just remember that when flying shapes, circles, squares, etc., the lines will wrap around each other. In order to undo this, simply fly the maneuver in the opposite direction. The key is to keep your cool the first few times this happens. Once you get used to the feel of a compound wrap, you'll be able to fly out of just about any mistake just like a pro.

Once you have mastered follow the leader drills, flank drills are next. For purposes of this drill discussion, we will reference the basic square. Begin by flying a single file ground pass about ten feet in altitude from left to right across the wind window. Just before you reach the right side, the lead pilot would yell "turn" or "now," some type of call to cue the turn. As the turn from the horizontal plane to the vertical plane is made, the kite orientation also changes. When both kites turn at the same time, the orientation changes from single file to line abreast (side by side). When you turn from horizontal to vertical, the #1 kite should still be on the right and #2 on the left. As your kites climb, cue the next turn (left) before you reach the top of the window. This time going to the horizontal plane, the kites will travel single file again, but this time from right to left, but the #2 kite will be the lead kite. The next turn (down) will have the kites side by side again, and before reaching the ground, cue a right turn back to the ground pass. If everything went right, the #1 kite should once again be the lead and #2 following single file and both kites flying from left to right as when the square was started. You've just completed your first flank maneuver. Just remember that horizontally, the kites fly single file, and vertically, the kites are side by side. This orientation can also be reversed. In the horizontal plane, the kites will look "stacked" wing tip to wing tip and nose to tail vertically. Don't be afraid to experiment. Even the wind window can be divided in a number of different ways. Just use your imagination.

Eventually, you will want to take these basic moves and try to make them a bit more exciting. Usually, this would mean adding in music. A good way to start is to have some tunes you like playing on a jam box or car stereo in the background. A good way to start experimenting is to make your turns on a given beat of the music. Sooner or later, you will start trying to interpret the music. To do this, you will have to take into account the overall style of the music. Often, this is difficult to put into words, but the several components to think about would be specific style or type, meaning rock, jazz, classical, new age, etc.; overall tempo - slow, medium, fast; dynamic range - quiet, loud, or does the music go from one to the other frequently? The overall mood of the music should be thought of as well. Is it sad, uplifting, or intense? Typically, music that is slow, open, and flowing might be interpreted with curves and flowing lines; music that is fast, driving, and intense might be interpreted with hard angle turns. Breaks or stops in the music are typically good places for stalls or landings, depending on their length.

Just as your kite has to be launched, it also has to be landed. Sharply executed snap landings or trick landings and launches are a good way to add interest and excitement.

Coming up in part 2 - Calling Maneuvers


...continue reading

posted by kmac @ 6:50 PM,

---