January/February 2011 PS Magazine by Professional Skaters Association

JANUARY/ FEBRUARY

2011

www.skatepsa.com

A Lost Generation THE LEGACY OF FLIGHT 548

Rachael Flatt

2010 U.S. National Champion 2010 Skate America and NHK Trophy Silver Medalist 2010 Olympian

Rachael skates in Custom Gold Star 375s facebook.com/riedellskates iSkateRiedell.com ÂŠ2011 Riedell Shoes, Inc.

COLUMNS 4 6 8 10 14 18 30 38

Over the Edge | Jimmie Santee

Presidentâ&#x20AC;&#x2122;s Message | David Kirby

FEATURES 17

Ratings | Kris Shakarjian

IJS Insights | Libby Scanlon

Eulogy: F. Ritter Shumway Bridge Program | U.S. Figure Skating

Sport Science | Heidi Thibert

Education | Carol Rossignol

A Class Act: The 1961 World Team Coaches | By Patricia Shelley Bushman

Best Practices | PSA Survey

Legal Ease | David Shulman

9 12 34 37 40 42

Ratings Exams Passed

Sport Psychology Applications for Skating Coaches: Part I | By Janelle Craft

Excellence On Ice

World Figure Skating Museum & Hall of Fame

Great Tips Meet Your Area Representative New Members PSA Calendar of Events

2011 ~ No 1 #ISSN-574770

REGISTRATION PSA & ISI Conferences: To be held May 25-28th, 2011 in Dallas, Texas. It is sure to be an event that you do not want to miss! Register now!

Over the Edge

PSA OFFICERS President First Vice President Second Vice President Third Vice President Treasurer Past President

JIMMIE SANTEE

PSA BOARD OF GOVERNORS West

ust as the February 13, 1961 issue of Sports Illustrated was reaching the homes of subscribers, its cover girl, 16 year old newly crowned U.S. Women’s Champion Laurence Owen, was glancing down at the beautiful Brussels countryside from Sabena Flight 548. Laurence and the rest of the U.S. delegation were on their way to the World Championships, hopefully to continue the domination of U.S. skaters as they had for the previous decade. Following the greatness of Tenley Albright, Carol Heiss, Dick Button, Hayes Jenkins, and David Jenkins, Laurence and her teammates looked forward to continuing their success. But in less time than it took to skate a long program, the dream wretchedly turned to nightmare. In one heart wrenching moment, a generation of talented skaters, coaches, and judges were gone… “It is often in times of tragedy that the finest and most unselfish aspects of human character become evident,” said USFSA President F. Ritter Shumway, at an Ice Capades performance to benefit the Memorial Fund on September 18, 1961. Ironically, it was another tragedy that thrust Ritter into the presidency in the first place. A week before the 1961 national championships, and only three weeks prior to the crash, USFSA President Howard Herbert died suddenly. As written in Benjamin Wright’s, “Skating in America”, “...Ritter took immediate charge and exercised outstanding leadership throughout the crisis.” Unfortunately, misfortune struck the USFSA again in April of that year when the association’s secretary, Col. Harold “Pete” Storke also passed away. The subsequent Governing Council meeting held in New York was preceded by a memorial service for the late president, secretary, and World Team. In retrospect, extraordinary circumstances saw a third of the USFSA executive board, 18 athlete members of the US World Team, six elite coaches, four world judges (team manager Deane McMinn was a judge at the 1960 Olympics), and one world referee… all gone! As noted in “Skating in America”, “In effect, while one generation of skaters was lost, there were two generations of coaches taken away, since many of the top skaters in 1961 would themselves have eventually become coaches.” Mr. Wright also commented that the standard of skating never fully recovered from the loss of so much talent, especially in the Boston area. In fact, PSA Hall of Fame inductee Montgomery “Bud” Wilson, who elected not to travel to worlds on the ill fated flight but instead was to fly later that week, died in 1964. Also spared by a strange twist of fate were Ron Ludington and Sonya Dunfield. They coached the Dinneens who couldn’t afford to pay for their expenses so they stayed behind. Pierre Brunet was supposed to be on the flight, as well as future US champion Laurie Hanlon, the Jelinek’s from Canada, and even Ben Wright’s wife, Louise. As seems to be the case most often, my research at this point took my story in an unexpected direction… When I started this piece, I assumed that there was some sort of a larger plan by U.S. Figure Skating. To my surprise, when I contacted Ben Wright, he told me he was unaware of any plan for the “reconstruction” of the USFSA

East

Doug Ladret Marylill Elbe Dorothy Cassini Patrick O’Neil Denise Williamson Rebecca Stump Burt Lançon Paul Wylie Thomas Amon Glyn Jones Alex Chang Jackie Brenner

PSA

Two Generations Lost

Mid-West

David Kirby Lynn Benson Angela Riviello Christine Fowler-Binder Carol Murphy Kelley Morris Adair

JANUARY | FEBRUARY 2011

Members at Large

ISI Rep to PSA U.S. Figure Skating Rep to PSA U.S. Figure Skating Coaches Chair Executive Director General Counsel

COMMITTEE CHAIRMEN Awards Coaches Hall of Fame Education Seminars State Workshops Apprentice, Intern Area Representatives Hockey Accreditation PS Magazine Sport Science Ethics, Endorsement, Products Executive Executive Nominating Finance Fundraising ISU Coaches Commission Legal Nominating Professional Standards PSA Rep to ISI Ranking Review Ratings Special Olympics U.S. Figure Skating Coaches

PSA AREA REPRESENTATIVES Area 1 Area 2 Area 3 Area 4 Area 5 Area 6 Area 7 Area 8 Area 9 Area 10 Area 11 Area 12 Area 13 Area 14 Area 15 Area 16 Area 17

Jimmie Santee David Shulman

Scott Brown Robbie Kaine Christine Fowler-Binder Thomas Amon Dorothi Cassini Rebecca Stump Marylill Elbe Tara Hillstrand-Lane Bob Mock Heidi Thibert David Shulman David Kirby Kelley Morris Adair Carol Murphy Larry LaBorde David Kirby David Shulman Kelley Morris Adair Lynn Benson Gerry Lane Brandon Forsyth Kris Shakarjian Linda Crowley Jackie Brenner

Amy Hanson-Kuleszka Anne Marie Filosa Lee Cabell Stacie Kuglin Gloria Leous Mary Lin Kent Johnson Patrick O'Neil Jennifer Cashen Thomas Amon Dan Mancera Andrea Kunz-Williamson Tracy Seliga-O’Brien Leslie Deason Michele Miranda Phaler Karen Howland Jones Andrew Beck

THE PROFESSIONAL SKATER Magazine Mission: To bring to our readers the best information from the most knowledgeable sources. To select and generate the information free from the influence of bias. And to provide needed information quickly, accurately and efficiently. The views expressed in THE PROFESSIONAL SKATER Magazine and products are not necessarily those of the Professional Skaters Association. The Professional Skater, a newsletter of the Professional Skaters Association, Inc., is published bimonthly, six times a year, as the official publication of the PSA, 3006 Allegro Park SW, Rochester, MN 55902. 507.281.5122, Fax 507.281.5491, Email: office@skatepsa.com © 2004 by Professional Skaters Association, all rights reserved. Subscription price is $19.95 per year, Canadian $29.00 and foreign $45.00/year, U.S. Funds. ISSN-574770. Second-class Postage Paid at Rochester, MN 55901 and additional mailing offices. POSTMASTER send address changes to The Professional Skater, 3006 Allegro Park SW, Rochester, MN 55902. Printed in the USA.

during this period. As I began to dig deeper, I realized that an organized reconstruction of the era was in reality, “everybody for themselves.” Those that came to the United States were seeking opportunities. Clubs mostly looked out for themselves, making decisions based on each unique situation. While the Boston Skating Club had chosen not to bring in any additional coaches after the crash, many of the great European coaches were invited to move to the US. The Broadmoor hired Carlo Fassi to replace Edi Scholdan, and John Nicks ended up at the Zamboni family’s Iceland in Paramount, California, where Billy Kipp taught. In Indianapolis at the Winter Club, RoseAnne Ryan, widow of Danny Ryan and a coach herself, was left with five children under the age of six. Past PSA President Sandy Lamb, who was coached by the Ryans, recalls, “Winter Club members were with her most of the time, taking care of the kids, keeping the house straightened up, cooking, etc.” For the next season after the tragedy, RoseAnne brought in a male British dance coach who tried to change the skaters’ style from Danny’s to the British style. The situation was difficult at best and did not last long. RoseAnne took over for the rest of the season and the following year brought in Ron Ludington, only two years after he won his Olympic medal. According to Jerod Swallow, managing director of the Detroit Skating Club, one of their skaters, Doug Ramsay, perished along with his coach, Bill Swallender. Bill wasn’t a resident coach at DSC at the time but taught and operated his own studio rink, as did the Hadley’s in Seattle. Bill would work with Doug on the days Doug skated at DSC. “Bill taught a number of DSC skaters over the years and his death was no less a terrible loss to the club and skating community in Detroit,” said Mr. Swallow. Predictably, both Bill’s and the Hadley’s studio rinks did not prosper for long after the crash. As far as the void of top skaters, the ranks were filled with future stars, judges, and coaches like Monty Hoyt, Scott Allen, Gary Visconti, Tommy Litz, Richard Callaghan, Tim Wood, Pieter Kollen, Stan Urban, Billy Chapel, Tina Noyes, Christine Haigler (Krall), Louise Wakefield, Karen Howland (Jones), Cynthia and Ron Kauffman, Howard Taylor, Jan Serafine, and perhaps the celebrated of all, Peggy Fleming. Even though the depth was impressive, the period from 1961 – 1965 was

extremely unstable. As Patty Bushman, author of the soon to be released book on the 1961 team, “Indelible Tracings,” told me, only the pair team of Judianne and Jerry Fotheringill in 1964 and Peggy Fleming in 1965 were able to defend their US titles. The only association move that I could personally confirm was that the association was pleading for skaters to come out of retirement. According to Barbara Roles, someone of authority from USFSA had called her mother and asked Barbara to come out of retirement. Honoring those friends she lost, Barbara did come back, placing 5th in the 1962 World Championships, securing a spot for three American skaters at the next World Championships. Patty Bushman confirmed for me that the USFSA did make contact with many former skaters, including Aileen Kahre who had been retired for six years! Patty wrote in her book, “… Kahre came back to support U.S. figure skating. Bill Kipp had coached her in Los Angeles when she won the 1956 U.S. silver dance title, and had since returned to her native San Francisco. The USFSA invited silver dance competitors Howard and Georgia Taylor, who had two sets of twins, ages ten and thirteen, to compete in gold dance. When Georgia declined, Howard approached Aileen.” Not much of a plan I’d say. Ok, that’s not totally accurate or fair…Mr. Shumway did do something that impacted the sport more than bringing back retired skaters; he established the Memorial Fund. As Ritter said at the Ice Capades benefit performance, “We will take our Memorial Fund a giant skating stroke forward toward our goal of perpetuating the memory of our gallant 1961 World Team skaters, not so much by statuary and plaques, as by giving us the means to assist talented young skaters - many of them yet ‘undiscovered’ - to get started, to develop and advance, and eventually to represent our country in future years, and to be ranked at the top of the world in the art of figure skating.” My brother David and I, as well as my son Ryan, have all received financial assistance from the memorial fund. By this time, I’m sure the fund has touched the lives of thousands of skaters…it is a lasting memorial to those that died and an important legacy to support. Please ask your skating families to go and see “Rise” or read “Indelible Tracings.” Take the opportunity to discuss the past and the tradition of skating with them. This is a great opportunity to show them why skating is so special and why it’s the greatest sport on earth.

PS MAGAZINE

President’s Message DAVID KIRBY

Support our sport T

he darkest day in the 73 year history of the Professional Skaters Association (PSA) was that fateful day February 15, 1961 when the U.S. Figure Skating World Team’s plane crashed on the way to the World Championships in Prague. 2011 marks the 50th anniversary of that U.S. World Team tragedy and U.S. Figure Skating is commemorating the occasion with the cinematic feature film RISE. The PSA is proud to support and congratulate U.S. Figure Skating for this historic record of our sport. RISE, commissioned by U.S. Figure Skating and produced by Emmy Award winners Lookalike Productions, tells a compelling story of our sport’s growth and popularity over the past 50 years and features various luminaries of American figure skating. Proceeds from RISE will be used to further the mission of U.S. Figure Skating’s Memorial Fund, which was established on Feb 23, 1961, as a living legacy of those who lost their lives. Like many of our current members, I first started skating in the 1960’s. We all grew up with the Memorial Fund. It’s hard to comprehend the impact the Memorial Fund has had on American figure skating. For example, every single American World and Olympic athlete since 1961, and thousands of other athletes and coaches have benefited from the generosity of the Memorial Fund. The Memorial Fund’s mission has been to provide qualified U.S. Figure Skating members in need of financial aid with monetary assistance to pursue their goals both inside and outside the competitive arena. The fund is committed to awarding skating and academic scholarships to athletes who have demonstrated excellent competitive results and/or academic achievements and who have future potential in national and international events. RISE is a fitting tribute to our fallen colleagues and will give the Memorial Fund a new source of revenues which will

be used to continue to benefit athletes and coaches for many more years to come. As coaches we should do whatever we can to help promote this worthy project. By enthusiastically encouraging our family and friends to attend a screening of RISE we are honoring those who died tragically, and we are continuing to strengthen the goodwill of U.S. Figure Skating’s Memorial Fund. When we look at the history of World Champions in ice skating we find that there were no champions in 1961 because the International Skating Union (ISU) cancelled the Championships that year out of respect for those who died on Sebena Flight 548. I commend the ISU for that decision 50 years ago and I commend U.S. Figure Skating today for keeping this memory alive. Please go see RISE on February 17, 2011.

A behind-the-scenes shot of the interview with Frank Carroll for RISE

RISE WILL APPEAR IN NEARLY 500 THEATERS | February 17, 2011 Commissioned by U.S. Figure Skating, the film RISE will celebrate American figure skating while commemorating the 50th anniversary of the 1961 U.S. World Figure Skating Team that perished in a plane crash on its way to the World Championships in Prague. Produced and directed by 16-time Emmy Award winners Lookalike Productions, RISE will document the sports’ growth in popularity over the years and feature various luminaries of American figure skating. Proceeds from RISE will be used to further the mission of U.S. Figure Skating’s Memorial Fund, which was established on Feb. 23, 1961, as a living legacy of those who lost their lives.

JANUARY | FEBRUARY 2011

Photo courtesy of U.S. Figure Skating

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Why I value my Master Ratings By Janet Champion, MFF, MM, MG

fter I finished skating professionally, I continued going to the rink in my hometown to skate just for fun. How lucky was I that after performing for all those years I still loved to skate for FUN!! The people who owned the rink asked me to teach but I resisted for some time thinking that I knew how to skate; not how to teach. Finally I relented and taught a beginner class which I immediately loved. I loved the ice, the kids, and helping them with their skills. Soon some kids signed on for private lessons and my life as a skating teacher started blooming. APPRENTICING BEFORE APPRENTICING With school figures counting 60% at the time I started teaching (I had only passed the 5th figure test), it didn’t take me long to find out my knowledge in teaching figures was insufficient. I decided I was going to take figure lessons myself to learn all the figures. Remember, there were 70 figures!! I started taking lessons with Eugene Mikeler in Los Angeles. He taught me his entire figure theory in a classroom and on the ice. He also taught me how to move and why. I took what I learned from him and taught it to my “kids.” It worked. The notes I took from him are as valid today as they were then. I have used all these theories in both free skating and moves in the field. For example, weight on the blade, the lean of the body, being over the skating hip and using the body mechanics to create turns. I didn’t know it at the time, but lessons with Mr. Mikeler were the start of studying for my rating exams. EDUCATED OBSERVATION Another way I “studied” for my rating exams was what I call educated observation. I went to competitions and observed the different techniques. For example: Exactly where does the skater carry their free leg in and out of a turn and does it work or not? How does the body and head move between turns? Where are the hips and shoulders in relation to the circle? Today this is similar to how we use Dartfish to analyze correct and incorrect movements in jumps.

JANUARY | FEBRUARY 2011

ATTENDING PSA EVENTS The third way I studied for my rating exams was to attend PSA conferences and seminars. Lucky for me the top people in coaching were sharing their expertise with other coaches. I learned from Don Laws, Barbara Roles, Christy Krall, Christy Ness, Frank Carroll, Kathy Casey, and many other great coaches. After a few years of putting all this information to use with my students, I decided to validate my work in my own eyes and hopefully in the eyes of others, by passing my PSA rating exams. To know that I had the knowledge to pass those exams gave me a wonderful sense of pride in what I was doing. One time when my exam was being evaluated, my examiners told me they would hire me at their rink. How cool was that!! When skaters competed in school figures, they really didn’t understand them until they continued training AFTER the gold test was passed. This is also true of us as coaches . . . we keep learning more after we pass our master rating exam. Being a rating examiner is another great experience and one in which we can give helpful advice to younger coaches and sometimes garner new coaching ideas from others. Preparing for my rating exams helped me understand my teaching concepts and become a better coach. I am very thankful to the PSA for giving me the opportunity to increase my knowledge and validate my coaching skills through our Rating System.

“To know that I had the knowledge to pass those exams gave me a wonderful sense of pride in what I was doing.”

Recently Passed

RATING EXAMS Congratulations to the following coaches who passed the Basic Accreditation (BA) written exam at the specified site:

Congratulations to the following coaches who successfully completed the requirements for a Rating Certificate:

E-Learning Management | BA Exams

Philadelphia, PA | October 31 – November 1–2, 2010

Bianca Butler Elizabeth Finn Brittany Karlon Rachel Landers Karri Nachtigal Ellina Nightingale Taffee Palmer Carmeline Panico Jennifer Piacquadio Amy Shan Scott Sheets Marina Shoff Deana Spencer Lonnie Szalankiewicz Meredith Tenerow Jackie Thorson Jillianne Liotta Alexandra Veremeychik

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Caryn Malone RM, CG Robert Mauti RG Suzannah Nolt RFS, RM Lisa Nowak-Spearing SM Doris Papenfuss-Swartz SM Laura Patterson CG Kimberly Reehoff-Johnson RG, CG Angela Roesch-Davis SPD Claudia Sersanti CM Zane Shropshire RG, CG Kathy Stano SM Lara Thomas Walsh RFS

MASTER Philadelphia, PA Laurie Cole Benson MM Michele Dahlgren MM Barbara Delaney-Smith MM Jonathan Hayward MM Devan Joy Heiber MG Teri Klindworth Hooper MM Karen Hutter-Branson MM Rashid Kadyrkaev MFS Nicole R. Kappenhagen MM Victoria Kelly MM Ilia Kulik MFS Wendy Mangum MM

Robert Mauti MM Doris Papenfuss-Swartz MFS Ashleigh Renard MT Carol Rossignol MPD Jimmie Santee MPD Cathryn Schwab MM Nicole Gaboury Stalker MM Renee Tesmer-Brainerd MM Sarah Vanderpool MM Erich Walentschak MG Kimberlie S. Wheeland MFS

PACE ARIZONA Professional Accreditation and Certifying Education (PACE) is a study program for coaching education to assist coaches in their preparation for PSA Oral Rating exams. The PACE program will prepare you for your next rating exam through learning from a team of master rated coaches. Participation in the PACE program is an excellent opportunity to advance your professional goals and increase your coaching credentials through on-ice and office classes in the discipline or disciplines of your choice at the registered, certified, senior or master level.

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March 1–3, 2011

Rating Deadline: February 7, 2011

“Practice Answering Clearly and Efficiently”

FOR INFORMA MORE TION CON

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T: Barb Yack el at PSA 5 07-281-51 byackel@ 22 skatepsa.c om PS MAGAZINE

IJS Insights LIBBY SCANLAN

Spin Features and Rules: Knowledge is Power

This article continues the spin discussion introduced with last monthâ&#x20AC;&#x2122;s in depth analysis of the difficult variation. (Features 1 and 2) We will continue and conclude that discussion by zeroing in on ISU Communication 1611, Levels of Difficulty, Singles, All Spins: Features 3 through 10. Feature 3) Change of foot executed by jump This feature pretty much speaks for itself. It is important that the jump exhibit significant strength and skill. Feature 3 can only be awarded if executed from basic camel or sit position directly into any basic position. This feature will be assigned to the second foot. A basic position requires two revolutions in that position. It should be noted that a toe Arabian can count as this feature in the free skate, but will not be counted in the short program. If done in the short, there will be a deduction in the GOE for touching the ice with the free foot. Feature 4) Backward entrance/Difficult variation of flying entrance/Landing on the same foot as take-off or changing foot on landing in a flying sit spin A backward entrance requires that the skater follow the entry with two continuous revolutions on a backward outside edge. No toe pick scratching or hops are allowed. Remember, the edge is the important thing. If the skater changes position before two revolutions, but the outside edge remains intact, the feature can be awarded. The backward entry can be considered for a level feature only once in the first spin it is attempted. Difficult variation of flying entry any type of a flying entry other than a regular flying camel can be considered. Landing on the same foot as take-off or changing foot on landing in a flying sit spin requires that the skater achieve the sit position in the air. Feature 5) Clear change of edge in sit (only from backward inside to forward outside) or camel The change of edge feature is a four revolution feature. It requires two revolutions on one edge followed be two revolutions on another edge while maintaining the basic position. It will only be considered in the forward sit position (BI to FO edge only). In a camel position the change of edge choice

JANUARY | FEBRUARY 2011

is up to the skater. Like the backward entry, the change of edge feature can be considered only once in the first spin it is attempted. Feature 6) All three basic positions on both feet This feature is only applicable to a combination spin with a change of foot, and can only be considered if basic camel, sit, and upright positions have been held for two revolutions on each foot. Feature 7) Both directions immediately following each other in sit or camel spin A minimum of three revolutions in each direction (clockwise/ counterclockwise) is required. No stop between the changes of direction is permitted. Feature 8) At least eight revolutions without changes in position/variation, foot or edge (camel, sit, layback, difficult upright), counts twice if repeated on the other foot This feature will count as many times in a program it is achieved according to the above criteria. It is critical that the skater be spinning in the same basic position, on the same edge, on the same foot with no change of variation for the full eight revolutions. ADDITIONAL FEATURES FOR THE LAYBACK SPIN: Feature 9) One change of position backwards - sideways or reverse, at least three revolutions in each position (counts also if the layback is a part of any other spin) Shoulders should be horizontal/vertical to the ice (or viceversa) for three revolutions in each position. If a skater comes up out of the layback position to change the position, the feature will not be awarded.

Feature 10) Biellmann position after layback spin (SP- after eight revolutions) In the short program before the Biellmann can be considered, the skater must first complete: Junior & Senior—eight revolutions Novice—six revolutions Intermediate—five revolutions The Biellmann is an upright position with the free leg pulled from behind to a position higher than and towards the top of the head, close to the spinning axis. This position must be held for two revolutions, and may be considered one time per program, in the first time it is attempted. SPIN RULES TO REMEMBER In order to maximize spin points, it is important to understand IJS rules that can directly impact the points a skater receives for a spin. • In any spin, if a basic position is not achieved for two revolutions that spin will have no value. (Juvenile may receive no higher than Level 1 - Technical Notification 69.) • In a spin with a change of foot, the maximum number of features on one foot is two. • A spin with a change foot is required to have a basic position on each foot for two revolutions. If not, the spin cannot receive higher than a Level 1.

If not achieved in the junior and senior men short program, the spin will have No Value. • Junior and senior: spin combinations with a change of foot, all three basic positions must be achieved for two revolutions. If not, the spin cannot receive higher than a Level 1. • Juvenile, intermediate, and novice: spin combinations with a change of foot, if the skater achieves one basic position for two revolutions the spin cannot receive higher than Level 1. If one change of position (from basic position to a basic position with a minimum of two revolutions in each) is fulfilled, the skater is eligible to receive Levels 2-3 as long as feature requirements are met. All three basic positions and a basic position on both feet are required to consider a Level 4. (Technical Notification 69) Technical Notification 69 which is referenced above along with many valuable IJS documents can be found on the U.S. Figure Skating website, ‘Technical Information’ page. Please email any questions or comments to crossignol@skatepsa.com.

FRANK AND EVAN LYSACEK FRANKCARROLL, CARROLL,OTHER OTHERWORLD WORLDTEAM TEAMCOACHES COACHES ANDOLYMPIC WORLD CHAMPION CHAMPION E VAN L YSACEK KNOW LEGAL CONCERNS. DO YOU? EGAL IISSUES SSUES AND AND C ONCERNS. D O YOU ? KNOW WHO WHO TO TO CALL CALL WTIH WITH L

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Jonathan Geen Attorney at Law Partner, Borton Petrini, LLP Over 20 years of legal experience National Judge in Singles / Pairs Former Skater http://bortonpetrini.com/bio/geen_se.pdf Coaching Agreements Rink / Coach Agreements Dispute Resolution / Grievance Counseling

Agent Agreements Show / Entertainment Contracts General Business Law and Trademark / Copyright

PS MAGAZINE

PROFESSIONAL SKATERS ASSOCIATION

EXCELLENCE ON ICE 2010-2011 Membership Year

AMES FIGURE SKATING CLUB Ames, IA

GERMAIN ARENA Estero, FL

ROCHESTER FSC Rochester, MN

BELLINGHAM SPORTSPLEX & FSC Bellingham, WA

GREENSBORO ICE HOUSE Greensboro, NC

SEVEN BRIDGES ICE ARENA Woodridge, IL

BLADE & EDGE FSC Omaha, NE

ICE CENTRE AT THE PROMENADE Westminster, CO

SHAKER FSC Shaker Heights, OH

CAROLINA ICE PALACE North Charleston, SC

INDIANA WORLD SKATING ACADEMY, INC Indianapolis, IN

SHATTUCK-ST. MARY’S SPORTS COMPLEX & FIGURE SKATING CLUB Faribault, MN

KENDALL ICE ARENA Miami, FL

STAMFORD TWIN RINKS Stamford, CT

LOUISVILLE SKATING ACADEMY Louisville, KY

THE RINX Hauppauge, NY

MARQUETTE FSC Marquette, MI

WASHINGTON ICE SKATING ASSOCIATION Mountlake Terrace, WA

CITY OF KETTERING/ KETTERING RECREATION CENTER Kettering, OH COLORADO SPRINGS WORLD ARENA ICE HALL Colorado Springs, CO EXTREME ICE CENTER Indian Trail, NC GARDEN STATE SKATING CLUB Wall, NJ

MENTOR FIGURE SKATING CLUB Mentor, OH

WINTER CLUB OF INDIANAPOLIS Indianapolis, IN

Wouldn’t you like to count your club or rink among the most progressive in the nation?

OBITUARY RoseAnne Paquette Wager –11/19/10 RoseAnne Paquette (Ryan) Wager, the widow of 1961 U.S. World Figure Skating Team member Daniel Ryan, passed away Saturday, Nov. 13 after a recent illness. She was 75. Mr. Ryan perished along with the 33 other members of the 1961 U.S. World Team on Feb. 15, 1961, when Sabena Airlines Flight 548 crashed en route to the World Championships in Prague, Czechoslovakia. He was attending the competition as the coach of ice dancing team Diane Sherbloom and Larry Pierce. At the time, the Ryans coached at the Winter Club of Indianapolis. Mrs. Wager, an avid sports fan, was raised in Ottawa, Ontario, and by age 17 had passed all eight of the Canadian Figure Skating Association’s figure tests as well as her gold freestyle test. She placed sixth in the senior ladies division at the Canadian Figure Skating Championships as a member of the Minto Figure Skating Club.

JANUARY | FEBRUARY 2011

Danny and RoseAnne were married in 1955, and had five children--Kevin, Patrick, Terri Anne, Sheryl and Michael. Following the crash, RoseAnne and her children--all of whom were under the age of 5--relocated to Ottawa and then to Lake Placid, N.Y., where 10 years later she met and married Rupert Wager. Mrs. Wager continued coaching U.S. and Canadian national competitors in New York. When the family relocated to Atlanta in 1976, she began a second career in real estate, and was a member of the Atlanta Board of Realtors, the Georgia Association of Realtors, and the National Association of Realtors. She was also a Life Member of the Atlanta Board of Realtors Million Dollar Club and a recipient of the Crystal Phoenix Award, recognizing 20 consecutive years in the Atlanta Board of Realtors Million Dollar Club. In lieu of flowers, the family requests contributions to the U.S. Figure Skating Memorial Fund.

Notes may be sent to the family via Sheryl Nolan, one of RoseAnne’s daughters, at: Sheryl Nolan 1035 Honor Run Alpharetta, GA 30005 E-mail: icemaiden1433@yahoo.com As U.S. Figure Skating prepares to commemorate the 50th anniversary and the legacy of the 1961 U.S. World Team tragedy, Mr. Ryan will be among those honored when the 1961 World Team is inducted into the U.S. Figure Skating Hall of Fame Class of 2011. The induction ceremony will take place Friday, Jan. 28 at the 2011 U.S. Figure Skating Championships in Greensboro, N.C. Mrs. Wager was interviewed for and will appear in RISE, the cinematic feature celebrating American figure skating while commemorating the 50th anniversary and legacy of the 1961 World Team that will premiere Feb. 17, 2011. ~REPRINTED WITH PERMISSION FROM U.S. FIGURE SKATING | www.usfigureskating.org

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ARTICLE XIX

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U.S. Figure Skating Memorial Fund

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For more information, please send a skating resume, photos and current video (3-6 minutes) including all contact information to:

future aspiring figure skaters the 1961 United States World Figure Skating Team,

Judy Thomas Talent Director and Production Coordinator Feld Entertainment 1313 17th Street East Palmetto, FL 34221 USA

coaches and officials who lost their lives in the tragic crash of their airplane near Brussels, Belgium, on February 15, 1961, while en route to the World Championships ©Disney

or call (941) 721-1234 FAX: (941) 349-4280 jthomas@feldinc.com

in Prague, Czechoslovakia.

MARK YOUR CALENDARS & save date! PSA and ISI will be hosting their Conferences in four jam-packed days

25 28 through

MAY 2011

WESTIN GALLERIA DALLAS 13340 Dallas Parkway Dallas, TX 75240 • 972.450.2916 • PS MAGAZINE

Sport Science HEIDI THIBERT

Reaching for the S.T.A.R.S. U.S. Figure Skating brings a new program for testing athleticism in developing skaters By Peter Zapalo, M.S., U.S. Figure Skating Sport Sciences and Medicine Manager

id-morning on a warm and breezy fall day, Jessica Mancini pokes her head into the chrome dotted NSCA gymnasium. The room bustles with a manic mix of petite Nike-clad skaters and a variety of sure-footed trainers flowing briskly amongst them, alternately offering reassuring encouragement and making pointed corrections. The skater winds through the maze of bounding, twisting, stretching, and balancing bodies to her designated testing area. Drawing confidence from her smiling assessor, she immediately moves into her first set of tests, jumping in and out of a blue hexagon printed on the floor, first with slight incoordination fueled by adrenaline, and then with more determined precision. Over the next 25 minutes, Jessica bounces, runs, planks, and crunches her way through 15 different tests and a host of measurements designed to give her a benchmark of her overall athleticism. “I had a lot of fun and learned what I, personally, want to work on!” Ms. Mancini emailed enthusiastically, following the inaugural S.T.A.R.S. Combine, held October 23 in Colorado Springs. Her off-ice trainer, Lauren Colizza, was unsurprised that Jessica would turn out to be one of the top achievers. “Jessica is an amazing athlete: she is focused, dedicated and coachable.” S.T.A.R.S.: (Skater Talent and Athleticism Recognition System), was the response from U.S. Figure Skating’s Athlete High Performance Department to foster the athletic development of young competitive figure skaters. The genesis of the project started with U.S. Figure Skating’s Sports Science and Medicine Research and Development subcommittee and was further developed by Charlene Boudreau over the past three years. Athlete High Performance Department Senior Director Mitch Moyer, explained: “The genesis of S.T.A.R.S. came from the need of a system to train ahead of the skills curve, build physical strength and endurance to resist injury, and to recognize and reward overall athleticism, regardless of the athlete’s technical abilities on the ice.” “We are accustomed to testing our athletes’ skating

JANUARY | FEBRUARY 2011

skills, but we have never consistently tested them in a standard way for athleticism,” Mr. Moyer stated. “With S.T.A.R.S., [U.S. Figure Skating] has a vehicle to offer to coaches that is relevant to skating. S.T.A.R.S. permits us to identify athletic talent in our young competitors and follow them as they progress through their skating careers.” While Combine and testing systems exist from basic to elite levels across a host of National Governing Bodies such as USA Gymnastics and the NFL, and use many similar evaluations, S.T.A.R.S. is unique in how it is scored. Following the entire Combine season, each athlete is compared to his/her peers. For standardization and fairness, athletes are only permitted to participate in one scored Combine per season. To keep S.T.A.R.S. relevant and portable to the largest number of athletes, the program was devised keeping in mind ease of administration and functionality. It was not designed to be the ultimate battery of performance testing, although great attention and care has been devoted to standardization and test/retest reliability. Rather, it fits nicely into the U.S. Figure Skating’s athlete high performance program at a comprehensive level, anticipating an upwardly moving conveyor for soon-to-be-elite athletes. Mr. Moyer noted, “We have some of the best technical coaches in the world, but where we need to do a better job is in recognizing the physical attributes needed to perform specific elements. Instead of only continuing to work on the element itself, perhaps we can work on the underlying athletic abilities that will help those skills develop.” High scorers off-ice, and outstanding achievers on-ice are likely to find themselves at one of the several Team USA Camps now held nationwide at summer competitions, and ultimately at Champs Camp for the U.S.’s highest echelon of international competitors. RECOGNIZING TOP ACHIEVERS S.T.A.R.S. scoring was designed to reward skaters according to three primary athletic criteria: strength and power, agility/balance/coordination, and flexibility. These three

categories were chosen because, Mr. Moyer explained, “Figure skating has developed into a sport that demands excellence in these areas.” Being the topmost achiever in any one of these areas will not push an athlete to the top of the S.T.A.R.S. scoreboard, but performing evenly high across the board is more likely to distinguish a participant as “one to watch.” Featuring U.S. Figure Skating’s state-of-the-art information management software Ex3, the top 30% of S.T.A.R.S. scorers in each demographic group will be individually and nationally recognized. Top athletes and their coaches will additionally be identified for educational and training opportunities through U.S. Figure Skating. Athletes who participate year to year will get a comparison of their most recent results with prior Combines, spotlighting Ex3’s tracking abilities. Wonder what an Olympic gold medalist was doing at age 11? Between the developmental snapshot captured through S.T.A.R.S. participation, and the tracking capacity of Ex3, U.S. Figure Skating may be inching closer to answering that question. HOW WILL S.T.A.R.S. IMPACT TRAINING? There is also the benefit of networking skaters and off-ice trainers through the Combines. Lauren Colizza agrees. “I liked the S.T.A.R.S. Combine because we got to meet other NSCA trainers that we wouldn’t have – and also broadened our client base.” Ms. Colizza is a C.S.C.S. trainer and works at the NSCA headquarters in Colorado Springs, and helped U.S. Figure Skating in the development and evaluation of the S.T.A.R.S. tests. An additional goal of S.T.A.R.S. is to enhance athletecoach communication, particularly when it comes to addressing weaknesses that can hold back a skater’s on-ice performance. The S.T.A.R.S. report should provide skating

coaches pointed critiques to address “needs-improvement” areas in their athletes. Ms. Colizza looked at it from the standpoint of motivating her athletes. “The biggest benefit I observed was that the kids had fun with it – all my [athletes] had positive feedback when they came back to the gym to work out. They were also really competitive with their test results, which I think is really good motivation from the standpoint of being their trainer.” Requiring that all S.T.A.R.S. assessors are NSCA C.S.C.S. credentialed gives participating athletes exposure to fitness professionals who are well-capable of interpreting the strengths and liabilities highlighted by their test performance. These trainers are equipped to work well with coach and athlete in developing highly personalized off-ice programs to address weaknesses in athletic performance. Mitch Moyer added “We think S.T.A.R.S. will help the coach with identifying areas that need to be addressed that can help prevent future injury.” Going forward into 2011, S.T.A.R.S. rolls out across the country in approximately eight to ten cities, with participation anticipated to expand to additional numbers of clubs in the future. In the meantime, Jessica Mancini plans to make some improvements for her next Combine: “From the S.T.A.R.S. program, I learned a lot about my strengths and abilities. I am working on better improving my balance, stability, and control in the gym and on the ice. The knowledgeable trainers made the tests fun and were very supportive throughout all of them. It was a great learning experience!” MORE INFORMATION For more information about the S.T.A.R.S. program, as well as tips on preparing your students for next year’s Combine season, go to http://www.starscombine.org. There you can also find information to get your preferred off-ice trainer involved in the 2011 Combine season. The S.T.A.R.S. program will be featured as part of the Sports Sciences and Sports Medicine Symposium at the upcoming PSA 2011 Conference in Dallas, as well as the NSCA National Conference scheduled for July 6-9, 2011 in Las Vegas. ________________________________________ Peter Zapalo comes to U.S. Figure Skating with a strong background in Sports Medicine and Exercise Physiology. He wrote biomechanics jump analysis software as an undergraduate student at Johns Hopkins University and became involved with the PSA in 1994, using his software with skaters of all levels throughout the country. He received his Master’s degree in Exercise Physiology in 1999 from the University of Calgary where he was part of the Human Performance Laboratory under Dr. David Smith, a world expert in periodization. Peter can be contacted by email at pzapalo@usfigureskating.org.

PS MAGAZINE

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JANUARY | FEBRUARY 2011

The PSA Ranking System is directed toward the accomplishments of PSA coaches based on the competitive performance of the skaters under their direction. Application’s available for download at www.skatepsa.com — deadlines: October 1, January 1, April 1, July 1.

1961 church service in Brussels Photo courtesy World Figure Skating Museum & Hall of Fame

Remember...

F. RITTE R SH UMWAY ’ S

Eulogy F. Ritter Shumway began his presidency of the U.S. Figure Skating Association just two months before the tragedy of Flight 548. An ordained Presbyterian minister, there was no better person to lead U.S. Figure Skating through its darkest era. One of his first official appearances was a memorial for the team held at the Hotel Roosevelt in New York City, May 6, 1961. Reprinted here is a copy of the eulogy presented by Mr. Shumway that day. USFSA Memorial Service New York City, May 6, 1961

“On the table before us are 36 American Beauty Roses - - one for each of our dear friends whose memory we have gathered here today to honor.” These were our friends, our loved ones, the flower of America’s young manhood and womanhood, their devoted mentors: teachers, leaders, parents, relatives, friends, and admirers - - the finest that our nation, our culture, our way of life can produce, not only as technicians of consummate skill in their chosen field, their beloved sport of figure skating, but also the finest in character, in lovable personality and in sportsmanship. And they were on a mission, not only to match their skill against that of their opposite numbers from many lands throughout the world, in demonstration of what excellence in art and athletic ability our way of life can develop, but more importantly,

thru their natural friendliness, to be true representatives of America and thereby to helping their own and most important way – person to person – to dispel some of the misunderstanding that is such a source of friction that it threatens to envelop us in a war that could destroy our whole civilization. No less important than this was their mission. And so it is understandable that our Secretary of State, Dean Rusk, should have said in his telegram to us that this “only increases the tragedy of their loss”… a loss from which our sport will be years in recovering, and a personal loss which will never be erased from our consciousness. Our feelings and our sympathies have gone out, and will always continue to go out, to their families to whom they were so particularly dear and precious. We came here, however, not to grieve,

but to honor, not to look back upon what cannot be changed, but to look forward to a future which lies within our power to shape, not to lament but to try to find in this experience the lessons for life that God wants us who remain to learn. To do this, we must re-examine and reconfirm our faith, for only on this foundation can our life be renewed and built into a tower of strength, to honor our friends and our loved ones. If we truly believe what God would teach us through the scriptures, of the miracles wrought, and the strength that we can find by faith, we must understand that what for us is a sorrowful human parting from friends and loved ones is for them a release from the weights and errors that beset them here, and continued on page 23 » PS MAGAZINE

Education CAROL ROSSIGNOL

To Skid or Not to Skid By Robert S. Ogilvie

f observations made of the 2010 Olympics are anything to go by, the technique of using a long skid into the double and triple Axel takeoffs may now be undergoing reappraisal. I must emphasize that the conclusions drawn are my own personal opinions based on the use of a now somewhat hard to obtain but very useful VCR with a frame by frame shuttle. Also included in this article are the results of two excellent biomechanical papers written some years ago. The performances viewed consisted of eleven men and ten women singles skaters -- the total televised. Only one (Florent Amodio) used the long skid approach! The remainder replaced the skid with a sharply curving forward outside (FO) edge whose dimensions can only be estimated but seemed to be of an arc measuring about one third of a circle having a radius of possibly between four and five feet. Jumps using the curving FO edge without skidding could therefore be said to have clean takeoffs thus bringing the technique in line with other edge-to-edge jumps, except that the takeoff is forward, and because of the asymmetrical construction of the foot the blade must pivot at the moment of takeoff. The sharpening of the curve has a similar but reduced effect on the takeoff edge to that of the skid since it lessens the straight line linear speed of the skater. Over the years what has occurred is that the skid when used has become shorter and shorter. There are two reasons why this has occurred. Some years ago attention was brought by certain authorities to the depth of hollow used for free skating. Hitherto, it had been very difficult to get skaters interested in the hollow they were using: they always said, “I leave it to the sharpener” -- very unwise as few sharpeners had ever skated. (I myself did all the sharpening for my local pupils.) Suddenly everyone was convinced that a radius of hollow of 3/8 inch was the way to go. This is rather deep (I had always used a radius of 5/8 inch), but 3/8 of an inch was frequently used by traveling show skaters who wanted their sharpening to last and often had difficulty finding a good sharpener. Also blades directly from the factory tended to have rather deep hollows. The problem was that it is quite difficult to make the

JANUARY | FEBRUARY 2011

blade skid using a radius of hollow as deep as 3/8 inch radius which frequently took a skater by surprise when he or she used it for the first time. At the takeoff of a double or triple Axel the blade would fail to skid as expected and continued on a curve while the skater’s center of gravity attempted a flatter curve as though the blade were skidding. As a result his or her foot went one way and their center of gravity another, causing a wild tilt out of the circle with the skater finishing up on all fours. This was known as a “waxel” (a wipe-out Axel) — a common occurrence at the time, and one that a coach cannot ask his pupil to repeat for the camera! I was fortunate, however, in having had the opportunity of taping two of these disasters during a regular TV program of skaters’ practice sessions and was able to study the waxel carefully. So skaters made a virtue of necessity and wisely learned to avoid the skid and use a relatively clean edge takeoff. The big disadvantage of the long skid is that it is based on the false analogy of the high jump in which the athlete plants his take-off foot firmly on the ground to take advantage of his linear motion by converting it into a vertical tangential force. However, when the athlete plants his foot it stops dead whereas when a skater tries to do this on the ice the blade skids and the greater part of the force is dissipated -- taken to its absurd limit, he or she will simply stop. There is also the danger that the skater may bring the outside of the boot into contact with the ice, with a disastrous result. I believe this is what happened a year or so ago when one of the

Some years ago a pupil of mine rushed toward me for a comment, did a skid stop, caught the side of her boot on the ice and knocked me flat. She did not do it again.

Comments Received From You, The Readers, In Regards To The Skid Versus a Scrape Article:

“However, taking off without skidding requires considerable skill and leaves little room for misstep.” A Kinematic Comparison of Single, Double, and Triple Axels (King, Arnold, and Smith, 1994)

ladies took off, apparently intending to do a double Axel, but aiming it toward and too close to the barrier. Realizing this she leant back too much, attempted a skid and probably caught the side of her boot on the ice. This lifts the blade off the ice causing a serious fall that sent her crashing into the barrier. I personally have direct experience of this. Some years ago a pupil of mine rushed toward me for a comment, did a skid stop, caught the side of her boot on the ice and knocked me flat. She did not do it again. The skid could still be used successfully if it were shortened to no more than about 12 inches. At this length it would approach more closely the instantaneous stop of the planted foot of the high jumper. Let us see what the biomechanists have to say on the subject. Two very important papers have been written: “A Kinematic Comparison of Single, Double, and Triple Axels” (King, Arnold, and Smith, 1994) and “Takeoff Characteristics of Single and Double Axel Figure Skating Jumps” (Albert and Miller, 1996). These papers examine nearly all quantifiable details of the Axels with special attention paid to the skid. The average length of the skid into the Axels performed by six male skaters is 1.1 meters for the double and 1.2 meters for the triple. Another authority, Dr. Dědič in the original edition of “Single Figure Skating,” gives the length of Don Jackson’s skid into his open Axel as 1.0 meter. Nevertheless, the problem of the deep hollow inhibiting the skid still remains. The above is not a criticism of the articles; they did an excellent job of analyzing the methods of the skaters provided, but changes were already taking place. Nevertheless, under favorable circumstances the short skid is still a valid technique and was used by Mao Asada in her triple Axels. Here is an interesting quote from the King et al paper: “However, taking off without skidding requires considerable skill and leaves little room for misstep.” Certain skaters now seem to be acquiring this skill when conditions are favorable.

Robert Ogilvie is a PSA Honorary Member and Master-rated Coach — MFF, MP, MG, MPD, SD

NOVEMBER/DECEMBER 2010

“Ah, ‘Figures’, so few even look at a tracing anymore unless it’s a jump take-off! A not-low-enough lunge is a good image of a common scraping situation. It’s an un-weighted edge contacting the ice. On a scraped 3, or any other turn, it’s a similar situation because the scrape is caused by the un-weighted edge contacting the ice at the wrong time as the transfer from one edge to the other occurs (along with a change of direction but not line of travel.) Changing lobes isn’t really a change ‘in line of travel’ because moving through the short axis is basically staying on a straight line if only for a second or two. “Bunny ears” on brackets are scrapes caused by the same contact error. Could it be timing or a use of blade-rocker error (weight location during the movement)? Skidding only occurs on a weighted, loaded, loadbearing edge. Stopping and Axel-type take-offs are the best illustrations of purposeful skids. The other distinction relates to the direction of flow. An effective skid occurs when the blade is tangent to the direction of travel. If we use a clock as a referent; I’m skating from 6 to 12 but my blade is pointing at 9 or 3 o’clock to make the skid. A traveling skid, used as a performance effect, would place the blade in a 10 and 4 or 2 and 8 relationship to the same direction of travel. Another example is beginners learning how to snowplow stop at the wall. Pushing one foot away from the other, they press down (weight/load) on the inside edge to make a snow pile. That’s a skid. If they keep the foot on the ice and bring it back to its original position, collecting the snow, that’s a scrape.” David DeCaprio, MFS, MG, MPD, Chugiak, AK “I love fun pieces like this... I bet if you have 20 pros, you’ll have 20 different interpretations. Here’s my take: It depends on the level one is instructing. A scrape is good on a snow plow stop or a T-stop but bad on a turn, and bad on a double or triple Axel take-off edge. A skid is bad on single Axel take off edge—hips are turning against the edge, but okay on some advanced footwork. Both can be done with control or unbalanced and out of control. Both are done intentionally and unintentionally!” Rikki Rendich Samuels, New York City, NY WE WANT TO HEAR FROM YOU: If you have comments regarding any article please email crossignol@skatepsa.com or write to us at PS Magazine,

3006 Allegro Park SW, Rochester, MN 55902 PS MAGAZINE

Bridge Program Introductory Membership What is it?

A Bridge Program is designed to teach skating skills at a faster pace in a group lesson format and to introduce the benefits of club membership. Offering this type of an affordable package program with one set fee is the best way to entice new skaters to participate. Remember these are still beginner skaters looking to become more involved in the sport of figure skating. Keeping these skaters together in a group format for a longer period of time, working together on skills, creating friendships, and keeping it affordable for families, is the real magic behind a Bridge Program. Think of this as “Figure Skating 101” with both on- and off-ice components. This type of program introduces skaters to a “training program” and offers them an introduction to all of the elements in skating and what is required if they choose to continue to skate recreationally, begin taking national U.S. Figure Skating tests, and participate in competitions. Parent meetings are essential to the success of this program as they provide information about future opportunities in the sport.

Who will love it?

Basic Skills skaters (and their parents) who are hooked to skating and are motivated to learn at an accelerated pace will love it. The target group of skaters for your Bridge Program is based upon the make-up of your membership. You may be able to attract skaters in Basic 38 or you may have to limit it to beginning free skate levels. Figure skating is a three step process – Basic Skills is the first step that teaches skating fundamentals, a figure skating club is the last step where skaters make more commitments to the sport and a Bridge Program is the most important middle step that gets them from one place to the other.

Membership:

A Bridge program can be run by either the Basic Skills Program or the figure skating club. Participating skaters should be current members of U.S. Figure Skating; either as a Basic Skills member or full member using the new introductory membership category developed to help families make the transition to club membership. The introductory membership is a new full membership available to first-time members at a discounted rate of $25 (second and subsequent members are $15). This way when they are ready to test their pre-pre moves and free skate, they will be eligible.

Program Design:

Like other bridges, a Bridge Program must be custom designed to meet the needs in the specific area, be relevant to the ability of the skaters enrolled, and fit into the facility schedule. Much depends upon how many hours per week and/or when in the season you can offer it. You can use this format to develop a new beginner synchronized team, offer it for first time competitors called Learn to Compete class, or focus entirely on MIF and at the conclusion of the session the skaters who are ready can test their prepre moves if desired. A Bridge Program can be successfully delivered in a variety of programming options. These options include, but are not limited to, offering the Bridge Program as a one day or weekend minicamp, a week long camp, as an eight-week session that is incorporated into the group program or offered on designated free skating practice sessions. When time permits, incorporate special workshops where the concentration is on one specific element or discipline. Create a catchy name for your Bridge Program like Rising Stars, Finer Edges, Junior Club, Team _____ (location); something to make it different and special.

Essentials to get started?

After all of the skaters are registered, sort them into smaller groups by ability. It is suggested that groups be kept to no more than seven skaters each to allow for group and individual instruction periods. Be sensitive to how you divide the skaters to ensure that everyone will have a positive experience in the program. Sort first by ability and then by age, if possible. The on-ice skating curriculum includes a sampling of the following: • Proper stretching techniques • Warm-up and cool-down activities • Stroking, edges and power skating • Pre-pre and preliminary moves in the field • Introductory ice dance • Beginner synchronized team • Spins – two foot to flying spins • Jumps – bunny hops to doubles • Artistry in Motion – beginning choreography and style Parent meetings: Schedule an introductory meeting before the first class to discuss the goal of the program, policies, and to introduce the coaching staff. Include other meetings if possible and invite special presenters if you can such as the local club president, a boot and blade expert, and a certified judge to explain these topics in more detail. Parent education sessions are essential to the success of a Bridge Program. Sample topics include but are not limited to: • Proper equipment fit/purchase and attire- where to shop in local area • Ice etiquette continued on pg. 22

JANUARY | FEBRUARY 2011

PS MAGAZINE

people from participating. Encourage a mix of Basic Skills staff and club professionals to instruct this type of program so the skaters have some familiar faces yet will be introduced to some new ones. It has been the experience of most clubs that over half of the Bridge Program participants stay in skating; either free skating, dance or become a member of the synchronized team.

Resources:

• Ice utilization and good practice habits • U.S. Figure Skating testing and competitive structure • Joining a figure skating club • Club functions • Volunteering • Preparation for first competition • How and when to select a private coach • Ways to support your child in skating

JANUARY | FEBRUARY 2011

General Information:

Skaters should be encouraged to attend a practice session at least one other time during the week to practice on their own and/or begin supplemental private lessons. Evaluations should be done at the conclusion of the session and badges given for levels earned in all disciplines (Free Skate, Dance 1, AIM 1, Synchro 1). The fees for the program should be higher than the group lesson fees in your area but not high enough to discourage

Sample formats, agendas, lesson plans, ability divisions, warm-up/cool-down activities, and parent education resources can be found on the Bridge Program web page. Go to ‘Clubs’ then ‘Bridge Program’. If you have any questions please contact Susi Wehrli-McLaughlin at swehrli@usfigureskating.org or (719) 635-5200.

Eulogy

continued from page 17 »

I know that those who are represented here by these roses want us to go forward. Should we not, then, with our faith, dry our tears, turning our thoughts not in upon ourselves and on what has happened to us, but outward to them and their friends as we did when they were materially with us. This as we know from life, is the way of true love and devotion - - not to think of ourselves, but of others. On this foundation, then, of lives that are not consumed in sorrow grief, but on lives that have been challenged and spurred by these experiences, to a deeper resolution to seeing God’s will and to a deeper dedication to serving our fellows through serving our sport, can we start to build a living memorial, not of brick and mortar and silver trophies… appropriate as these might be… but of what they expect of us - - finer, more understanding, more tender, more useful and more loving people to honor them and to serve their memory in our lives. Wherefore, seeing that we are encompassed by so great a cloud of witnesses, thirty-six of our friends whom we would honor and cherish, let us put aside all weights and hindrances that so easily beset us, and let us run the race that is set before us. Let us accept, like true

Courtesy World Figure Skating Museum & Hall of Fame

prevented them from realizing that perfection… that perfect circle 8… that perfect judgment… that perfect understanding for which they were always striving, and which they can now experience. Just as they, and we too, rejoiced greatly as they took each step closer and closer to perfection, and passed each test in their progress, from the preliminary to the eighth or the gold test in skating, from Low Test to World Judge, from member to top officer, so should we also rejoice for them… now that they have passed the Supreme Test and are at the very fountain-head of perfect judgment, discernment and understanding. They have attained the perfection that they wanted so much. If such be our faith, then what happens now to our friends and loved ones, we can, with that faith, and with complete confidence, entrust entirely to God and His love and care. What should concern us, and what is of concern to God, is what happens to us who remain; for He has given us freedom to choose whether we go forward or go backward, whether we allow these experiences to make us finer, more useful people, or whether we allow them to crush us.

Ritter F. Shumway

competitors, and in the spirit of our 1961 World Team, the challenge that is presented to us. Let us here dedicate ourselves in their memory to carry on the high traditions of excellence, of sportsmanship, of devotion, that they so well exemplified and have now entrusted to us. For their sake, in their memory, to do honor and glory, and to the honor and glory of God, let us go forward as they would have us go. Ritter F. Shumway, President U.S.F.S.A.

“The definitive account of the tragedy that forever changed figure skating.” – John Powers, Olympic Sports Writer, Boston Globe

“Meticulously researched… superbly woven together… A must for any skating fan.” – JoJo Starbuck, two-time Olympian, World Medalist, and U.S. Figure Skating Hall of Famer

To buy a copy of Indelible Tracings, visit www.1961Team.com.

A portion of the proceeds will be donated to the Memorial Fund.

PS MAGAZINE

A CLASS ACT THE 1961 WORLD TEAM COACHES

By Patricia Shelley Bushman

JANUARY | FEBRUARY 2011

How Well Do You Know the 1961 Team Coaches? 1) 2) 3) 4) 5)

Which four coaches were national junior champions? How many coaches were world medalists? Which coach had no competitive experience? Which coach was the oldest to begin skating? Which coach had taught one of the other 1961 team coaches? 6) Which two coaches taught Olympic champions? 7) Which three coaches had taught for over twenty years? 8) Which three coaches had taught between five and seven years? 9) Which two coaches owned ice studios? 10) The 1961 Worlds would have been the first international coaching experience for how many of the coaches?

On February 15, 1961, the U.S. figure skating community lost six remarkable coaches when their plane crashed in the fields near Brussels, Belgium. The coaches on Sabena Flight 548 represented different parts of the country, had taught in all the major American skating centers and, between them, had been teaching for a combined total of ninety years. Each coach trained World Team members prior to 1961, and they had students who eventually participated at the 1964 and 1968 Olympic Winter Games. They were some of the greatest figure skating coaches, and some of the most promising. They would have continued to produce champions and mold lives. Here we celebrate their accomplishments and the legacy they left in the skating world.

LINDA HART HADLEY Linda Hart Hadley’s path was unusual for World Team coaches. Born Alvah Lynn Hart in Winfield, Kansas, in 1929, she was a roller skater who discovered ice skating when her family moved to Oregon when she was eighteen. She changed her name to Linda Hart when she appeared in the chorus of some traveling skating shows. She first met Ray Hadley in Oregon when they were both on staff at a roller rink. Years later, when Ray was divorced, they reconnected in Seattle. Linda was serving in the U.S Army when they married in 1954. Linda became both stepmother and coach to Ray’s two children: Ila Ray, eleven, and Ray Jr., ten. The siblings had been skating since they were four, but their competitive success accelerated once Linda began coaching them at the Seattle Civic Arena. The only 1961 Team coach with no competitive skating experience, Linda borrowed freely from other coaches early in her career, copying their styles and choreography; but over time she became an innovative coach in her own right, creating her own unique jump and spin combinations for her children—the most famous being Axels into a flying camel combination. Linda employed a novel tactic to encourage her students to do well competitively. She promised her students a French poodle if they won a competition. Just three months before the plane crash, Linda and her husband opened the Hadley & Hart Studio, a 60 x 80 ft. ice rink in Seattle.

Linda Hart Hadley pictured with husband Ray Hadley. Photo courtesy Sharon Dowling and Lawrence Hart

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Linda’s children, Ila Ray and Ray Hadley Jr., placed second at the 1961 Nationals and fourth at the 1961 North Americans (a biennial competition between the United States and Canada that was discontinued in 1971), and as their supportive stepmother and coach she chose to fly with them to the 1961 World Championships. Ray Sr. stayed behind to operate the family studio and planned to meet his family in Prague later in the week. Surprisingly, the two women coaches on the 1961 Team were perceived to be the toughest on their students. Linda’s intensity may have been due to her on-the-job training as a coach. She had a strong desire to make a name for herself and was extraordinarily successful. She became a World Team coach in only five years of teaching, had her own ice rink, and looked forward to a long teaching career even after her children retired from competitive skating. Another of her pair teams, Ron and Cindy Kauffman, were later two-time Olympians.

dance, but competitively he concentrated in dance. Bill competed at Nationals in the early fifties with partners Theda Beck, Janet Williams, and Virginia Hoyns, but he rarely medaled. His greatest triumph was in 1955, when he and Virginia Hoyns placed third at the North American Championships. Ice Follies invited Bill to join their show, but instead he moved to the West Coast and taught at Frank Zamboni’s Iceland rink in Paramount, California. In his first year of coaching alongside four-time World dance champion Jean Westwood, his students won both the 1956 U.S. gold dance and silver dance titles. Bill returned to Lake Placid in the summers to teach and perform in the Saturday night shows with Jean. He taught all disciplines and was a popular teacher. He was a dynamic motivator, tailored his message to each student, instilled self-confidence, and taught with humor. Bill had tremendous rapport with his students and created a positive working environment. His motto was “If anything is worth doing, it is worth doing right.” Bill had three students on the 1961 World Team: Rhode Lee Michelson, the 1961 U.S. ladies bronze medalist, and Roger Campbell and Dona Lee Carrier, the 1961 U.S. dance silver medalists. Kipp had also taught Diane Sherbloom, the 1961 U.S. dance champion, and Pat and Bob Dineen, the 1961 U.S. dance bronze medalists. In five years of coaching, Bill had had five national champions and became the senior professional at Iceland. He left behind many students, including twelve-year-old Peggy Fleming, who went on to win the gold medal at the 1968 Olympic Winter Games in Grenoble, France.

DANNY RYAN

Bill with student Anita Entrikin at Paramount Iceland. Photo courtesy Anita Entrikin Miller

BILL KIPP Bill Kipp was destined to become a show skater, due to his extraordinary performance skills, but instead he chose coaching because he wanted to pass along what he knew to a new generation. “Billy,” as he was known in his childhood, was born in 1932 and grew up in Allentown, Pennsylvania. He joined the Penguin Figure Skating Club as a young teenager and periodically travelled to Philadelphia to train with Bill Swallender, but he primarily taught himself and others at the outdoor Albeth rink. He trained every summer at Lake Placid and became famous for his show-stopping performances at the weekly Saturday night shows. Bill became a gold medalist in both singles and

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As a competitive skater, Danny Ryan was a late bloomer—he didn’t learn to ice skate until age nineteen. Orphaned as a young child, he was raised by his grandmother in Connecticut, where he became an avid roller skater. When he moved to Washington D.C. to attend Catholic University, he competed nationally in roller skating and won several medals. While in college, he accidentally stumbled upon the Chevy Chase Ice Palace, tried ice skating for the first time, and loved it immediately. He and Carol Ann Peters soon became dance partners and were an immediate success. Their numerous accomplishments include winning the 1950 U.S. silver dance and 1953 U.S. gold dance championships. They were the first American ice dancers to win a medal at Worlds—winning the bronze in 1952 and 1953—even while Danny served in the U.S. Army. When Danny turned pro he began teaching at the Minto Skating Club in Ottawa, where he met his wife-to-be, fellow instructor RoseAnne Paquette. After two years of teaching in Canada they moved to the Winter Club of Indianapolis, teaching at the Indianapolis Coliseum. Danny made the WCI the premier dance center in the Midwest. Both dancers and pair teams came from hundreds of miles around to train with Danny, including Cleveland skaters Karl and Gayle Freed, who won the 1958 U.S. junior pairs championship. Danny’s primary focus was on his dance teams, and his stars were Larry Pierce and Marilyn Meeker, who were the 1959 U.S. silver dance champions and members of the 1960 World Team. Danny also taught every summer in Lake Placid. New students flocked to him because of his wonderful free dance expertise. He was open to students’ ideas, exhibited a fatherly manner, and

Danny Ryan and his dance partner, Carol Ann Peters. Photo courtesy Carol Ann Peters Duncan

didn’t scream at his students. Just seven weeks before the 1961 Nationals, Marilyn broke her ankle during a practice session. This untimely accident prompted Danny and Larry to ask Diane Sherbloom of Los Angeles to take’s Marilyn’s place. Danny had only five weeks to prepare his new team for the 1961 Nationals. As Larry and Diane won the 1961 U.S. dance title in Colorado Springs, Danny’s wife RoseAnne was back in Indianapolis giving birth to their fifth child. Danny had a little more than a week to spend with his newborn son before leaving for the 1961 North Americans. When Danny flew to Prague, he left behind his wife and five children—the eldest was five years old. Danny’s legacy includes students Darlene Streich Gilbert and Charles Fetter, the 1964 U.S. dance champions, and Judy Schwomeyer, five-time U.S. dance champion with James Sladky. Another Ryan student, Sandy Schwomeyer Lamb, has been the head coach at the WCI for decades.

Doug Ramsay was named an alternate to the World Team after he placed fourth at the 1961 Nationals. A week before the 1961 North Americans, bronze medalist Tim Brown withdrew due to health issues and the USFSA invited Doug to take Tim’s place. This decision impacted Bill as well, who elected to accompany his student both to Philadelphia and, from there, to Prague. Although Doug again placed fourth at North Americans, everyone predicted a bright future for him because of his outstanding free skating. The Swallender family rarely traveled to competitions, but Bill insisted they accompany him to Philadelphia. After the competition the family headed home while Bill and Doug headed to New York City to board Sabena Flight 548. The Swallenders’ 24th wedding anniversary was February 15, so they planned to celebrate upon Bill’s return. Both Doug and Bill were elated at the chance to go to Prague.

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BILL SWALLENDER Bill Swallender’s twenty-five year coaching career spanned nine cities, saw two star pupils, and he earned the adoration of all his students because he was an effective communicator and had a mild-mannered approach to teaching. Born in 1908 in St. Paul, Minnesota, he began skating in high school and was the 1933 U.S. junior men’s champion. After competing in senior men for two years, he bypassed the 1936 Olympics due to finances and knee injuries. He began his coaching career in Kansas City. After teaching there for two years he married Genevieve Nelson, who performed in a famous sister act in Ice Follies. She taught alongside her husband in Baltimore and at the Broadmoor, and retired after the birth of their first son. Bill also taught in Chicago, Philadelphia, and in the summers at Lake Placid, where he met his first protégé, Virginia “Ginny” Baxter. He eventually moved to Baxter’s hometown and taught at the Detroit Skating Club. After Ginny placed third at the 1952 Worlds and turned professional, Swallender began teaching eight-year-old Doug Ramsay. Bill recognized his potential and treated him as his prize student. Doug Ramsay was a perennial winner at Midwesterns, but his weak figures kept him off the podium at Nationals. On his third try, he won the 1960 U.S. junior men’s title. In 1955 Bill opened his own studio, the 37 by 43 ft. Swallender Ice Studio, and saw his business thrive. While he and other instructors taught, his wife and two sons helped run the studio.

Bill and Genevieve Swallender. Photo courtesy Bill Swallender

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Edi Scholdan Photo courtesy Ruth Scholdan Harle

Also on the flight to Prague was his eleven-year-old son Jimmy. Edi had taught at the Broadmoor for twenty years and had the energy, stamina, and expertise to continue guiding more worldclass students over the next twenty years. Two of Edi’s students, Christine Haigler Krall and Monty Hoyt, were members of the 1964 Olympic Team.

MARIBEL VINSON OWEN

EDI SCHOLDAN Edi Scholdan taught more World Team members than any other coach of his era. Edi had a long string of men’s champions, including 1956 Olympic champion Hayes Alan Jenkins, 1960 Olympic champion David Jenkins, and World medalists Jimmy Grogan, Ronnie Robertson, and Tim Brown. Born in 1910 in Vienna, Austria, he was the junior champion of Austria and competed in the 1933 Worlds. After teaching in Europe, Edi moved to the United States in 1938 and taught at the Boston Arena. Beginning in 1941, Edi taught at the Broadmoor during the summers and also starred in the Broadmoor Ice Revue as a professional juggler on ice. After teaching for several years on the East Coast, including in Providence and New York City, Edi coached in Chicago for two years. During his time in Chicago he married Roberta Jenks, a Rhode Island skater he had known on the East Coast. Edi, Roberta, and her daughter Dixie Lee moved to Colorado Springs permanently in 1948, when the Broadmoor management asked Edi to be head coach. The Scholdans had two more children, son Jimmy and daughter Ruthie. Edi thrived at the Broadmoor. He was the ultimate cheerleader and was known for getting the most out of each student. He employed various methods to pump up their energy and increase their speed, but his primary teaching tool was repetition. He benefitted from the Broadmoor’s red carpet treatment: they invited the nation’s top talent to skate under the Broadmoor umbrella. His first world champions were Peter and Karol Kennedy from Seattle, who won the Worlds pair title in 1950. Edi had his critics, who resented his recruitment of golden students, but Edi also groomed homegrown talent, including Stephanie Westerfeld, the 1961 U.S. ladies silver medalist. Edi had four students on the 1961 World Team. Besides Stephanie, he coached Boston transplant Gregory Kelley, 1961 U.S. men’s silver medalist, and 1961 U.S. bronze medalists Bill and Laurie Hickox, a sibling pair team from San Francisco.

Three years after the USFSA was organized, Maribel Vinson won the U.S. junior ladies title, and from that point on she was a dominant force in U.S. figure skating, as a competitor, show performer, author, and coach. She grew up in a skating family; both Tom and Gertrude Vinson were lifelong skaters and they taught her how to skate when she was two. She made the Olympic Team in 1928 at age 16 and competed in three Olympics, winning the bronze in 1932. She also won a World silver and World bronze medal, but her primary claim to fame has been her string of dual wins at the U.S. Championships: six-time pairs champion with Thornton Coolidge and George E. B. “Geddy” Hill, and nine-time ladies champion, a record unequaled until sixty-eight years later by Michelle Kwan. After Maribel retired in 1937, she formed her own touring ice show. The cast included Canadian Guy Owen, whom she wed in 1938. The Owens continued to perform in ice revues and hotel tank shows even while beginning a coaching career—first in St. Paul and then settling in Berkeley, California, in 1940. Around the same time, Maribel gave birth to their first daughter, Maribel, Jr. Four years later their second daughter Laurence was born. The Owens’ presence in Berkeley accelerated figure skating on the West Coast. Maribel had many competitive students,

Maribel Vinson Owen at Rockefeller Center. Photo courtesy Patricia Bushman

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including Boston transplant Gretchen Merrill, who became sixtime U.S. champion. The Owens continued to traverse the country to perform and sometimes teach in Boston. After the Owens divorced, Maribel permanently moved her daughters to Boston in 1954, where she was already teaching Tenley Albright. Tenley was the first American female figure skater to win gold at the Olympics in 1956. Maribel hoped her oldest daughter would follow in her first steps, but single skating was not her forte. Instead, Maribel Jr. became a pair skater, and was successful like her mother, winning the junior pairs title with Chuck Foster in 1955 and the senior pairs title with Dudley Richards in 1961. Laurence became a singles champion like her mother, winning the junior title in 1959 and the senior ladies title in 1961. Although Maribel put her Olympic dreams on Laurence’s shoulders, she had many more students in Boston. Maribel taught with great zeal, and her loud voice, “which could shatter windows” as one student recalled, became legendary. She also taught 1960 Olympic pairs bronze medalists Ron and Nancy Ludington, and Frank Carroll, coach of 2010 Olympic champion Evan Lysacek. Maribel, who had been the first female sportswriter at the New York Times, had authored three books on skating and was an AP correspondent and a contributor to many magazines. There is no doubt she would have continued to be the number one supporter of U.S. figure skating for many decades to come.

reviewing the lives of the six 1961 World Team coaches, we discover there was a similar formula for success. Although they had diverse backgrounds, they played to their strengths, created their own teaching styles, and experienced great rewards in coaching because of their unbridled passion and commitment. From their students’ point-of-view, they are remembered for their deep concern for them as individuals. Although we will never know how many more champions they would have coached, their influence and teaching styles have been passed down through many of their students who have coached these last five decades.

1961 Team: Patricia Dineen, Robert Dineen, Dona Lee Carrier, Roger Campbell, Diane Sherbloom, Laurie Hickox, Larry Pierce, Ila Ray Hadley, William Hickox, Ray Hadley Jr., Maribel Owen Jr., Dudley Richards, Bradley Lord, Dean E. McMinn, Team Manager, Laurence Owen, Douglas Ramsey, Stephanie Westerfeld, Gregory Kelly, Rhode Lee Michelson Photo courtesy World Figure Skating Museum & Hall of Fame

For more information on Bushman’s book, Indelible Tracings: The Story of the 1961 U.S. World Figure Skating Team, visit www.1961team.com.

1) Which four coaches were national junior champions? Maribel Vinson Owen was 1924 U.S. junior ladies champion and 1927 junior pairs champion with Thornton Coolidge; Bill Swallender was 1933 junior men’s champion; Danny Ryan was 1950 silver dance champion with Carol Ann Peters, and Edi Scholdan was junior champion of Austria. 2) How many coaches were world medalists? Two. Maribel Vinson Owen, in 1928 and 1930, and Danny Ryan in 1952 and 1953. 3) Which coach had no competitive experience? Linda Hart Hadley 4) Which coach was the oldest to begin skating? Danny Ryan, at age nineteen when he was in college. answers to page 25 5) Which coach had taught one of the other 1961 team coaches? Bill Swallender had coached Bill Kipp 6) Which two coaches taught Olympic champions? Edi Scholdan (Hayes Alan Jenkins and David Jenkins) and Maribel Vinson Owen (Tenley Albright). 7) Which three coaches had taught for over twenty years? Bill Swallender, Edi Scholdan, Maribel Vinson Owen 8) Which three coaches had taught between five and seven years? Danny Ryan, Linda Hart Hadley, and Bill Kipp 9) Which two coaches owned ice studios? Bill Swallender and Linda Hart Hadley 10) The 1961 Worlds would have been the first international coaching experience for how many of the coaches? None. All of the coaches had previously had students on the World Team. a. Maribel Vinson Owen, since 1947 c. Bill Swallender, since 1949 e. Danny Ryan, since 1959 b. Edi Scholdan, since 1947 d. Bill Kipp, since 1956 f. Linda Hart Hadley, since 1960

How Well Do You Know the 1961 Team Coaches?

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Best Practices For Effective Coaching

At the 2010 Professional Skaters Association annual conference, a panel of coaches discussed the results of a coaching survey about best coaching practices. The survey was created and developed by Merry Neitlich, Director of the Coach’s Edge, an instructional coaching program. Neitlich moderated the panel, which included men’s singles coach Frank Carroll, dance coach Robbie Kaine, pair skating coach Dalilah Sappenfield and ladies’ singles coach Tom Zakrajsek. There were a dozen questions asked in the survey and this column will present the results of the survey along with comments from the coaches on the panel.

Do you typically vary your coaching style or generally approach your skaters with the same style? There were only two answers to this question, and there was one runaway winner. Eighty-three percent of respondents said they vary their coaching style from skater to skater. But the panel members disagreed with the results. “Not all skaters learn the same way,’’ Zakrajsek said. “Everybody is different and unique.” “We vary in terms of technique, but only for certain things,’’ said Sappenfield, who said the question is more difficult when dealing with pairs. “Every lift has to be done a certain way technically so it is safe and done effortlessly. Only with certain things do I vary, like the throw, because we have to know the best technique for the girl to match her jumping. There are several ways to do throws.” “Generally, I use the same style,’’ Kaine said. “I expect

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a lot out of my skaters. I am tough. I taught an 82-year woman this morning and am still expecting her at a certain level. I don’t vary my style.” Kaine said he is willing to listen to his skaters if the lessons aren’t getting through to them. “I don’t keep shoving it down somebody’s throat if it doesn’t work,’’ Kaine said. “I like my style, but I am also open to my skaters. I ask them ‘What would you do to make this better?” Zakrajsek agreed with Sappenfield and Kaine that there are certain elements to skating that have to be coached a certain way. “I do think there is a basic structure that is universal,’’ Zakrajsek said. “What I end up doing is taking that structure and tweak to for an individual skater.”

What have you learned that you wish you had known sooner? Answers varied and were widely split. The answer most often given (22 percent) was one that might be put down to simple maturity: Stay positive, stop yelling, and have patience. “Patience,’’ said Zakrajsek, who has been coaching for 23 years. “It is all going to work out in the long run. The path to development is not a straight line upward. There are steps and that process can take a long time. It is a long horse race. “When I was younger, I wanted it done correctly right away,’’ he said. “As soon as I gave them the feedback and showed them what to do, I wanted them to do it right away.” The second most-popular response (18 percent) was that there is more than one way to teach any element of skating. Other frequent responses were “Teach independent practice skills and responsibility,’’ “Maintain coaching knowledge, continue your coaching education and learn something new every day” and the most basic “Keep it simple.” For Kaine, the lesson he most wished he had learned relates in a way to the “Keep it simple’’ approach. “What I wished I had learned sooner, but learned quickly, is that it is all about basic skating skills,’’ he said. “As opposed to being worried about whether your feet are together or whether you crossed your foot tight enough, or help the spin long enough. It’s about being able to skate.” Sappenfield said she wished she could have told her younger

self to get some help, as in actual coaching assistance. “If I was able to speak to myself and tell myself a secret 10 years ago, it would be surround myself with a strong team of coaches that I trust and all have the same goal in mind,’’ Sappenfield said. “Ten years ago, the mentality was to do this all yourself. I think I now realize the benefit of team coaching. “I have an endless amount of resources that only benefit my skaters,’’ she said. “I see myself now as the head coach, kind of like a football coach, who delegates work and makes sure the skaters are getting everything they need. I hire what I think my athletes need at that point, a choreographer, an extra spin coach. I am the vision to what I want them to be and it is my job to put it all together.” Sappenfield said the first year she decided to build a team of coaches, she had three national champions. Other suggested answers in the wide range of responses included “Expect more,” “Coach methodically, not emotionally,” and “Trust your instincts.” While people think coaches soften with age, Kaine said he needed to get tougher. “I wish I had learned earlier to be tougher, especially with kids that get nervous,’’ Kaine said. “I wish I had learned to be firmer. I’m the kind of person who doesn’t like conflict.”

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Sport Psychology Applications for Skating Coaches: Part I

»» By Janelle Craft, Skating Professional and Mental Training Consultant

s a skating coach and mental training consultant it occurred to me that I have a unique perspective to offer. As such, I thought that an article that addressed sport psychology applications for figure skating coaches could be helpful to my fellow coaches. The more I coach and the more rinks I work at from Canada to the United States, I see universal patterns of behavior in skaters at every level. The following article offers the skating coach insight into and understanding of these patterns as well as some tips to help the coach address these issues in their own skaters. Coach attitudes towards sport psychology: If I had a nickel for every time a coach has described his or her opinion on mental training as “if it ain’t broke, don’t fix it,” I’d be a wealthy woman. When presented with that statement by coaches, I usually explain to them that while sport psychology can certainly help skaters with specific issues as they arise, mental training works best when incorporated into the overall training plan. The danger in using sport psychology as a “band aid approach” is that skaters learn to look at mental training as something you do when you have a problem. This can foster feelings of self-doubt in skaters, as well as negative attitudes towards mental training. Think about it this way. You don’t hear of medical doctors advising patients not to worry about practicing healthy behaviors (becoming physically fit, smoking cessation, etc) until after they have suffered a heart attack. So, why would a coach do the likewise with their athletes? Skating coaches should ask themselves the hard questions, such as, “What is the fear I may have in having my skaters practice mental training?”

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and “What concerns do I have in working with a sport psychologist?” Don’t be “remiss to dismiss” sport psychology: Skaters dedicate so much time and energy developing key areas of performance, namely technical, physical and tactical; they would be remiss to leave out the fourth key area of performance, mental. When it comes down to it, the mental area of performance is a deal breaker. Picture this: you can have the most technically-adept, physically-prepared skater with two of the most tactically-sound IJS programs. BUT one moment’s lapse in focus, one second of self-doubt, one mental image of failure can undo it all. Skating is one of those sports where there are no second chances. Skaters have only a few minutes to prove themselves and their season. I recommend that skaters and coaches incorporate mental training into the training plan that is developed at the beginning of the season. A very useful tool to use is performance profiling. In Performance Profiling, skaters and coaches each complete an assessment of the skater’s technical, physical, mental and tactical areas of performance, identifying the key skills in each area for the skater to focus on developing, and a timeline along which evaluations should occur throughout the season. Performance profiling is a great precursor to goal-setting and a wonderful discussion tool for getting skaters and coaches on the same page with regards to the skater’s skills. Being SMART-er with Goal-Setting: We all know how important it is to set goals. Many coaches do have their skaters set goals at the beginning of the season. However, I wonder how many

coaches revisit the goals that were set, evaluating and modifying them as needed? The process of goal-setting is an exact science. It is likely that most of you have heard of the SMART principle used in goal-setting, an acronym to indicate goals that are Specific, Measurable, Attainable, Relevant, and Time-sensitive (some professionals also use Specific, Measurable, Adjustable, Realistic and Timeline). In addition to being SMART in setting goals, coaches should identify key points during the seasonal training plan at which time goals are to be evaluated. Another application for coaches to use with skaters, especially beginner figure skaters, is to have them follow a training or practice goal schedule. I see a lot of little ones who are just starting out in figure skating who have difficulty knowing HOW to practice outside of lesson time. We need to encourage a sense of direction and focus in young skaters. Here, coaches can address a “train to train” approach for their skaters, teaching them how to practice on sessions outside of lesson time. Have skaters set weekly goals and preferably, daily targets to achieve that feed into the goals for that particular training phase.

“Performance profiling is a great precursor to goal-setting and a wonderful discussion tool for getting skaters and coaches on the same page with regards to the skater’s skills.“ The skater should keep a training notebook or log where they can write down the targets and assess them. The targets should be easy for the skater to understand and clear on how to go about achieving. Having specific targets to work on each practice will help the skater get the most out of their practice time and lessons will be more effective because skaters will be more focused. Taking as little as 5 minutes at the beginning of the week with each of your skaters to establish targets will be well worth having your skaters develop good training habits. Isn’t it ironic? In an article published in The Sport Psychologist (Vol. 13, Issue 2), Dr. Christopher Janelle (I know, also ironic that his last name is my first name!) discusses the theory of ironic processes of mental control (Wegner, 1994) and explains that “mental control is achieved through the interaction of an operating process directed toward achieving thoughts, emotions, and actions that are consistent with particular goal states, and a monitoring process for identifying inconsistencies with the goal state, insuring that any threat to the operating process is recognized and handled accordingly. Moreover, mental control

normally functions at a satisfactory level, but under conditions of cognitive load, the likelihood of effective self-regulation is reduced.” Ahh, say what? Basically what this means is that the mind-body connection is most efficient when the mind tells the body what to do, NOT what not to do. Applied to figure skating, coaches should ensure that skaters are thinking of what they need to do in order to execute the skill correctly (e.g., stay over the skating side, stand tall, pull in, correct timing, etc) and NOT what to avoid doing (e.g., don’t break, don’t let your free side drop, etc). So coaches, next time you send your skater off to try that element again, make sure you’ve left them thinking (or feeling in terms of a physical cue) what they should do for the next attempt, not what they shouldn’t do. Same thing goes for the performance send-off and final words of advice! Circling: It’s so frustrating for skating coaches to stand at the boards and watch their skaters circle the ice repeatedly while they try to attempt a jump. This is probably one of the most dangerous patterns of behavior for skaters to develop yet it has one of the easiest solutions. While skaters continually circle the ice, and coaches “wait it out,” negative patterns of behavior are being ingrained in the skater, not to mention the waste of time. No matter the reason the skater gives the coach for the circling, the best thing coaches can do for their skaters is to pull them over to the boards and address the issue right then and there. Coaches should apply a method similar to thought

stopping, a technique which involves using a trigger to stop the negative thoughts or behaviors (word or action to signal stopping the negative thought or behavior), clearing the mind, and replacing the negative thought with a positive, task-specific cue. To further address the issue of circling, perhaps coaches could set a finite limit on the number of times a skater can circle before attempting the jump, as there are sometimes circumstances beyond a skater’s control (such as other skaters in the way). For Part II of Sport Psychology Applications for Skating Coaches, let’s hear from the PSA coaches. What questions do you have in regards to mental training for your skaters? What issues would you be most interested in having addressed? E-mail Janelle at craft.janelle@gmail.com with your questions or to get more information on the applications discussed in Part I. Or you can email Carol at crossignol@skatepsa.com with your comments and/or questions. Janelle Craft is a USFS coach and PSA member. Ms. Craft is a staff professional at Skylands Ice World in Stockholm, NJ and The Essex Skating Club at the Richard J. Codey Arena at South Mountain in West Orange, NJ. Ms. Craft has a Bachelor of Physical Education and Recreation from the University of New Brunswick and a Master of Arts degree in Physical Education & Recreation (Sport Psychology) from the University of Alberta in Canada, with publications in peer-reviewed academic journals. Ms. Craft has coached skating in both Canada and the United States and has served as a mental training consultant to athletes in many sports including figure skating, gymnastics, ice hockey, volleyball, tennis, soccer and golf.

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GREAT TIPS FROM AMERICA'S TOP COACHES RFO Loop

Explode

TIPS FROM THE COLORADO CONFERENCE

Load

Excerpts from Kelley Morris Adair & Christine Fowler Binder’s

“Moves in the Field” 2010 PSA Conference

Breakdown of the Novice Forward Loop With Various Tips And Exercises Kelley: The first thing I have the skater do is forward edge power pulls on the transverse axis (width of the ice using the red or blue line).

Exercise: Four power pulls followed by a complete outside circle with the free leg extended back. Repeat down the line. You can do the same thing on the inside by holding the inside edge long and controlled on the circle. This is a good exercise to use as a warm-up or in a power class. You can count it out, four counts on each, but make sure they are holding the circle and they are getting ready to exit, pause and then start (with feet side-by-side) so that they are balanced. Next I draw a loop on the ice. Draw a rectangle around the loop and put a little dot at the top of the loop. See RFO Loop diagram. The dot is the “load” down. I draw a little star on the exit side of the loop. This is where the “explode” takes place. If you use those terms in free skating it’s the same thing. At the knee bend, when you are right up at the ball of the

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foot, this is when you need to apply the most pressure. It’s as if you are going to do a three-turn, instead of actually releasing that to turn backwards, the edge pull starts and the “explode” is used to push down and off into the power pull. Have you ever used stand-still power pulls in power class before?

Exercise: Start from a complete stand still on the explode part of the diagram and edge pull out parallel to the red line. Try to eliminate the free leg action as much as possible so that they are paying attention to the balance on the blade, keep the free leg still and push it strong down into the ice. It gives them an idea of the energy that is going to be used exiting the loop. Now I go to the actual loop itself. I’ll do a LFO loop on two feet. Using the free side as a training wheel, and going very slowly, I’ll talk to them about their skating foot. Imagine that it is a paint brush and paint the actual loop. It’s not going to just happen. Make sure they do all three sides of the rectangle. They usually want to get into the loop and look for the exit right away so they have to really

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“They will learn to wait for the loop to come to them. Remind them to just let the edge bring them to the loop.”

be patient across the top. The shoulders should take the shape of the loop. Say to them, “(push) down, be patient across the top, press and out.” Have them do this in slow motion. Have them look at the rectangle and be aware of what their foot is drawing. Put the loop inside the box. I love this because it teaches skaters patience. They will learn to wait for the loop to come to them. Remind them to just let the edge bring them to the loop. When they have to be that patient then they understand the body mechanics of the loop. You can also do the forward inside loop [the same way]; although it is a little trickier, it really makes them get to a parallel position and then edge pull out of the loop.

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Exercise: On a RFI loop, I’ll do a cross(crosses right foot over the left foot so they are parallel to each other just before the halfway mark of the loop) and by keeping two feet on the ice they absolutely have to get into a parallel position. Right at the top of the loop start to bring both feet to a parallel position. Still gliding, wait, then go into an inside edge, pull out. If you have a problem spot you can do these types of isolation exercises. Have them hold and freeze that position. I don’t use a lot of momentum with shoulder rotation since this is on the quarter circle; the more you rotate in the harder it is to rotate out. I stay in this nice controlled position all the way through the “load” part then through the “explode” part; let the shoulders reverse, the hips rotate under the shoulders in a twisting motion. I let the foot draw the loop, the upper body does not, and the foot is connected to the ice so it draws the loop. Start identifying those threads of development all the way through your field moves. It doesn’t make any sense to be introducing a new position at every level, you will only confuse your skater and it will take longer to get through that move. There will be some things you will need to alter along the way but start with the process now!

Ladies Cardigan A soft, fullzip cardigan embellished with the PSA wingblade in sparkling silver.

Ladies half-zip Mock Turtleneck Take the ice in this sporty halfzip top.

See more at

www.skatepsa.com PS MAGAZINE

WAAYYY BETTER LUTZ TAKE OFF! So (one chilly afternoon) I was teaching over at the National Sports Center, in Blaine, MN – and saw Karen Olson (Master Rated Coach) working with her skater on Lutz Take Offs. Coach Olson had wrapped the Champion Cord, around the skater’s waist (handle through the clip), and was working on the Upper Body Take Off Position for the Lutz! Niiiiccce LUTZ! ANOTHER CREATIVE USE FOR CHAMPION CORDS! CHAMPION CORDS – ALIGNMENT By Sheila Thelen PRESIDENT – Champion Cords

THANK YOU KAREN for using Champion Cords on your skaters! Send your photos and success stories to me at: sk8Thelen@aol.com

EXECUTIVE DIRECTOR –

Grassroots To Champions

Champion Cords can be purchased online at the PSA Store www.skatepsa.com Champion Cords are Endorsed by the PSA

Makenna

Meet your AREA REPRESENTATIVE

Gloria Masterson Leous State College, Pennsylvania Area: 5 Ratings/Ranking: SFS, MM, RG, Level II If we are very lucky, at some point in our career, figure skating intersects with other facets of our lives. Gloria Masterson Leous is one of those fortunate professional skaters. A graduate from Penn State with a degree in geology, she was instrumental in helping the PSA with the realignment and distribution of representative areas. “There were some areas with 900 people in them, and others with only 100,” she said in a recent phone interview. “I helped to even out the distribution so that the PSA could be more efficient and organized.” “I loved working in geographic information systems, but with

three children, a husband, skating, and the PSA, something had to give,” she said. “It definitely wasn’t going to be skating, and it definitely wasn’t going to be my family!” Leous’s childhood love only developed into a deeper passion when she admirably passed the Senior MIF test just a few months ago. “I learned a lot from the journey, and that is an invaluable experience I can pass on to my students,” she said, as she reflected on this major accomplishment. She also passed her senior free skate test at age 27.

Dan Mancera Skokie, Illinois

Area: 11 since August 2010 Years Coaching: 5 Years Ratings/Ranking: Registered Free Skate, Registered Group Dan Mancera has been the Area 11 representative since August 2010. In that short time, he has worked to bring enthusiasm and excellence to the skating community. Mancera’s belief in excellence is reflected in his coaching philosophy, as well. He believes high standards are not only important as he teaches his students, but should be a driving force in how he conducts his life. “We first must be able to model excellence in order to teach excellence,” Mancera said. As he seeks to inspire his students, he draws on his experiences in the PSA Apprentice Program with mentors Charlene Guarino and Carol Ueck. “They taught me so much during my apprenticeship which no one can take away from me,” Mancera said. “They both dedicated their time and effort to help me develop my teaching skills.”

Mancera has taken his area rep responsibilities to heart, going the extra mile to inform coaches about the tools available to improve their coaching. “It’s not only about sending e-mails,” he said. “It’s about being able to help coaches with any conflicts that they might have.” Mancera has only been coaching five years, and wants new coaches to know resources are available to improve their teaching skills. The first step, he said, is to ask lots of questions. “Being able to skate and teaching are two different things,” he said. “I encourage new coaches to attend the Entry Level Coaching Course and look for a master-rated coach to apprentice with. You will learn so much from them, which will help you become the best coach you can be.”

PS MAGAZINE

Legal Ease DAVID SHULMAN

LEGAL MYTHOLOGY …and other things that get attention

Myth: Oral (meaning non-written) contracts are not valid. Truth Oral contracts are as enforceable as are written

contracts—they are just more difficult to prove. Most states have have a series of law referred to as the Uniform Commercial Code and also the Statute of Frauds. These particular laws do require in certain circumstances that a contract be in writing. Most courts have interpreted the Statue of Frauds as using any writing claimed as an agreement to be used in court as evidence a contract existed, thus leaving the parties to still argue over the agreement itself once it has been shown a writing exists establishing that some agreement, or attempt to agree, took place between the parties.

Myth: If there is a problem with the contract the parties can refer to negotiations leading up to the contract to resolve the problem. Truth Not so. All writings and conversation taking

place prior to the contract are subject to the legal doctrine of merger. This doctrine holds that all such talk, writings and negotiating merge in the resulting agreement. As always in law there will be exception. It is in the unambiguous contract that no prior oral dealings or reference to writings will be permmitted to decide what a contract meant when things fall apart and the parties head for court. And what is unambiguous? That is for a court to decide. If you want the writings which led up to a contract to be considered should problems later arise with the contract, attach and make part of the contract the things discussed prior to the actual contract. If the other side objects this might be a tip-off of things to come.

JANUARY | FEBRUARY 2011

Myth: If I have a contract and the other party to that contract breaches (breaks) the agreement, when I sue and win I get my lawyer’s fees as part of my recovery Truth Winning will allow recovery of fees and court

cost such as filing or subpoena costs. You will NOT recover your attorney fees in most states. Attorney fees may be recovered in a contract action if and only if they are provided for in the contract as a recovery by the winning party. The exception is if there is a particular state law allowing recovery of such fees. Wage disputes and landlord tenant law are examples. Most states do not allow an employer to withhold wages earned to set off such wages against a claim make by that employer against an employee. So a rink could be looking at a significant penalty if an attempt is made to hold back fees earned by a coach for teaching LTS classes say in a dispute over percentage being charged. Knowing this might help the coach who is in such a dispute. Some states have laws that prevent an agreement allowing such a set off by the employer. Check it out with your lawyer, not the other lawyer, before agreeing to any set-off.

PS MAGAZINE

New

MEMBERS NEW MEMBER Robin Abraham Ashlie Alarcon Amy Alt Christopher Anders Erica Archambault Phillip Bagnall Samantha Baiman Vellios Erin Burke Miranda Dellinger Kristen Deutsch Carlton Flerlage William Foster Hamish Gaman Julia Golovina Haley Hicks Keiffer Hubbell Chinatsu Kasahara Megan Koch Ashley Korn Beatrisa Liang Abigail Little Jessica MacMartin Danielle Michaud Alisa Moralez Ashlyn Nadeau Faith Neenan Ellina Nightingale Olivia Olsen Nicole Ouellette Ashley Peterson Lindsay Pillow Carly Prescott Chip Rauth Jane Raviele Callissa Reed Sarah Reyman Jamie Richards Courtney Richiuts Rachel Riske Glory Russell-Parks Kelly Ryan Peter Sasmore Jake Savona Ashley Semrow Andrejs Sitiks Susan Smith Stephanie Torres Emily Troendly Alison Versaggi Esther Winterholler Timothy Xavier

SPONSOR Morgan Rowe Marisa Sanchez Andrea Meier Shannon Damiano Eddie Shipstad Ginger Gober Doris Papenfuss Cathryn Schwab Jackie Brenner Cathryn Schwab Brittney Lusk Aren Nielson Mary Alice Antensteiner David Kirby Ann Gallarano Natalia Deller Kimberly Nitschke Catherine Schwab Vicki Korn Ken Congemi Kristi Westerbur Elizabeth Priest John Kauffman Michelle Lauerman Deanna Spencer Nikki Copeland Ronayne Sergey Minaev Jan Prasniewski Donna Mitchell Rebecca Gallion Jamie Pillow Rebecca Gallion Jimmie Santee Nancy Leamy Susan L. Miller Deborah J. Reyman Kyle Mclntyre Tom Lescinski Karen H. Perry Shirra Sinnaeve Laura Vescovi Charlie Tickner Liz Leamy Anita Carrano Jason Cheperdak Sheral Voelker Teri Hooper Jane Boundy Elizabeth Leamy PATRON Lisa Hakimi Mandy Curtin Pamela Vetor

DVD & Bo ok togethe r for only $50 !

MOVES in the FIELD Pre-Prelim inary to Sen ior

plus Adult

Moves

5 th Edition

PROFES

SIONAL

S K AT E R

S ASSO C

I AT I O N

The NEW Moves in the Field DVDs have arrived order yours today! DVDs are available for $40 or take advantage of the package deal for $50 which entails a NEW MIF DVD and the new MIF Book out now! www.skatepsa.com

DEADLINES Early Bird

January 9, 2011 Advance

April 15, 2011

Everything will be held at... WESTIN GALLERIA DALLAS 13340 Dallas Parkway Dallas, TX 75240 • 972.450.2916 •

Visit www.skatepsa.com for more details

Join us for an educational round-up deep in the heart of Texas! Highlights of the 2011 PSA International Conference and Trade Show include joint sessions with ISI, U.S. Figure Skating, and the Sport Medicine and Science Symposium. An online registration form is now available and look for a tentative schedule in early 2011. The conference fee encompasses all PSA and ISI presentations, {on & off-ice} which includes hockey as well as the joint ISI/PSA Presidents’ Reception; the Trade Show Cocktail Reception (5/26) and Luncheon Buffet (5/27); and the Saturday Breakfast Panel.

May 25-28 2011 Conference will also include: • Annual Sport Medicine and Science in Figure Skating Symposium • 5/28 • Pair and Dance Coaches College • PSA Awards Dinner (extra fee) • 5/25 • ISI Awards Dinner (extra fee) • 5/24

2011

PROFESSIONAL SKATERS ASSOCIATION • Oral rating exams and examiner training sessions begin on May 23rd and will run until the start of conference• 5/23-25 • Joint Presidents’ Reception with ISI • 5/25

• Trade Show Forum —expanded to two days!—will once again attract exhibitors and participants from the industry and related organizations • 5/26-27 • Breakfast Panel Discussion • 5/28

CALENDAR

EVENTS

JANUARY Date: Location: Event: Contact:

January 9 Area 13 Ice Centre at the Promenade, 10710 Westminster Blvd., Westminster, CO 80020 [8 am - 4 pm] ISI/PSA District 12 Instructor Seminar David Santee & Peter Martell Debbie Lane kc_soxlane@yahoo.com 303-470-8391