May/June 2011 PS Magazine by Professional Skaters Association

MAY/ JUNE 2011 www.skatepsa.com

Synchronized Splendor

2011 U.S. FI G U R E SKATI N G SYN CH RO N IZED SKATI N G CHA M PI O NSH I PS

Kate Charbonneau

2010-2011 ISU Junior Grand Prix Competitor 2009 Junior Ladies Canadian Champion 2009-10 Croatia Cup Silver Medalist Only Ladies skater selected to represent Canada at 2010 Junior World Championships

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Over the Edge | Jimmie Santee

President’s Message | David Kirby

Ratings | Kris Shakarjian

FEATURES

Coaching Requirements Information Sheet | by U.S. Figure Skating

IJS Insights | Libby Scanlon

Sudden Cardiac Arrest in Athletes

2011 Honor Roll of

Synchronized Skating Coaches

Sport Science | Heidi Thibert

Education | Carol Rossignol

Meet Your Area Representative New Members PSA Calendar of Events

2011 ~ No 3 #ISSN-574770

2011

Synchronized Splendor

IJS Synchro Report Card | By Shannon Peterson

Ratings Exams Passed Great Tips

COACHES

| By Elizabeth Peschges

28 Excellence On Ice

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Legal Ease | David Shulman

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HONOR ROLL

Frances Dorsey Remembered | By Sherry Dorsey Cook

REGISTRATION PSA & ISI Conferences:

To be held May 25-28th, 2011 in Dallas, Texas. Sign up for extra offerings like the 43rd Annual Awards Dinner.

ON THE COVER: Michigan State University Collegiate team. Photo by George Rossano

Over the Edge

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

JIMMIE SANTEE

Mid-West

ere’s another one—to skate or not to skate…compete or not to compete. As I wrote this, a decision was made regarding the staging of the 2011 World Championships and I’m glad I didn’t have to make it…talk to twelve people and get twelve different opinions. From a humanitarian position, this is a tragedy of epic proportions and regardless of the decision to compete or not to compete; someone will be disappointed, if not enraged, and some will be relieved. Some pundits felt that the competition should have been cancelled out of respect for the Japanese people. I can see that point; the precedent was set when the ISU cancelled the 1961 championships in response to the loss of the entire US delegation. The ISU president in 1961 was Dr. James Koch. Even with a request from the U.S. that the championships go on as scheduled, Dr. Koch and the executive committee voted to cancel the competition. The vote of the committee was not unanimous. As reported in various American newspapers and in Patricia Shelly Bushman’s “Indelible Tracings,” Dr. Koch said, “The tragedy is too enormous to go on…” Later, when visiting the United States, Dr. Koch told Michael Kirby that no sporting event should ever trump a tragedy. On the other hand Phil Hersch, of the Chicago Tribune, who is on record wanting to cancel Worlds pointed out “…that World Series games took place in New York less than two months after the Sept. 11 terrorist attacks, that the 1972 Munich Olympics continued after the massacre of 11 Israeli athletes and coaches.” Reigning U.S. ladies’ Champion, Alissa Czisney, had this to say in a blog about cancelling the event: “My sincere hope is that this is the last option. From a skater’s perspective, skating is our career, our job, our livelihood, and canceling worlds would disrespect all the hard work we have put in… Have you canceled your job, your work, due to the tragedy? Most likely you have continued on with your work, while doing your best to help our friends in Japan. I only ask that we might be given the same opportunity to continue on with our work, while at the same time doing what we can to honor those in Japan and helping as much as we are able.” I remember the U.S. boycott of the 1980 Summer Olympics and how upset I would have been if that had been the winter games. I think the hardest part is to truly understand what was at stake. While Alissa and her fellow competitors have worked their whole lives for this moment, the decision to cancel or move the competition is going to be about money and pride as much as it is about the skaters. These events are expensive and complicated…to host as well as compete in. Can you imagine how many contracts there are: hotels, arenas, travel, television, media, sponsorship and more? The LOC has contracts, ISU does, and how about all the competitors who have commitments to tour? Yu Na Kim has her own show and the Canadian and U.S. tour of Stars are filled with top skaters. Those contracts represent millions of dollars! In comparison, if you have ever purchased a house and have attended a

MAY | JUNE 2011

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

To be or not to be… that is the question…

PSA BOARD OF GOVERNORS West

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

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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.

closing, you have a general idea on the amount of paperwork that goes into it. Can you imagine the amount of paperwork when the dollars are around the 20 million mark and you have to come to terms with so many stake holders? Yikes! Another matter to consider is that of cultural customs. In Japan, the loss of face from having someone else host the championships would be extremely important to their society. Face is a mark of personal dignity and the Japanese try never to do anything to cause loss of face. But what about if this scenario involved the U.S. or Russia? In Russia, they are proud of their country. They accept that their lives are difficult and pride themselves on being able to thrive in circumstances that others could not. Would they allow the competition to be moved anywhere else? Probably not. “The show must go on” would be the rallying cry in the US. We would also say, “Time is money.” A decision would be made very quickly, and if at all possible, the competition would move forward. As a practicable note though, if we needed to move the event out of the U.S., we would do it. It’s not that our beliefs are better than anyone else’s. As with our personal liberties that we enjoy here, the needs of the skaters come first. The truly amazing thing is that multiple countries stepped up to the plate, organizing bids that included available dates in April or May, a main arena with a minimum of 8,000 seats, 700 available hotel rooms, and provide the TV production and signal “free of charge’’ to the ISU and its TV rights holders. Phil Hersch reported that “…a person

familiar with TV production of figure skating said that would cost between $1 million and $2 million, and costs likely would move to the higher end…” When Russian Prime Minister Vladimir Putin became publicly involved, it was almost certain that Russia would be awarded the bid. Sure enough, Moscow was awarded the competition and as you are receiving this issue, World’s is over. I guess you could say pride overcame the money.

DID YOU KNOW... 3506 Music Synchronized Skating A. Any music, including vocal music using lyrics, is permitted. However, teams must skate the program in time to the music. Additions of sounds of applause or cheers are not permitted; B. If the music is not according to the requirements as stated, a deduction of 0.1 must be made in the program components mark. C. No discernible counting shall be permitted either by the coach, the leader of the team or by others. Music should be selected that is suitable for the age, skill and skating ability of the team.

INTRODUCING THE ELITE SUPREME

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PS MAGAZINE

President’s Message DAVID KIRBY

The Skater Comes First A long time ago when I was a young skater I made some good skating friends and we often talked about things like who had the best coach, and who was the best coach in figure skating. As teenagers we each thought we knew for sure who the best of these coaches was, but we all had different opinions, which we often debated in probably jealous and childish ways. Anyway, I told my friends that my dad, who was a famous skater and “expert” would know who the best coach in figure skating really was. So after gathering some of my skating friends at my house, all with different coaches in mind, we approached my dad with the big question. I knew he would have to agree with my choice. After all, I was his son, for goodness sake, and my choice was also my coach, who my dad paid money for my lessons. It was a slamdunk. I was finally going to win this debate. My dad said right away he knew who the best coach was, but that it was a secret and before he would reveal the secret, we each had to tell him why we thought our choice was best. In my mind, I was like the famous TV lawyer Perry Mason detailing every asset of my coaches’ techniques. I thought for sure I gave the best arguments. After we all finished our arguments he calmly said, “Well, none of you are right.” Although I was crushed at the moment he went on and said, “The best coach you will ever have is your own experiences and what you learn from them.” Experiences?! We all stood in shock, “What a cop out answer,” I said. But he went on anyway. “If you can learn just one thing at every one of your daily skating experiences, you can succeed no matter who your coach is today or tomorrow.” Today, as an older man myself, I can appreciate the teaching technique my dad used to instill upon us an important lesson. And how lucky and fortunate I feel for all the good and bad skating experiences I have had since my dad gave us that lesson. My dad was right. Experience has been the greatest coach. (No offense to all the great coaches who taught me how to skate.) We all strive to learn from our experiences, some

“The best coach you will ever have is your own experiences and what you learn from them...If you can learn just one thing at every one of your daily skating experiences, you can succeed no matter who your coach is today or tomorrow.”

do and some do not. Those who don’t, sometimes we call, ‘being in a rut.’ Three of my most memorable skating experiences have been being a U.S. national level competitor, coach and official (technical specialist). Of those three experiences, being a national competitor has been the most memorable and motivational. I love coaching and officiating, but they just have not achieved the status I felt when I qualified to compete at my first U.S. Figure Skating Championships. There are discussions going on today in U.S. Figure Skating regarding reducing the number of skaters who can qualify for the U.S. championships. Many U.S. Figure Skating officials are promoting this idea as a savior to future figure skating development and saving lots of money. They say U.S. Figure Skating can run both the junior championships and the U.S. championships at the same time. However to do this they are drastically increasing the number of officials required to attend a concurrent championships, while drastically reducing the number of skaters who can qualify for the junior championships. Any coach who has been fortunate enough to have a student qualify for the junior championships knows how great it was to teach these young minds the significance of competing at a national championship. I have had a few students qualify for this event; some won and some lost. But they all learned a lot and have an experience that will be with them for a lifetime. When I was asked to join the discussions on this idea, I simply replied that I could not support the idea of reducing the number of the junior championships competitors. Instead, I suggested maybe reducing the number of officials used at the U.S. championships. I understand this is not a new concept, yet history shows us that anyone stupid enough to suggest using fewer officials at a championship usually ends up like Jimmie Hoffa. (They disappear.) As an official there is nothing greater than to be assigned a national event. Although the work really is grueling, all travel, hotel, meals and other expenses are paid for by someone else. I’m treated like royalty, plus I get to do what I love most: watching live skating. It’s almost like a fully funded personal hobby that, like other official colleagues of mine, I have become addicted to and want more. On the other hand, as a skater I had much more control on whether I could qualify to compete at the U.S. championships and my family usually paid all the travel, hotel, meals continued on pg. 11

MAY | JUNE 2011

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Ratings KRIS SHAKARJIAN

Never too late to

get your ratings! By Geri Lynch-Tomich Having spent 40 years of my life actively involved in figure skating, I have experienced many different aspects of this wonderful sport. Beginning with a competitive career as a single skater, followed by show skating and teaching singles for 20 years, I would have never imagined pursuing my career as a competitive synchronized skating coach. Ten years ago I began my journey in synchronized skating. Having taken advantage of many different opportunities to learn from PSA sponsored events, U.S. Figure Skating events and many, many clinics and camps, I have had the privilege of learning from the best in our sport. Finishing up our most successful season as the head coach of the Synchroettes synchronized skating teams in 2009-10, I was more than satisfied. To my surprise, after the season was complete, I was notified by PSA that I was a nominee for Developmental Coach of the Year. What an honor! BUT, there was a glitch...I needed to become PSA rated. Now, here is an avenue that I had never pursued or thought about. With the encouragement of Becky Stump, I managed to race to pass my BA test online. I’ll be honest and say at the beginning I was facing this with a sense of dread. Did I really have the time for this while preparing for a new season ahead? I must say I learned a tremendous amount while preparing for my first oral exam. As the oral exam date drew closer, I found myself rather anxious. I then took my own advice that I give my teams: breathe, relax, you have prepared now let it happen (easier said than done.) Off I went (not totally relaxed) into the conference room to be met by an extremely professional team of examiners. I think they sensed my state of anxiousness and immediately created a calm, supportive atmosphere which helped me to feel more at ease.

MAY | JUNE 2011

As the oral exam process continued and questions were asked, I began to feel confident with my answers. Having many years of experience as a coach and studying the PSA ratings guide; it was actually quite an enjoyable experience. Upon finishing the oral exam, I was asked to leave the room so that the examiners could discuss their decision. I was invited back into the conference room and each examiner had valuable input which will help me in the future. I am proud to say I passed my first oral exam and plan to continue my synchronized team education for further ratings. I have a newfound respect for coaches that have gone through this ratings process, and congratulate them. We, as coaches, should be grateful to PSA for all that they offer us.

“I think they sensed my state of anxiousness and immediately created a calm, supportive atmosphere which helped me to feel more at ease.” Geri Lynch Tomich is the head coach of the Synchroettes with 20 years of experience coaching both competitive and recreational levels. She spent two years on the U.S. tour of “Disney on Ice”. She was U.S. Easterns Senior Ladies Champion and has a BA from Queens College.

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

Scottsdale, AZ | February 27 - March 1, 2011

Laure Antonetti Phillip Bagnall Erin Bergant Deirdre Boland-Bonanno Natasha Bowers Dorsie Brooks Ariel Collins Linda Huggins Josene Jennings Sacha Lalonde Kathryn McSwain Tara Reillo Thelma Rickett Pongtawan Suriyotai Debbie Warne-Jacobsen Lisa Yelle

Rebecca Bradley RFS Alexander Murashko CFS Patrick Brault SFS Lynne Petta SFS Cherie Farrington RM, CM Dawn Piepenbrink-McCosh RG, CG Heather Forman CM Denae Raught RG Melissa Gade-Wasz SG Kim Reehoff-Johnson CPD, SG Susan Jackson Wagner SFS Grant Rorvick CFS, CM Jana Kading SPD Todd Sand SFS Deirdre Kelly RG, CG Jimmie Santee SG Jill Kinsley SM Larry Schrier SG Nancy Larson RM Claudia Sersanti CFS, SM Caryn Malone SGFELD ENTERTAINMENT Tiffany Vise CG Veronica Wargo SG Karen Meck CPD AU0403806 Job Number: Description: Engagement City: CORPORATE (2004 Skater Recr. Ad) Ad Size: 4.875” x 5” Media: Section: 5”ENTERTAIN Plymouth, MN | March 4, 2011 Insertion Date(s): Sacha LaLonde RFS

COMPLETED APPRENTICESHIPS Congratulations to the following apprentices who successfully completed the requirements for an Apprentice Certificate: Summer NAGY - L1 Moves in the Field with Maude White - March 1, 2011 Patricia M. SHEARS - L1 Free Skating with Helen McGrew - February 3, 2011

DID YOU KNOW...

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Come Join The World’s Greatest Skaters! Feld Entertainment® is looking for Male and Female Skaters for its U.S. and International Tours of Disney On IceSM.

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The costume of the competitors must be modest, dignified, and appropriate for athletic competition, not garish or theatrical in design. The costume may, however, reflect the character of the music chosen. A. Ladies may wear a skirt or body suits or full-length trousers. Ladies skirts must not be below the top of the calf of the legs for safety reasons. B. Men must wear full-length trousers; no tights are permitted. C. The costume must not give the effect of excessive nudity for an athletic sport. The costume and make-up must not be theatrical and must not highlight any skater. D. Headdresses must be kept to a minimum. Any ornamentation attached to clothing or head must be firmly fastened so as not to fall off while skating under normal competitive conditions. There can be no props on the ice and hand props such as banners, canes, or pompoms are not permitted.

PS MAGAZINE

IJS Insights LIBBY SCANLAN

ISU Communication 1611

Levels of Difficulty: Step Sequences I

n the February/March IJS Insights “Step Sequences” article the importance of proper turn execution (Feature 1) was highlighted. As we continue this discussion, it is important to remember that the turns and steps identified in Feature 1 determine the number of additional features considered by the technical panel. None of the types of turns and steps can be counted more than twice. As a coach, a periodic review of your student’s planned steps and turns is highly recommended. It is often noted that the originally planned rockers, counters and twizzles can morph into three-turns! FEATURE 1) Criteria Recap variety must include seven turns and four steps, and qualifies the skater to be awarded one additional feature for a maximum of Level 2. • Variety must include nine turns and four steps, and qualifies the skater to be awarded two additional features for a maximum of Level 3. • Complexity must include five different types of turns and three different types of steps all executed at least once in both directions. If achieved complexity qualifies the skater to be awarded three additional features for a Level 4. We conclude the step sequence discussion with analysis of the criteria necessary to achieve Features 2 through 5. For a skater to be awarded Features 2, 3 and 4, one must take into account the total length of the pattern skated. When determining the length of the step sequence pattern, the amount of retrogression within the pattern must be part of the equation. • Simple

FEATURE 2) Rotations (turns, steps) in either direction (left and right) with full body rotation covering at least 1/3 of the pattern in total for each rotational direction Full body rotation means that the body is turning 360˚. To achieve this feature it must be determined that the skater has achieved full body rotation in a clockwise direction for 1/3 of the total pattern skated, and full body rotation in

MAY | JUNE 2011

a counter-clockwise direction for an additional 1/3 of the pattern skated. There are two different ways Feature 2 can be achieved: 1. Performing full body rotation continuously one direction for 1/3 of the pattern, followed by full body rotation continuously the other direction for 1/3 of the pattern. 2. Over the length of the pattern the skater rotates for at least of 1/3 of the sequence in total (not continuously) in one direction, and at least 1/3 of the sequence in total (not continuously) in the opposite direction. The skater executes the full body rotations utilizing steps and turns. If the full body rotation is executed while standing still, it cannot be considered for this feature. FEATURE 3) Use of upper body movements The ‘upper body’ is considered the arms and/or head and/ or torso. A skater who executes any movements of the upper body causing a visible affect on the main body core for a combined total of 2/3 of the pattern will be awarded Feature 3. FEATURE 4) At least half a pattern on one foot only Feature 4 is speaks for itself. The skater must stay on one foot continuously for half of the total pattern executed. FEATURE 5) Combination of difficult turns (rockers, counters, brackets, twizzles) quickly executed in both directions (at least twice within the sequence) Feature 5 measures a skater’s ability to execute quick multidirectional movements. The skater must perform two turn combinations within the sequence according to the above criteria. Each of the combinations in the sequence requires: • at least two types of the above mentioned difficult turns must be executed • each type of these turns will not be counted more than twice • a change of foot and a change of edge in the combination is allowed

The Skater Comes First | • no other steps and simple turns can be used in the combination • full body rotation (360˚) in each direction must be accomplished in the combination each using two difficult turns.

continued from page 6

and even our coaches’ expenses. Our sport already has enough of an image problem and by decreasing skaters’ opportunities at the same time we are increasing officials’ opportunities appears to be more selfserving for officials than putting the skater first. Please allow me to end this rather long message with one final experience I have had as a coach. In the past 35 years, I have had athletes compete in competitions where there were only two to five officials (non-quals) up to the U.S. championships where 15 officials were used. In all my experiences, I have agreed with at least 99% of the end results of all my students final placements, regardless of the number of officials used and regardless of the event. I think the quality of the results will not change by reducing officials, yet the costs to achieve those results could be dramatically reduced. Let’s use those savings to continue to give more skaters the opportunity to learn from the rewarding experience of qualifying for the U.S. Figure Skating Championships. In other words, let’s put our money where our mouth is, THE SKATER COMES FIRST.

It is imperative that the turn combinations are executed quickly. Any unlisted jumps can be performed in the step sequence. If a listed jump is performed within the sequence, that jump will receive credit in the free skate. In the short program if a listed jump is performed, the jump will be ignored by the technical panel and penalized by the judges in the grade of execution mark (GOE). It is important for the skater to distribute the turns and steps throughout the sequence. If there are long sections within the sequence without any steps and turns, the skater will not receive higher than a Level 1. This article concludes the series of articles on ISU Communication 1611, Levels of Difficulty, Spins and Step Sequences. It is important that skaters and coaches avail themselves to the most recent information and communications pertaining to the required elements and features. All updated technical information can be found on the U.S. Figure Skating website on the Technical Information page. Any questions can be addressed to Carol Rossignol at www.skatepsa.com or 507-281-5122.

NOTE: The coaches presented to my dad all taught in southern California in the early 1970’s and included names such as John Nicks, Frank Carroll, Barbara Roles, and Evy Scotvold. The names of my friends shall remain anonymous to protect the innocent.

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 ISSUES ISSUES AND AND C ONCERNS. D O YOU ? KNOW WHO WHO TO TO CALL CALL WITH WITH L

619.232.2424 or 619.572.9984

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

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

PSA TO CELEBRATE 75TH ANNIVERSARY WITH BOOK ABOUT COACHES Do you remember your first skating lesson? Who taught you an Axel? How did your coach change your skating and your life? The Professional Skaters Association wants to hear your stories about your coaches. The PSA is inviting skaters to contribute their personal stories for a book celebrating the group’s 75th anniversary. The book, to be published in 2013, will tell the story of the PSA and how it grew from a small group of committed coaches into a a 6,400-member education and certification organization. The Joy of Coaching will be produced by the PSA headquarters staff and a team of researchers and writers led by Patricia Hagen, an Indiana-based coach, author and journalist. It will include essays, memories, anecdotes and photos submitted by skaters and coaches. If you would like to submit a story for consideration by the book’s editors, or if you have a question about the book, send an e-mail to psa75years@yahoo.com.

MAY | JUNE 2011

CONGR

Professional Skaters Foundation

ATULAT I

Walter and Irene Muehlbronner

ONS!

Scholarship Recipients The Professional Skaterâ&#x20AC;&#x2122;s Foundation is pleased to announce the 2011 Walter and Irene Muehlbronner scholarship to be used at a Conference, a Seminar or a PACE program during the year.

Victoria Noel Greco Andrea Dover Claudia Sersanti Contributors to the Foundation invest in educational opportunities and scholarship programs for coaches. These scholarships are awarded through a selection process based on guidelines and criteria established by the Foundation Board of Trustees. Applications for scholarships can be found at www.skatepsa.com.

FOR THE FOLLOWING INSURANCE PRODUCTS: Individual Health Insurance Term Life Insurance Whole Life Insurance Short & Long Term Disability Insurance Directors & Officers Insurance for Figure Skating Clubs Damon Allen Endorses Chizmark Larson Insurance Agency

Chizmark Larson Insurance Agency O v e r 5 0 y ear s of in surance e x p e r i e nce .

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PS MAGAZINE 1/25/11 3:19:28 PM

Sport Science HEIDI THIBERT

Coach’s Note to Athletes:

“Your Future Depends on Your Dreams, So Sleep Before You Leap” “Catch Some Zzzzz’s.” “Hit the Sack.” “Out Cold.” “40 Winks.” “Snooze.” “Crash.” “Nod Off.” “Zonked.” Whatever you call it….we all seem to need more sleep. It’s a fact that athletes need more sleep to perform better, and we coaches need more to stay on top of all that we are responsible for doing. Sleep is so important in daily human physical and mental repair, yet the effects of lack of sleep seem to be universally underestimated. For the most part, most of us spend many of our days in a large sleep debt, which affects such areas as cognitive function, mood, fitness, general health and reaction times. Sleep is something we do at the end of each day. Still, it is the one thing that is always sacrificed no matter what level the athlete is or coach is. Counting Sheep: Our sport’s young skaters, particularly those in high school or college, are faced with the challenge of trying to balance and prioritize their school and skating schedules and this often leaves many feeling tired, both physically and mentally. For a variety of reasons, rest and recovery often is neglected, and as a result many of our student/skaters become sleep deprived. Athletes tend to easily understand the link between quality sleep and optimal performance, and most agree that quality sleep is fundamental to consistently performing at a very high level. They know that attitude, mood, and performance in the classroom and on the ice may be adversely affected by lost sleep, but still the cycle continues. In addition, our skaters are training harder than ever, making the need for adequate sleep extremely vital to recovery and regeneration. During each competition or practice session, physical stress is placed on the body, and muscle tissue is broken down with energy stores being depleted. Along with sound nutrition, it is during sleep that the body releases powerful growth hormones which are responsible for muscle repair and growth. If sufficient recovery is not achieved prior to the next skating session, the desired adaptations will not occur. If the pattern persists, eventually it creates a physiological degradation that causes the skater’s body to perform at less than 100%. For skaters recovering from injuries or dealing with an illness, the importance of sleep becomes amplified. During sleep, the body stops all but the most essential functions allowing the immune and lymphatic system’s effects to be fully realized.

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Athletes need more sleep than the average person. We all know that exercise and training deplete energy, fluids, and break down muscles. Hydration and the right fuel are only part of the equation for training and recovery. Some research suggests that sleep deprivation increases levels of cortisol (a stress hormone) and decreases productions of glycogen (carbohydrates stored for energy use during exercise and physical activity). In short, less sleep increases the possibility of fatigue, low energy, and poor focus in practice session and competitions. It may also slow recovery post-competition. Ready, Set, Sleep: Although individual needs vary, sleep researchers suggest that the optimal length of uninterrupted sleep for the adolescent athlete is about 9.2 hours a night. (Nitka, 02) Sleep deprivation is accumulative, meaning that an athlete getting only 7 hours a night will have accumulated a sleep debt of 10 hours by the weekend. Getting an extra 2-3 hours of sleep on the weekend make a skater feel better initially, but it often translates into feeling tired and irritable on Monday morning as they feel the effects of their accumulated sleep debt. Skaters who are sleep deprived will likely feel lethargic during on ice or off ice sessions and may display a lower tolerance for frustration when performing challenging programs run-throughs, or when attempting to learn a new jump, spin or step sequence. Furthermore, experts agree inadequate sleep can negatively affect reaction times. Lack of sleep can magnify such psychological factors as stress, anxiety, and in some cases depression, while increasing one’s perceived exertion and fatigue. If this occurs, an athlete can become emotionally unstable and less confident in their abilities to perform. Researcher, Cheri Mah, of the Stanford Sleep Disorders Clinic and Research Laboratory, has studied the effects of sleep and athletic performance. Her study asserts, “Sleep duration may be an important consideration for an athlete’s daily training regimen. Furthermore, sleep extension also may contribute to minimizing the effects of accumulated sleep deprivation and thus could be a beneficial strategy for optimal performance.” Mah’s study involved seven healthy students on the Stanford University football team. Their ages ranged from 18 to 22 years, and they played a variety of positions on

the team. Participants maintained their habitual sleep/wake schedule for two weeks at the beginning of the season to establish their baseline measures. “These athletes began their competitive season with moderate levels of daytime sleepiness and fatigue,” said Mah. Not surprisingly, Mah suggested that the “negative effects can be minimized or eliminated by prioritizing sleep in general and, more specifically, obtaining extra sleep to reduce one’s sleep debt.” Then the participants extended their sleep for seven to eight weeks during the season, obtaining as much sleep as possible and aiming for a minimum of ten hours of sleep each night. The 20-yard shuttle and 40-yard dash drills, which are used to measure performance at the annual National Football League Scouting Combine, were conducted after every regular practice. The Profile of Mood States (POMS) was administered once a week to monitor changes in mood, and daytime sleepiness was assessed using the Epworth Sleepiness Scale. Participants also completed daily sleep journals, and their daily sleep/wake activity was monitored by actigraphy. “By substantially increasing sleep duration, athletes experienced a decrease in both daytime sleepiness and fatigue and increase in vigor towards the end of their season,” said Mah. The results support Mah’s previous research at Stanford involving men and women who compete in other sports such as basketball, golf, cross country, and track and field. At SLEEP 2009, she reported that five members of the women’s tennis team had faster sprint times and better hitting accuracy after a period of sleep extension. At SLEEP 2008 she reported that sleep extension helped five members of the swim team swim faster, react quicker off the blocks, turn faster, and increase their kick strokes. Mah noted that although traditional athletic training regimens typically focus on multiple aspects of physical training, few prioritize adequate sleep as an important component. Even according to those who study the potential lifeand-death effects of sleep and human performance, the US military’s MITRE Corporation concludes that performance deteriorates with a lack of sleep. (Williams et al., 2008). They note, “The most immediate human performance factor in military effectiveness is degradation of performance under stressful conditions, particularly sleep deprivation.” These assertions are confirmed by research presented June 8, 2010, at the 24th annual meeting of the Associated Professional Sleep Societies LLC; getting extra sleep over an extended period of time improves athletic performance, alertness and mood. Now I Lay Me Down to Sleep: Sounds pretty simple, right? If you are noticing that your skater is just a bit less sharp mentally and her mood and reaction times are off, then sleep debt could be the culprit. Easy to remedy; make sure the skater gets more sleep to unlock increased performance, right? It is not that simple. A recent study by Cohen, et al.

PSA Conference – Dallas, Texas

ANNUAL SPORT SCIENCE & MEDICINE SYMPOSIUM Saturday, May 28, 2011 (Lunch time) Sport Science Poster Viewings 2:00pm

Welcome and Introductions Heidi DeLio Thibert

2:05-2:30pm S.T.A.R.S. Peter Zapalo & Lauren Colizza 2:30-3:00pm Landing Impact Study Kat Arbour 3:00-3:30pm Concussion Case Studies Michael Cook & Dr. Damond Blueitt, MD 3:30-4:15pm Weight Management Nanna Meyer 4:15-4:45pm Questions & Answers Panel of Presenters, Dan Benardot, Jim Richards (2010) found that the residual effects of chronic sleep loss are not made-up with a good night of “extra” sleep, especially for performances that occurred the following evening. In other words, after your skater gets some good quality sleep (after the night of sleep loss), she feels fresh during that day. However, by the next evening, she is still “off.” And if the sleep-debt cycle repeats itself, she even more likely to really have subsequent performance challenges. So what can the coach do, for himself or for his athlete? I have compiled a few strategies to help you educate your skaters in a few very simple sleep strategies that elite athletes and coaches use to improve performance (in sport and for life): • Schedule pre-sleep readiness: Many great athletes talk about the advantages that come with pre-performance routines - the activities that help prepare the mind and body to perform optimally. Instruct your athlete to create a pre-sleep routine where he allows himself to be prepared for sleep. In other words, ease into the sleep process. • Sleep should be a part of the regular training regimen: That means instruct your skater to be consistent with sleep patterns. Explore the number of hours of sleep PS MAGAZINE

that help you or your skater perform optimally. Build in enough time in the schedule to ensure enough time to ease into a sleep preparation mode, as well as to get the ideal hours of sleep. Be consistent. Be diligent. The body’s internal biological clock sets a daily or circadian rhythm which determines when one feels tired or alert. Inconsistent sleep patterns disrupts this rhythm and can increase the time it takes to fall asleep. Many athletes (and coaches) experience trouble falling asleep the night before a competition in part due to nerves, but going to bed at a consistent time each night can help to combat this problem... Keep a regular sleep-wake schedule, going to bed and waking up at the same time every day. • Extend nightly sleep for several weeks to reduce the sleep debt before competition, and account for jet-lag: Generally speaking, traveling east has more pronounced and lasting jet-lag effects. Fortunately, youth and wellconditioned people have less negative effects than older, sedentary adults. Air travel is also known to dehydrate the body (which can also impact sleep). The coach can build in hydration and jet-lag recovery strategies into the schedule when travel is likely to impact the quality of sleep for her and the skater. • Create an optimal sleep environment: Dark, quiet, comfortable, and cool will improve the quality of sleep. Darkness signals the brain it is time to sleep. Even the light from an electrical clock or screen saver can impede the release of the hormone melatonin, which among other things works to regulate sleep. Loud or sudden noises can startle a person and disrupt sleep as well as increasing the time it takes to fall asleep. A fan or earplugs can be used to mask or reduce external noise. A mattress should be comfortable, provide support, and be large enough to accommodate the numerous postural shifts which occur during sleep. Researchers suggest that 65 degrees Fahrenheit is the optimal room temperature and any large deviation from this range may adversely affect the quality of sleep (Nitka). • Clear the mind: Keep a small “to-do” journal next to the bed. In the event that, as soon as you lay down, your mind “turns-on” with “to-do’s,” jot them down to clear your mind. • Take brief naps: Catnaps can help a person obtain additional sleep during the day, especially if one is drowsy, but never nap for more than 90 minutes. Twinkle, Twinkle, Little Star: We can conclude from the research that adequate sleep is just as important to a young skater’s health as physical training and nutrition. With the help of parents and coaches, skaters should be taught and embrace the importance of sleep so they can reach their full potential both on and off the ice. So whether you or your athlete is at the top of your placements or in the rink for the fun of it, getting the proper amount of sleep each night is necessary to face the world with the best skate forward. Sleep will help you both on the road to good fitness, good eating, and good health…and maybe even help “your dream come true!”

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Sources: American Academy of Sleep Medicine (2010, June 9). Getting extra sleep improves the athletic performance of collegiate football players. Science Daily. Retrieved March 20, 2011, from http://www.sciencedaily.com /releases/2010/06/100608091858. htm (Nitka) D. A. Cohen, W. Wang, J. K. Wyatt, R. E. Kronauer, D.-J.Dijk, C. A. Czeisler, E. B. Klerman, Uncovering Residual Effects of Chronic Sleep Loss on Human Performance. Sci. Transl. Med. 2, 14ra3 (201) Davenne, D. (2009). Sleep of athletes - problems and possible solutions. Biological Rhythm Research, 40(1), 45-52. National Research Council and Institute of Medicine. Sleep Needs, Patterns and Difficulties of Adolescence. Washington, DC: National Academy Press, 2000. Wolfson, A., and M. Carskadon. Sleep schedules and daytime functioning in adolescents. Child Dev. 69(4):875–887. 1998. Noland, H., Price, J., Dake, J., & Telljohann, S. (2009). Adolescents’ Sleep Behaviors and Perceptions of Sleep. Journal of School Health, 79(5), 224-230. Tufts University Health & Nutrition Letter (2007) A Wake-Up Call on Sleep and Health. Tufts University Health & Nutrition Letter, 15260143, 24(12).

Williams, A. (2010). Recovery Nutrition - Sleep, Eat, Train, Recover, Repeat. Coaches Plan/Plan du Coach, 17(2), 20-23. Waterhouse, J.; Atkinson, G.; Edwards, B.; Reilly, T.,(2007) The role of a short post-lunch nap in improving cognitive, motor, and sprint performance in participants with partial sleep deprivation. Journal of Sports Sciences, 25(14), 1557-1656.

OBITUARY Marc Nelson (1924—2011)

arc liked to say he did everything you can do in the ice skating industry except own a rink...and indeed he did. Marcus J. Nelson Jr. was born in Oakland, California in July, 1924, and started his skating career on speed skates, which he promptly traded in for figure skates after seeing Sonja Henie in performance.

As a figure skater, Marc trained at the Oakland Ice Rink under the tutelage of Hubert Sprott, former Canadian Junior Champ. Hubert saw a talented, hard working boy without the means to afford a competitive career and made a deal with Marc that Marc upheld throughout his life. The deal: Hubert gave Marc free time as long as he promised to pass the favor along. Marc’s competitive record includes winning a silver medal in both the 1942 US Novice and 1943 US Junior Men’s championships. During his competitive years, Marc performed in numerous ice shows, carnivals, and exhibitions for the Oakland Figure Skating Club and the St. Moritz Figure Skating Club where he performed in shows combined with the San Francisco Symphony Orchestra and the San Francisco Ballet Company. Marc was a featured soloist in Weber’s Invitation to the Dance and Ravel’s Bolero choreographed and staged by William Christensen (Artistic Director of the San Francisco Ballet Company). Marc’s competitive career was interrupted by World War II. He served in the United States Armed Forces as a US Army Air Force Bombardier in the Mid-Pacific Theatre (1943-46). He also served as a Bombardier, Armament Officer in the

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Korean War (1950-52). Following his service to the country, Marc joined the Sonja Henie Ice Review national tour (1952) which took him across the country to the east coast where he continued his performing career, on and off the ice. He appeared in network television productions and commercials such as the Ed Sullivan Show (1953), Fitch Shampoo commercial (1953), Lucky Strike Hit Parade (1954), a Mellon Bank commercial (1955), and NBC-TV Producers Showcase (1955). He developed numerous skating programs, both competitive and recreational, directed skating schools, managed rinks and taught Power Skating. He was versatile and always dedicated to his students and the improvement and advancement of the skating industry. A PSA member in good standing for 46 years, Marc joined the Professional Skaters Guild of America in 1965. Marc continued teaching what he loved till shortly before his death from cancer at the age of 86. He leaves behind Lorraine, his wife of 37 years, and scores of students and friends who were enriched by his extraordinary humanity, knowledge, teaching skills, and love of the sport and art of skating. To all, he would say that he enjoyed every moment with you.

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Education CAROL ROSSIGNOL

Maximizing Height

Robert S. Ogilvie is master rated in figures, free skating, pairs, group instruction, and program director, and senior rated in dance. He is an honorary PSA member, former PSA Board of Governors member, and a former rating examiner with over 50 years of coaching experience.

by Robert Ogilvie

o achieve the maximum height in all jumps requires muscles that are trained with emphasis on explosive strength (production of the greatest effort in the shortest time) rather than endurance, and they must be so timed that they function in mutual harmonious action. There is ample literature available on the subject of muscle structure and strength training. This article, therefore, discusses mainly the timing of the correct sequence of action of the body’s various muscle groups and the various factors that may influence their function. Timing, correct sequence, and factors that influence them constitute the underlying principles of jumping. Included also are discussions of specific jumps having their own individual characteristics. The muscles participating in skating jumps may be divided into two groups, those of the upper body composed of the head, shoulders, torso, hips (pelvis), and arms, and those of the lower body consisting of the thighs of both the skating and free legs, and finally the lower leg and ankle of the skating leg. ESSENTIALS OF CORRECT TIMING For greatest efficiency all muscles must reach their full power at the same instant, but because the various segments of the body are of different sizes, shapes, and weights, and therefore inertia, they must start and travel at slightly different times and speeds. This is known in biomechanics as sequential action resulting in summation of forces. The sequence should be first the heaviest and therefore the slowest moving part, that is, the torso, followed by the hips (pelvis), thighs, lower leg and finally the ankles. There is a slight overlap in these actions giving the total movement a smooth rhythmic appearance. The head, free leg and arms obviously take part but will be treated separately. Once started there should be no pause in the motion. The principle resembles that of lifting a rag doll off the floor by the hair. If properly executed, not only does sequential action increase height but it creates a straight vertical axis through the body that helps rotation in multi-rotational jumps Another good analogy is that of a man lifting a girl in a loop lift. After the hold is established and before the man starts his actual lifting action, the girl gives an upward thrust to her body just enough to overcome her own inertia. The instant her feet leave the ice her upward thrust ceases and, left to herself, gravity would start to bring her down again. Just before this point is reached the man must apply his own lifting force to add to that of the girl—his lifting action must

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be neither too early nor too late. If too early he is lifting a dead weight, if too late, the lift looks strained or may even have to be aborted unless the man is very strong. Effect of differences in physiques: Since skaters come in many shapes and sizes, differences in their various physiques must be taken into account, and in particular, the strength of the back and knee muscles, which will affect the degree of the initial forward lean (if any) and depth of knee bend. This may make certain skaters appear to be using different techniques, even though they are using correct sequential action. So how is it possible to choose the technique suitable for a particular skater? Fortunately nature can be of assistance. Off the ice, the professional coach should watch the student’s movements while he or she performs the jump from a standing position. When exercising on the floor, the skater usually performs correctly according to his natural inborn instincts, but on the ice he or she is in a totally different environment which, together with possible fear, may cause unnecessary errors. Remember that, for safety, off ice practice should not be done in skates. Few skaters will fit exactly into a preconceived technique and long established habits are difficult to change. Unfortunately, a skater who has apparently absorbed an alteration in technique may produce it well in practice but regress under the pressure of competition. If a skater is performing a jump moderately well, any change of technique should be made with extreme caution; in other words, “If it ain’t broke don’t fix it!” Relaxation: A skater must be relaxed during the approach and take-off phase of a jump. Relaxed muscles should not be floppy but slightly tensed and ready for action. Muscles held in a state of excessive tension are inefficient, prone to injury, and drain the skater of energy. The ability to relax at the proper moment is a prerequisite of rhythm and timing. In the majority of active movements one set of muscles extends a joint, the other flexes it; they are known as antagonistic muscles and both should not be working at the same time as they would then be acting in opposition to each other. I once asked a highly intelligent young student why she thought relaxing helped her jumping; after a moment’s thought, she replied, “It helps my balance.” It was a useful and astute answer as in this way her muscles had more freedom of action. Knee bend: Most competent jumpers have developed a take-off angle of knee bend, seldom less than 130˚, an angle that may come naturally to them. The leg muscles of such

skaters usually have considerable explosive power. An angle of 90˚ seldom occurs except in landings, a subject that is outside the scope of this article. If an advanced skater who has settled on a successful and consistent technique and timing for a particular jump is told that he or she may gain further height by bending the take-off knee a little more, the result may be disastrous—he or she may completely miss the jump even after repeated attempts. Some cannot even get off the ice. In jumping, the leg muscles form an important single group that relates closely to many others. To increase the action of one group in isolation may cause a disruption of the harmonious working of the whole. Exercises to increase knee bend are best performed off the ice, imitating as nearly as possible the total body action but once again, not in skates. Plyometrics: The technique of plyometrics is a complex subject and only the bare essentials can appear here. Its most valuable feature is the fact that when a muscle and accompanying tendons are stretched to an extreme degree they develop greater than normal strength if used without pause; the technical term is stretch reflex. This technique is commonly used in many gymnastic and athletic movements. Typical examples are the baseball player when pitching and the tennis player when serving. In skating, the stretch reflex may or may not be used depending upon the skater’s individual techniques. However, the effect lasts only a very short period of time; if the skater’s rhythm of the take-off knee is not continuous the extra energy created will disappear. GENERAL COMMENTS ON SPECIFIC JUMPS Lutzes and Flips: In these jumps sequential action should, of course, be used. The action of the toe-in leg is often likened to that of the pole in pole vaulting but there is a fundamental difference. The fiber glass pole stores energy as a result of the kinetic energy of the vaulter, whereas the bent knee of the skater stores potential energy ready for use when required. The leverage action of the toe-in leg also produces a certain amount of upward thrust technically known as tangential force. Assuming the jump is legal (quite an assumption recently), height is maximized by the correct use of the back muscles and action of the toe-in leg. Normally the skater leans forward just before takeoff, matching the backward stretch of the free leg. The important question is the height to which the free leg should rise as it reaches back for the toe-in; the variations are amazing, ranging from the toe of the striking foot raised to the level of the top of the skating boot, to a level as high as the skater‘s head. In addition, the knee of the striking leg may vary from almost straight to a right angle, in which case the bent free leg hammers down into the ice presumably with the intention of adding power to the takeoff. However, the skater’s center of gravity has not yet arrived sufficiently over the striking foot to benefit from the power of the striking leg and much of the hammering force is thus wasted. A further disadvantage of the high free leg is that during its descent it may cause the free hip to drop thus encouraging a flutz. The average height of the striking leg amongst high level skaters is usually approximately level with the skating knee.

However, an excellent technique is to keep the free leg fairly straight but flexible with the striking toe no higher than the top of the skating boot, accompanied by a moderate lean forward of the body. The skating knee should be kept fairly pliant so that the body’s center of gravity can pass easily into a position over the toe-in blade as it makes its upward vertical thrust. Whatever technique is used, the back muscles must be kept firm. A common error, usually of beginners, is to break at the waist before takeoff. This destroys sequential action with loss of power as a result. A good skater with flexible back muscles may arch the back during the reach back while others may simply tighten the muscles, but the back must remain a solid unit at the point of takeoff. Height can be lost in Lutzes and flips by faulty action of the toe-in ankle. As the toe strikes the ice the toe-in ankle is normally kept firm. However, a fairly common error is to allow the heel of the toe-in ankle to drop, the ankle collapses, and if it remains so, not only is much of the upward thrust lost but an undesirable tilt of the body occurs, which in the case of a Lutz, may cause a “flutz.” If, however, the ankle recovers by immediately extending, no harm is done, and height may even be added to the jump. Unfortunately, when the ankle is not extended the full blade often contacts the ice and continues for some distance on an edge (usually the BO), theoretically converting the jump from a toe jump to an edgeto-edge jump. The toe loops: The position of the body as it approaches a multiple-rotational toe loop is more open and sideways than in the Lutzes and flips, so the tendency to lean forward or use a high free leg is not so great. Emphasis is on rotation. Nevertheless, sequential action is still important. The Axels: A most important aid to maximizing height in Axels involves the hips, or pelvis. The hip joint is a ball and socket joint allowing movement in all directions. A skater can, therefore, push his skating hip into the skating circle, a movement commonly known as “hipping.” Because Axels are seldom observed directly from the front or rear, this action often goes unnoticed but is used to a varying degree, almost without exception, in double and triple Axels. This extension of the hip joint adds height to the jumps as it acts like a second knee. The loop jumps: Height in the double or triple loop jump is restricted by the fact that the free leg should remain firmly across the skating leg at the takeoff. Any attempt to gain height by a lift of the total free leg tends to open the position as in a half loop jump, resulting in an increase in moment of inertia and a consequent slowing of rotation. This is a very common error of beginners when starting to learn the double. The methods of obtaining height in the multi-rotational loop jump are, therefore, good sequential action, power of the skating leg, a somewhat weak lift of the free thigh and plyometric action, this latter skill being very useful and evident when executing a multi-rotational loop jump when it forms the second or final jump of a combination. Copyright © 2011 by Robert S. Ogilvie

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Editor’s note: Recent media reports have brought attention to Sudden Cardiac Arrest (SCA), a condition in which the heart suddenly and unexpectedly stops beating and can result in Sudden Cardiac Death (SCD) if not treated within minutes. This condition can often occur during or immediately following exercise, and is most frequently experienced by athletes. The information here has been submitted to the PSA by ESIX, our liability insurance provider.

SUDDEN CARDIAC ARREST (SCA) IN ATHLETES Recent media reports have brought attention to Sudden Cardiac Arrest (SCA), a condition in which the heart suddenly and unexpectedly stops beating and can result in Sudden Cardiac Death (SCD) if not treated within minutes. This condition can often occur during or immediately following exercise, and is most frequently experienced by athletes. According to the American Heart Association (AHA), approximately 100 SCD’s are reported in the United States each year, and the chance of SCD occurring to any individual high school athlete is about one in 200,000 per year. In an effort to reduce the number of fatalities resulting from SCA, the AHA suggests that the following precautionary measures be considered. • Medical Screening/Physical Exam (prior to participation): All athletes should be required to have a medical exam performed on an annual basis by their primary care physician to determine if the athlete experiences any symptoms during exercise or has a family history of heart disease, high blood pressure or heart murmur. If the physician has any concerns, an Electrocardiogram (EKG) test may be required to further evaluate the condition. While EKG tests have not been mandated by most organizations due to cost, these tests have been shown

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to be much more effective at detecting athletes with abnormal heart conditions than routine physical examinations. The International Olympic Committee (IOC) is currently mandating routine screening prior to participation and strongly encouraging EKG testing in athletes. • Emergency Medical Response Procedures (training and equipment): In the event of SCA, the strongest determinate of survival is the time from cardiac arrest to defibrillation. Having emergency medical response procedures in place, including CPR trained coaches or officials with access to Automated External Defibrillator (AED) units, greatly improves the chance of survival. Going forward, the United States may mandate specific requirements for amateur sports organizations with respect to SCA medical screening and emergency medical response procedures (including training and equipment). In the interim, having CPR trained coaches/officials and AED units available may make the difference between life and death for an athlete, and should be strongly encouraged by your organization. For more information about SCA and SCD, please refer to the American Heart Association website: www.heart.org

For more information about SCA and SCD, visit

www.heart.org MEDIA REPORTS

http://msn.foxsports.com/other/story/ Fennville-High-School-ready-to-playafter-Wes-Leonard-player-death030711?GT1=39002 -----http://abcnews.go.com/WNT/video/ teen-athletes-sudden-death-17-colorado-school-rugby-13071687

This document provides general information concerning Sudden Cardiac Arrest (SCA) and Sudden Cardiac Death (SCD). ESIX is not engaged in rendering any medical opinions with respect to these conditions. This document should not be used as a substitute for obtaining proper medical guidance from a qualified provider.

DARTFISH

Introducing PSA/Dartfish TV The newly compiled Singles Skills Collection is now available! This collection contains clips of jumps, spins, and steps at various athlete levels from the 2010 season. From beginner to senior, some of the videos feature key teaching positions and observational descriptions of crucial aspects of the skills. The skills can be searched by multiple criterions via a menu. Simply check the level, discipline, or skill etc.

to find exactly what you are looking for. The first skill archive of its kind in skating, we hope you will find it a valuable and fun interactive study tool! Content will be continually updated and added throughout the season, so check back regularly for more great interactive study tools! Future collections will include skills for pairs and synchro as well!

Access Dartfish TV through the PSA website www.skatepsa.com

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COACHING REQUIREMENTS INFORMATION SHEET U.S. Figure Skating Rules 3032 and MR 5.11 - 5.13 list the requirements a coach must meet in order to be credentialed at sanctioned events. There are some dates coaches and clubs need to become familiar with in regard to coaching credentials at U.S. Figure Skating sanctioned events that occur between July 1, 2011 and June 30, 2012.

Currently, coaches can complete their annual CER (Continuing Education Requirements) credits: • Log into or create an e-learning account at www.skatepsa.com. ◦ Register and complete CER CATEGORY A or B for the 2011-2012 season between now and June 30, 2011 to coach at sanctioned events occurring after July 1, 2011. ◦ Register and complete CER INTRODUCTORY PROGRAM A or B to get compliant for the 2010-2011 season to coach at any sanctioned events remaining between now and before July 1, 2011. This is for coaches who either missed the deadline last fall or just started coaching and need to get compliant now. ◦ Register and complete CER CATEGORY C courses after July 1, 2011 (not mandatory). • CER credits must be completed by June 30, 2011 for the 2011-2012 season. ◦ 5/1/11 is 60 days left to complete CER for 2011-2012 requirement. ◦ 6/1/11 is 30 days left to complete CER for 2011-2012 requirement. ◦ No grace period this year. ▪ CER will be enforced at all U.S. Figure Skating sanctioned events.

During the period between June 1–June 30, 2011, coaches should complete their annual Coaches Registration: • Complete membership renewal with both U.S. Figure Skating and PSA. ◦ For exact requirements for each level, check coach requirement chart at: http://www.usfigureskating.org/ Content/Coaches%20Requirement%20Chart.pdf for exact requirements for each level of coaching. ◦ Go to Members Only on U.S. Figure Skating website: https://www.usfsaonline.org/IntraLock/Login.asp?targetpat h=%2Fdefault%2Easp ◦ Go to PSA website: http://skatepsa.com/ ◦ No grace period this year for membership compliance. ▪ U.S. Figure Skating and PSA membership requirements will be enforced at all U.S. Figure Skating sanctioned events. • Complete U.S. Figure Skating Coaches Registration: ◦ Pay for and pass the background check ◦ Purchase current liability insurance through U.S Figure Skating or PSA ◦ No grace period this year for coach registration compliance. Coaches Registration will be enforced at all U.S. Figure Skating sanctioned events. • All basic skills instructors (group or private must complete Basic Skills Instructors Registration) ◦ No grace period this year for basic skills instructor compliance. ▪ Basic Skills Instructor Registration will be enforced at all U.S. Figure Skating sanctioned events.

For all sanctioned events, coaches should be prepared to show the following documentation: • Photo I.D. • U.S. Figure Skating membership card • PSA membership card (if required by level as defined in U.S. Figure Skating Rule 1005) • U.S. Figure Skating Coaches Registration card (to be mailed from U.S. Figure Skating HQ) OR • U.S. Figure Skating Basic Skills Instructor card (to be mailed from U.S. Figure Skating HQ) • CER Program certificate (print this via the e-learning account at www.skatepsa.com) Note: In order for a coach’s CER category to appear on the Coach Registration card, the coach must be CER compliant by June 30, 2011. NOTE: The background check and the CER requirements can take up to two weeks to complete, so if a coach is not

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current with either or both of these requirements within two weeks of the start of a sanctioned event that the coach plans to attend, it is too late for the coach to complete the requirements in time, and a back-up plan must be prepared. This back-up plan can include arranging for a compliant coach to put the skater on the ice. If a coach is unable to receive a credential at an event for failure to meet one or more of the requirements mentioned above, the coach should be forthcoming and honest with the skater(s) and parent(s) regarding the error – whether it was due to a miscommunication, a misunderstanding or an oversight. Lying or trying to blame others for a failure to follow the rules is unprofessional and irresponsible.

The following actions are in violation of the U.S. Figure Skating Code of Conduct (rule GR 1.02), rule GR 1.03 and/or the PSA Code of Ethics: • Coaching (or attempting to coach) a skater within the credentialed area when the coach has not met all of the above requirements. • Borrowing another coach’s credentials (This is a violation for the coach lending the credential as well as the coach who is borrowing the credential.) • Berating LOC volunteers, U.S. Figure Skating officials (who are also volunteers), U.S. Figure Skating and/or PSA staff or anyone else who is there to help enforce these requirements. • If a non-compliant coach is observed participating in any of the activities mentioned above, the coach will be issued a letter citing the violation of ethics, and the coach’s name will be forwarded to the U.S. Figure Skating Ethics Committee. ENFORCEMENT: While it is the individual coach’s responsibility to know what is required and take the steps to become compliant, it is the U.S. Figure Skating club’s responsibility to verify that only coaches who are registered as being compliant for the current season are allowed to participate in the U.S. Figure Skating-sanctioned event(s) that each club is hosting. When a club does not enforce the Coaches Registration and CER rule requirements, it is placing itself and the event at risk for potential liability should any claim arise involving a non-compliant coach. Rules are only effective and serve their intended purpose if they are enforced. Where to find information: • • • • •

To verify a coach’s compliance status, go to: ◦ http://www.usfigureskating.org/content.asp?menu=coaches&id=451 For more information on Coaches Requirements, go to: ◦ http://www.usfigureskating.org/Content/Coaches%20Requirement%20Chart.pdf To find the CER requirement by event chart, go to: ◦ http://www.usfigureskating.org/Content/CER%20Categories%20By%20Event.pdf To find the Coaches Requirements contact list, go to: ◦ http://www.usfigureskating.org/Content/Coaches%20Contact%20List.pdf For FAQ’s, go to: ◦ http://www.usfigureskating.org/content.asp?menu=coaches&id=381

For help with Coaching Requirements, please contact: • •

Heidi DeLio Thibert, PSA E-Curriculum Coordinator ◦ T-F 8:45am-12:45pm MST (Mondays at U.S Figure Skating Headquarters 10:00am-4:00pm) ◦ P: 970.223.2753; E-mail: thi@frii.com , or hthibert@skatepsa.com Anna Meyer, U.S. Figure Skating Athlete Development Coordinator ◦ P: 719.228.3422; E-mail: ameyer@usfigureskating.org PS MAGAZINE

Synchronized Splendor

Paul Harvath

MAY | JUNE 2011

Junior Skyliners

By Elizabeth Peschges • Photos by Paul Harvath & George Rossano

he 2011 U.S. Synchronized Championships is a competition like no other. Hundreds of skaters walk around in pods with matching hair, makeup, and jackets. It is a very different atmosphere from singles and pairs skating, and it is a world in which I have found my place. Since I live in Minnesota near the PSA headquarters, going to California in March was a nice change of temperature. (I must admit that my pale “Minnesota white” skin did get sunburned when I sat outside for only an hour.) However, I naively assumed that since the daily temperature would be in the 70s, the arena would also be a comfortable temperature. Unfortunately, I was wrong and my jacket was left at home. I managed by bundling up in several layers of PSA sweaters and vests every day. Even though the arena was colder than anticipated, the venue was great for hosting such a large competition. The concourse area provided ample space for vendors, and there was more than enough seating. It appeared that most of the spectators were skaters or parents of skaters. For whatever reason, the competition did not draw many people from the community or from outside of the skating world. I think this is

largely because most people outside of an ice arena have no idea what synchronized skating is. We need to do more to promote this discipline of our sport if we want to continue growing. When I watch synchro teams perform, I enjoy seeing interpretation and creativity. Perhaps it is because I grew up skating on a 6.0 team before IJS was around, but I want to know where the creativity has gone. Sure, a few teams have some cool moves, but I felt like I kept seeing the same programs over and over. The elements are the same—traveling wheel, angled intersection, pivoting block, etc.—just in a different order. With all of the requirements of IJS and the game of points, teams just don’t have enough time in a program to do new, inventive elements. It would be great to see this change in the future of synchronized skating. Even though I feel like the programs are generally lacking originality, it was still fun to see the teams perform. They brought energy to the ice and to the crowd. It is the little touches that bring a program to life and what I enjoy most in synchro. I would like to share with you my favorite “little

Paul Harvath

2011 U.S. FI G U R E SKATI N G SYN CH RO N IZ ED SKATI N G CH A M PI O N SH I PS

March 2-5, 2011 Ontario, California George Rossano

SENIOR CALIFORNIA GOLD

SENIOR haydenettes

touchesâ&#x20AC;? from the programs of the top four teams at the junior and senior levels.

the left and raised their right arm. This change in hold was a nice visual effect for the wheel.

final placement for junior

final placement for senior

1. Skyliners 2. Team Braemar 3. Lexettes 4. Chicago Jazz

1. Haydenettes 2. Miami University 3. Crystallettes 4. California Gold

Skyliners had an impressive and strong program. The death spirals were an unexpected surprise and I think it was a nice example of how synchro can incorporate other disciplines of skating. Team Braemar pulled me into the program because they were in character from the very beginning. After a brief opening, the team gathered in a circle and lowered, then three skaters popped up, pointed, and had expressions of surprise. It was such a fun way to begin a program! Lexettes had a great open circle that highlighted an accent in the music when every other skater did a split jump, and the other skaters did an inside spread eagle. Chicago Jazz did a four-spoke wheel in which the skaters placed their left hand on the hip of the skater to

Haydenettes had a fun program, and I especially enjoyed the open circle and open block. The open circle had two rings rotating in opposite directions. The choreography of steps and arms worked well with the contrasting rotations. The open block began with dancing movements that brought out the character of the music. Miami University had a nice weaving open block and Bauer haze, but the thing that caught my eye was their hold in the three spoke. The skaters made a fist with their right hand and folded their arm into their chest. Then they used their left hand to hold the fist of the skater to their left. I imagine this is a very difficult hold to sustain. Crystallettes did a beautiful traveling s-wheel that was disconnected PS MAGAZINE

George Rossano

Senior crystallettes

•

Fun Facts •

•The first U.S. Synchronized Team Skating Championships was held in 1984 in Bowling Green, Ohio.

•The first ISU World Synchronized

Skating Championships was held in 2000

senior icekateers

in Minneapolis, Minnesota. Paul Harvath

•Today, there are approximately 525

synchronized skating teams registered with U.S. Figure Skating.

•The collegiate level is the fastest

growing area of synchronized skating from www.usfigureskating.org

senior california gold in the center. I also enjoyed the aspects of belly dancing that they incorporated throughout the program. As for California Gold, my favorite element from their program was the three-line intersection that transitioned to the three-spoke wheel. But most importantly, I want to commend them for their performance. They brought everything to the ice and did not hold back. Every year at the U.S. Synchronized Championships one team is presented with a PSA award for Best Synchronized Skating Performance at Nationals. This is one of PSA’s Edi Awards, in memory of Edi Scholden who was killed in the plane crash in 1961. A committee votes to determine the team with the best overall performance at the championships, and it can go to a team at the junior or senior level. This year,

MAY | JUNE 2011

the selected team was the Haydenettes senior team free skate program. Congratulations Haydenettes! I am grateful to have traveled to the championships for PSA. As I said in the beginning, synchro is my home in the skating world. It has been a very big part of my life and is the reason I continue to skate. I have been a skater, coach, and sister to a synchro skater. I think skating on a team is about more than just winning, but about learning life skills and having passion for what you are doing. The teams at the championships brought that passion to life on the ice and it was a privilege to see.

CONFERENCE Have you registered yet? If not, REGISTER NOW! visit www.skatepsa.com to register online

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

May 25-28, 2011 Highlights of the 2011 PSA International Conference and Trade Show include joint sessions with ISI, U.S. Figure Skating, the Sport Medicine and Science Symposium, hockey, as well as the joint ISI/PSA Presidentsâ&#x20AC;&#x2122; Reception, Trade Show Reception and Luncheon Buffet, and the Saturday Breakfast Panel.

Plus, sign up for these exciting extra events! Mesquite Rodeo

$35

PSA Awards Dinner

$75

More information at www.skatepsa.com

THE IJS SYNCHRO REPORT CARD

A tool to use throughout the season BY SHANNON PETERSON The IJS judging system offers more feedback than ever before in skating. During the days of 6.0 judging, you were often left wondering why your team scored so high or low. Now, with the judging protocol, we have the ability to see what exactly didn’t get called as planned and even ask why. Growing up, my dad’s favorite saying was, “Fail to prepare, prepare to fail.” I can say with great confidence that I heard this quote daily. One way to prepare your team is to use the IJS communications to plan and choreograph your team’s program. Then, during the season, continually evaluate each element using this information. I find it helpful to determine the level I wish to choreograph and make a bulleted list of the requirements. When in doubt on the requirements, email a technical specialist. Information is our friend here. Take the time to educate your team about the requirements for each element. They have to know what is expected to be able to successfully execute. If they are able, have them go to the U.S. Figure Skating website and print the IJS communications. Each skater should have a training binder. Along with goals for the season, schedules and such, they should keep the rules and the protocols for each competition. Having skaters self-evaluate using the standards is an excellent training tool. The rubrics for the program components are also useful tools for a self evaluation activity. Showing a video from competition and asking them to circle the level they believe their team demonstrates will help them understand where they need to improve. At competition, remember that the protocol is a snapshot of your team on that day. For any element that did not receive the call you had anticipated, refer to the ISU communications and evaluate the element on video. Use video time with your team to identify the areas of concern and then drill, drill, drill. So, how do I read this protocol? To really understand a protocol, you need to have the most current communications on hand. The communications I have in my binder are all found on the U.S. Figure Skating technical information link for synchronized skating. • ISU Communication 1636 • ISU Communication 1658 • ISU Communication 1658 Appendix A • Scale of Values—Synchronized Skating • ISU First Aid—Synchronized Skating – Short Program • ISU First Aid—Synchronized Skating – Free Skate • ISU First Aid—Synchronized Skating – Features • ISU First Aid—Synchronized Skating – Additional Features After the competition, I always recommend emailing or speaking with the technical controller. However, during an event this is not possible, so it is up to you to do a little digging. Remember,

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the total segment score MI move in isolation is just that—your team’s Fe field element element score plus the program compo- Fm field move nents added together. I intersection The first column lists W wheel the executed elements NHSS no hold step sequence in the order that they L line were performed. It is BSS block step sequence important to know the abbreviations. For CSS circle step sequence example, L4 is a level B block four line, MI3 is a level MF moves in the field three moves in isolation, C circle and B4 is a level four Pi point of intersection block. The other abbreviations are in the box SE spiral element to the right. These can Sp spin be found in the Scale of Pa pair element Values – Synchronized Skating (appendix D) on the U.S. Figure Skating website under technical information. The second column on the protocol is the base value that the call you received is worth. For example, L4 is a level four line and it is worth a base value 5.2. The next column is the grade of execution calculation followed by any element deductions and the list of GOE’s received in random order. It is important to note that a GOE of -1 doesn’t necessarily mean -1 point. The GOE calculation is what is added to the base value. The element deduction is value lost due to not meeting some requirements. There are a few places to look for this information: ISU Communication 1658 Appendix A – Synchronized Skating – Guidelines for GOE and Deductions, as well as the ISU First Aid documents. However, the GOE’s are very important information too. The GOE’s awarded tell you the judges’ impression

of the quality of execution of the element. ISU Communication 1658 Appendix A – Synchronized Skating – Guidelines for GOE and Deductions is a helpful document in understanding this part of the protocol. The next column heading is Ref. This is the column where any referee deductions would be listed. The final column is the “scores of panel.” This is the base value of the element, plus or minus any deductions and the GOE. Total this column up and you have your Technical Element Score. The next section of your team’s protocol is the information regarding your program components. This is another section that you should research and print for your binder. You will want to print the Program Components Overview and the Program Components Explanations. These two documents list the criteria the judges are using to evaluate your team. For example, the criteria for skating skills are: • Balance, rhythmic knee action and precision foot placement • Cleanness, sureness of deep edges, steps and turns • Flow and effortless glide • Power/energy and acceleration • Multi-directional skating • Balance in skating ability of individual skaters The judges determine where your team’s execution lies on a scale of 1 to 10. One is very poor and ten is outstanding. Being very familiar with the standards allows you and your team to strive for excellence. Remember, that the program component scores are worth more or less depending on whether it is a short program or free skate program. The judges total program component score is the total of all five components and is

factored by specified percentages. Lastly, there is one more item on your “report card” and that is the place for deductions. Usually, this identifies any falls but there are other reasons for deductions as outlined in ISU Communication 1658 Appendix A – Synchronized Skating – Guidelines for GOE and deductions. Your Total Segment Score is your Total Element Score + Total Program Component Score (factored) – deductions. Every one of these areas is information for you to use to improve the training of your team so that their execution continues to improve throughout the season. The protocol is a tool to use all season long. Whether you are planning a program or in the middle of a competition, this piece of paper contains a wealth of information if you know how to use it. Create your binder of necessary documents, contact the experts (technical controllers, specialists, and judges) and ask other PSA coaches who are coaching synchronized skating. Continually evaluate each element of your team’s program and use the protocol to help improve training and execution. PSA and U.S. Figure Skating are working together to have the information available for us to access and are creating a network of professionals. It is simply our job to take advantage of the many tools available. Shannon Peterson has directed the Dearborn FSC Crystallette Synchronized Skating Program since 1986. The Crystallette senior team has represented U.S. Figure Skating internationally since 1990. Shannon is senior-rated in synchronized skating, holds a Level VIII ranking and has a Master’s degree and Educational Specialist in Administration and Supervision. Shannon states that her work in education has afforded her the tools to improve her coaching skills.

PS MAGAZINE

GREAT TIPS FROM AMERICA'S TOP COACHES

TIPS FROM CONFERENCE PRESENTERS

Excerpts from Eddie Shipstad & Eric Schultz`s

“Where the Magic Happens” Colorado Springs 2010

POLE HARNESS TIPS Eddie: When we first start out we want the skater to learn the jump on the traditional, stationary harness. Once they’ve learned and know the basics of the jump then we can bring them to the pole harness. One of the benefits of using the pole harness, instead of the regular harness, is the skater gets to skate on their normal pattern. Whether it’s a circle into a double Axel or a Lutz pattern into the corner, they get to skate on it. We’re able to work with our skaters three to five times a week on the pole, we can do 10 to 20 minute lessons so the skater is getting the opportunity to perform their jumps in a safe environment. They may fall ,but not as hard so they’re not afraid of the jump. They can really focus on the technique and the things they need to learn, then do it off the harness as well. With the pole, there is safety in repetition.

MAY | JUNE 2011

Here are some of the safety issues we talk to the skaters about: • We cannot pick them up with the pole harness. We cannot lift the skater off the ice so the skater needs to understand that they’re responsible for their attempt. • We can improve their axis. We can give them a little straighter axis as well as about a quarter to a half a turn rotation on the way down so that they finish the jump clean. • One of the biggest rules is to NOT pop. Popping is dangerous on the pole. Popping in itself is bad but there’s one thing worse than popping and that’s popping on the harness. When the skater opens up and I’m that close to them, I’ve been kicked and I’ve been hit. When a skater is coming down out of the air and they open up, the amount of force that goes into

“The most dangerous thing on the pole is when you give a skater too much height and they land too far forward, very scary, so it’s better to ease off and let the skater do the jump while you just support them at the end.” your wrist, shoulder, stomach muscles is huge so the skater really needs to know that they must commit to every attempt that they do. • They need to listen to the coach. This is important not only for our technical advice but also to avoid collision. You can’t use cue words like ‘move to the right’ or ‘move to the left’ because the skater could be moving backwards and you’re skating forward so their left is your right. You want to use terms such as move ‘into the rink’ or move ‘outside of the rink’ to avoid those collisions. • One of the most important things technically in jumping is keeping your head still, this is also critical for using the harness. If they pre-rotate with their head on the take-off they will get hit by the wire and they’ll learn very quickly not to turn their head. • Last but not least, Kleenex. If a skater needs to use Kleenex (to blow their nose) let them use the Kleenex! During flu and cold season you should be wearing a bee mask to avoid flying objects. Eric: It’s really important that the harness is tight around the waist and shoulders. It should fit the skater properly so that they’re able to do the elements safely and effectively. I tell the athlete that it fits like a jacket so we’re going to put it on that way. If the skater has long hair it needs to be put into a ponytail or a bun otherwise the wires could grab it. While I tighten the straps, I ask the athlete to hold the pole upright, (not sticking out-horizontally). On a busy session you could clip somebody and that could be dangerous. I clip the waist first and adjust and tighten it to make sure that it’s snug around their stomach, but not too tight that it might hurt or restrict their breathing. If there’s any leftover (hanging waist strap) I tuck it behind the shoulder strap. Next, I adjust the shoulder strap. There’s a little triangle piece which generally fits in between the shoulder blades a bit on the higher end. This will keep the shoulder straps more in line. Make sure it’s snug enough to be able to fit your finger underneath it. I adjust the waist one more time just to be sure.

If the athlete jumps counter-clockwise, hold (the pole) with the right arm high and the left arm low. Options if the skater jumps clockwise; Eric: ‘Eddie is a lefty and he feels very comfortable holding the harness with his right arm high but when the athlete jumps the other direction I’ll go lefty, high.’ Eddie: ‘The other direction is a little bit harder. I do a bit of a skid stop as the skater is going into the jump so I’m going to have to slide on my other foot. When Eric works with a left handed skater he will have his left hand high. I’m not that talented so I keep my right hand high and just kind of maneuver that way.’ For a shorter skater, in either direction, choke up (on the pole), like choking up on a golf club or a baseball bat. Eric: As you stroke, or pump, around (the end of the rink) you will want to track to the inside (of the skater) and make sure you have a loose handle on the pole itself. Don’t squeeze it or you’ll lose a lot of energy and it will get very tiring. Make sure that the cross bar and the swivel is above the athlete’s head, very important to keep it there. When you’re stroking into an element, it’s okay to move around but as you’re entering and nearing the jump you want to make sure that you maintain the crossbar and the swivel on top of their head.

A FEW FINAL TIPS: Eddie: The most dangerous thing on the pole is when you give a skater too much height and they land too far forward, very scary, so it’s better to ease off and let the skater do the jump while you just support them at the end. I always give percentages for the amount I am helping. If I’m helping five percent, that’s a jump a skater can do off the pole, clean. If I give them that magic number they know they can do it!!

PS MAGAZINE

Just a LITTLE Posture – Emails to Sheila!

CHAMPION CORDS – ALIGNMENT By Sheila Thelen PRESIDENT – Champion Cords EXECUTIVE DIRECTOR –

Grassroots To Champions

“I teach at A-Game Sportsplex in Nashville, TN and I teach a little 7 year old girl named Ching Ching. This girl is loaded with talent and has good posture and stroking ability when she wants to have it! However, I expect her to have good posture and stretch at ALL TIMES and I felt she was slacking a little and I’m sure was tired of hearing me repetitively say “Stretch, point, lift, extend,” so I remembered I had my Champion Cords in my bag and decided to see if it would make her have the stretch and line that I expect from my students. IT WORKED!!! She was instantly stretching out her arms and legs and looking beautiful. The cords build strength in the legs and arms so of course she said her arms and legs were tired by the end of the lesson! I forgot how great Champion Cords work for improvement of skaters lines and position alignment. They also add an element of “doing something new” in a lesson when I find that a skater becomes stagnant. They are even fun and entertaining for me as a coach as well:) Love my Champion Cords!” Robert J. Mauti, PSA Senior Rated Coach THANK-YOU Robert for using Champion Cords on your skaters! Send your photos and success stories to me at: sk8Thelen@aol.com Champion Cords can be purchased online at the PSA Store: www.skatepsa.com Champion Cords are Endorsed by the PSA

Meet your AREA REPRESENTATIVE Interviewed and written by Kathy Goeke Tracey Seliga-O’Brien Denver, Colorado Area: 13 Years coaching: 20 Ratings/Ranking: MFS, CM, Hockey Level I & II; Ranking: Level II Tracey Seliga-O’Brien and the coaches she represents enjoy loops —or rather, being kept in them. She has been the Area 13 representative for about a year and a half, and has enjoyed the experience of keeping coaches in her area up to date. “It’s been terrific,” Tracey said, “because (the area representatives) get all the information first, and then we can pass it on. The coaches in my area have been excited because they’ve been kept in the loop.” Tracey believes communication between coaches is one of the most important benefits of the PSA. “When they have a problem, if I don’t know the answer I can at least direct them to someone who

does,” she said. “The coaches in my area have been very appreciative of that. And it’s been nice to reconnect with some coaches I haven’t seen for a long time.” Tracey, her husband, first-grader son, and toddler daughter live in the Denver area and enjoy “anything outdoors.” Not surprisingly, they hike, ski, and climb mountains, and have summited six of Colorado’s “Fourteeners” (mountains over 14,000 feet). Tracey lists her parents as her biggest inspiration, but she also draws motivation from her students. She raised one of those students from first grade through junior moves, and shared in her joy as she was accepted to Boston College. The brave young woman accomplished all this while managing a lifelong battle with diabetes. In honor of her student, Tracey volunteers with diabetes awareness campaigns to help find a cure for the disease.

Thomas M. Amon Minneapolis, Minnesota Area: 10 Years coaching: since 1998 Ratings/Rankings: MFS, MM; Ranking Level III Thomas Amon left the rat race as a corporate vice president, fed up with years of traveling for business. He returned to the ice to coach – then again traveled extensively as his skaters advanced within the sport. He founded a’Xel Inc. in 2007 along with a few trusted colleagues to provide an intensive training program for skaters in the Midwest. Today, a’Xel’s athletes compete nationally and internationally. Despite his demanding schedule, Thomas has kept it in perspective—mostly tempered by the arrival of his and partner John Kundtz’s son, Aiden. Adopted from Vietnam at six months old and

now 2-1/2, Aiden is the light of their lives. “They say having kids changes your life,” Thomas said. “But when Aiden was placed in my arms for the first time, it didn’t change me, it transformed me. Something triggered in me that said I could be a better coach and have a deeper understanding of these kids. Every one of them is trying 1000 percent, but this new perspective allowed me to see that there were possibly other reasons why athletes differ from each other in their progression and taught me how to treat each one very differently.” This philosophy permeates a’Xel Inc., where the atmosphere is competitive, yet sympathetic to skaters’ needs. “We are in it for every skater, not just the 12-year-old with a triple Lutz. They all get the same attention and work ethic from us, and they all sense they’re not being treated any differently than the champions. Skating is for life!”

PS MAGAZINE

Legal Ease DAVID SHULMAN

$how Me the Money Y

ou braved the cold, gotten up before dawn, put up with the complaining parent(s), taught the lesson and now it is time to get paid. The parent determining you have not bled enough for their questionably talented child, now owes money and refuses to pay. What next? You started out with sending bills. Followed up with a demand letter. Wrote more letters sending them certified mail so you were sure the letter was being delivered….and ….nothing. The sum owed you is not the national debt but for you, $1600 is a chunk of change. It is time to get serious. Enter the world of debt collecting at the level of the “people’s court.” Every state has some sort of court available to the citizen for the recovering of small claims. It may be called “small claims court” or “conciliation court;” all are set up to allow a person without the need to hire a lawyer, to bring money disputes to the court for a decision. Generally the amount you are permitted to claim is strictly limited to some maximum, for example $5000 to $7500. Any claim beyond that amount must be brought in the court by an attorney. In the small claims court an attorney can only appear if the judge says ok….no legal mumbo jumbo permitted! Filing a claim requires you to go to the court house and talk to a clerk who likely will have skill in dealing with persons like yourself in making such claims. The clerk will give limited assistance in filling out the claim form and guide you in determining if you can get service on the person against whom you are bringing the claim. That person is the defendant and you are the plaintiff or claimant. You will be suing the claim in the county where the defendant lives. A filing fee is paid by you (recovered against the defendant assuming you win) usually less than $75. The claim will be mailed out by the court and you will be notified of the date and time of the hearing. It is possible the defendant will file a counterclaim. A counterclaim? For what? Well, what if the defendant parent had provided you with the use of a car or equipment or DVDs or who knows what. They will think of some offset to avoid your claim. Be prepared. Small claim court procedure is informal but you do need to have things in order to present a claim a judge will understand. Organize your presentation the same as you would a short program. Have a list of the lessons you taught. Show the dates the student was at the rink taking those lessons. Hopefully you will have notes on what you taught, when, and for what length was the lesson. Show the bills you sent and

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the cost to you to attend competitions or test sites. Show the judge the bills and follow up letters you sent to try and collect your fees. Show the judge the outline of what you hopefully reviewed with the parent regarding your charges and billing rules. When you are done, the defendant will have a turn. No matter what the defendant says, DO NOT GET ANGRY. You will have a chance to respond and that is when you carefully show the judge why the defendant is wrong and in fact owes you your claim. Assuming you win, each state has different rules on how you go about collecting on your judgment. If after notice to the defendant that you won and the period for appeal of this win has passed, you will return to the court and have your judgment recorded. This means the clerk will enter the judgment on the county records and the judgment becomes a lien (claim) against the defendant for all the world to see…. including credit reporting agencies, cloud on titles to real estate, and even opening the possibility to obtain certain writs to go after bank accounts of the defendant. A couple of tips are in order. One, never let your billing go beyond one month lessons. Two, always follow any conversation with parents regarding fees, costs and billings with a nice but business type note memorializing your plans and how you do business. Three, if you have to resort to the small claims court do NOT miss the court hearing. Seems a bit silly to say this, but I have seen it all, and you can never win the competition if you fail to show up and skate.

1.) month Never let your billing go beyond one lessons.

2.) parents Always follow any conversation with regarding fees, costs and billings with a nice but business type note memorializing your plans and how you do business.

3.) court If you have to resort to the small claims do NOT miss the court hearing.

PS MAGAZINE

New

MEMBERS NEW MEMBER Alexander Aiken Megan Beck Steven Belanger

SPONSOR Paul Wylie Carly Fuelling Carol Rossignol

Christina Bickford

Jocelyn Cox

Natasha Bowers

Sheree Hugli

Wesley Campbell Megan Carlston

Julie Graham Eavzan April Treado

Colin Chelton

Kelby Riley

Danica Cindell

Lauren Keely

Trista DeMuth

Todd Sand

Melissa Frana Sarah Graupner

Elizabeth Peschges Leah Flanagan

Natalie House

Michele Becker

Samantha Kinney

Paula Bowsman

Rostam Mahabadi

Shari Trotter

Dorea Martin

Lefki Terzakis Katherine Nicoll

Audrey McQuade

Nancy Leamy

Christian Merrell

Scott Cudmore

Hailey Miller

Wendy Freitas

Jennifer Moyer

Patti Tashman

Matt Mueller

Craig Horowitz

Lora Muting

Kristen Vanick-Jamison

Viktor Pfeifer Brandon Piersol Erin Pitts Kseniya Ponomaryova Amanda Reed Emily Rice Suzie Schutt

Priscilla Hill Courtney Gill Kathy Romano Karina Kappel Melissa Archer Linda Burgess Bacon Tina McPherson

Elizabeth Smith

Rachael Brewin

Andrea Sobieraj

Terri Sweeney-Krystof

Sheryl Tautiva Christine Tieberg Jessica Troyan

Ted Kelton Kim Fowler Johnson Nancy Kirst

Geoffry Varner

Matthew Smith

Sydney Ventolo

Kathy Stano

Oliver Yost

� BARBARA ANN SCOTT

Miranda Safley

Kerri Hanson

Lisa Makkaoui

“The most important thing about skating is that it teaches you to do the things you should do before you do the things you want to do.”

Suzy Semanick-Schurman

FROM: The Committee on Professional Standards Updated as of 4/1/2011

PERSONS BANNED OR SUSPENDED FROM U.S. FIGURE SKATING MEMBERSHIP The following persons have been disciplined under U.S. Figure Skating Bylaw Article XXIV and have been suspended or banned from U.S. Figure Skating membership [or competitions]. These persons should not be credentialed, nor permitted to coach in any U.S. Figure Skating sponsored or sanctioned activity including but not limited to participating in qualifying or nonqualifying competitions, tests, carnivals and exhibitions. The PSA recognizes these sanctions per an agreement between the two organizations. Roy Cofer – suspended indefinitely Daniel Gray – suspended indefinitely Tonya Harding - lifetime ban David Loncar – suspended indefinitely David Lowery – lifetime ban Marc Mandina – suspended indefinitely Gordon McKellen - lifetime ban Jacqueline Mero - lifetime ban Joseph Mero – lifetime ban Erik Pedersen – lifetime ban Tricia Rubacky – banned from sanctioned competitions until specific conditions are met Laurie Van Den Bosch – lifetime ban Robert Young - lifetime ban In addition to the above, the PSA has disciplined the following individual: James Clifford Patterson – Expulsion eligible for reinstatement 4/11/ 2013

Tribute

FRANCES DORSEY

Remembered by Sherry Dorsey Cook

My sister Frances was born in Seattle, Washington on July 30, 1935. She was four and a half years older than I and a real glamour girl from the get-go. She included me in many of her social activities, especially when she invited me to go with her on her many dates (which started in earnest when she was 13 years old). I got to see a lot of movies that way! On the ice, I literally followed right behind her to learn her skating skills. The only problem was that she was left-handed (like our mother was) and thus, her jumps and spins on the ice were clockwise, to the right, which is the natural direction for a left-handed skater. So I, who was right-handed, also began jumping and spinning to the right, just like her. For me, learning to jump and spin the “wrong way” (for a right-hander) was easy for me but it was very difficult for my future skating coaches to accept. In spite of all their efforts to get me to rotate to the left, jumping and spinning “Frances’ way” was a habit of mine they never could break. By the age of 16 she was a prominent member of the U.S. Figure Skating team. She became a U.S. champion and during her second time representing the U.S. in the World Championships, she finished fifth. Frances was always one to two ability-levels higher than I was so we did not compete against each other. This probably helped me gain my own confidence. Sonya Dunfield told me that when they were competing in Milan in the World Championships, they liked to create their own diversions, such as when they lined up water glasses like pins in a bowling alley, then rolled oranges to knock the glasses down. My sister was truly megastar personified. When she and I trained at the World Arena at the Broadmoor Hotel in Colorado Springs, CO, she was so stunning on the ice that the hotel bellmen always tried to get off work early so they could watch Frances practice. That was when people started giving her the moniker “The Marilyn Monroe of the ice” and Ice Follies would bill her as such. Frances was determined, passionate, and disciplined in her skating career whether as a single ladies competitor, a show skater, or a choreographer. As an adult she was up at 4:30am every morning performing her hour or more of grueling stretches and then she was off to the ice rink to teach in full make up, and wearing stylish outfits. Richard Dwyer said that when she was the female soloist of the Ice Follies, a group of the show skaters went on a rafting trip

down the Colorado River and they all wondered how she would dress because she always looked so beautiful on the ice. Frances did not disappoint them. Instead of wearing practical, utilitarian clothes, she appeared each day in elegant western style outfits and always in full make up. Frances was always the star of the show. While traveling with the Ice Follies, Frances was given a movie screen test at Warner Brothers studio. However she was not interested in making the western movie that the studio proposed. Her dream was to be in a Sonja Henie film but in 1958, when Frances was 23, Ms. Henie made her last movie and retired from skating. For 25 years, Frances was the skating director of the Northbrook, Illinois, Sports Center. In addition, she directed their annual ice show which, with 1500 participating skaters, was the largest ice show in America. She continued to perform in such productions as Holiday on Ice and American on Ice, as well as the annual ice shows at the Northbrook Sports Center. Frances was also the author of the book ‘Creative Ice Skating.’ Ever the show skater, as her father walked her down the aisle at her wedding, Frances viewed the chapel overflowing with friends and gleefully exclaimed, “Look daddy, a full house!” While in Chicago, Frances contracted lung cancer from secondary cigarette smoke at a studio where she spent long hours recording music for the Northbrook ice shows. In spite of her grueling chemotherapy treatments, she diligently continued her fitness regime. More Magazine chose her as one of the 20 most physically fit cancer survivors in the U.S. The magazine brought her to Washington, DC, to be honored in a ceremony presided over by the then-Vice President’s wife, Tipper Gore. She later moved with her husband to Santa Fe, NM. There was no ice rink in the area at that time so Frances became interested in horsemanship. She bought two horses, learned dressage riding and collected animals. She accumulated a menagerie of 11 huge “ragdoll” cats (the males weighing up to 20 pounds each) plus five dogs, all of them living in the house. When the Santa Fe ice rink opened in 2000, Frances was able to return to her love of teaching ice skating and choreographing the club’s annual ice show. In fact, she had taught skating even on the day a blood vessel burst in her throat, causing her death. The people who spoke about Fran at the two memorial services for her praised her enthusiasm for skating and how she inspired each of them to be physically fit and the best in skating they could be. I like to remember her self-effacing humor about herself. No one could tell a funnier story than she about what went wrong for her in various situations in her life. She is survived by her daughter, Dorsey Lachner, her son, Comer Plummer, Jr. and me, her sister, Sherry Dorsey Cook. Contributions for a Frances Dorsey memorial park bench may be sent to Northbrook Park District Sports Center, Frances Dorsey Memorial Fund, 1730 Pfingsten Road, Northbrook, IL 60062. PS MAGAZINE

CALENDAR

EVENTS

M AY Date: Location: Event: Contact: Deadline:

May 1 Area 14 Glacier Ice Rink, 1101 South Ave W, Missoula , MT 59801 Montana State Workshop [8:30 am to 1:45 pm] Ryan Yearous 406-529-5496 ryan.yearous@gmail.com Written Exams April 1, 2011 Workshop - April 1, 2011

Date: Location: Event: Contact:

May 15 Area 8 Farmington Hills Ice Arena, 35500 W. Eight Mile Road, Farmington Hills, MI 48335 U.S. Figure Skating Basic Skills Workshop Susi Wehrli 719-635-5200 ext. 423 swehrli@usfigureskating.org Local Contact: Michelle Sibley mssk8tr@aol.com

Date: Location: Event: Contact:

May 16-18 Area 8 Hyatt Regency Dearborn, 600 Town Center Drive, Dearborn, MI 48126 U.S. Figure Skating - NARCE Skating Director Course Susi Wehrli 719-635-5200 ext. 423 swehrli@usfigureskating.org

Date: Location: Event: Contact: Deadlines:

May 23-25 Area 12 Westin Galleria Dallas, 13340 Dallas Parkway, Dallas, TX 75240 Zone 4: Oral Rating site at 2011 PSA Conference PSA Office 507-281-5122 ratings@skatepsa.com ner! n i d s d Oral Rating Exams: Friday, April 1, 2011 Awar A Written Exams: Friday, April 21, 2011 S P

Date: Location: Event: Contact: Deadline:

May 25-28 Area 12 Westin Galleria Dallas, 13340 Dallas Parkway, Dallas, TX 75240 PSA/ISI Conferences & Trade Show PSA Office 507-281-5122 ratings@skatepsa.com Advanced Deadline: April 15th, 2011

JUNE

Date: Location: Event: Contact: Deadline:

June 19 Area 6 Mt. Vernon Rec Center, 2017 Belle View Blvd, Alexandria, VA 22307 Virginia State Workshop [8:30 am to 4:00 pm] Shirley Hughes 301-529-6493 shughes301@comcast.net Written Exams - April 18, 2011 Workshop - May 20, 2011

Date: Location: Event: Contact: Deadline:

June 24 - 25 Area 7 Jacksonville Ice and Sportsplex, 3605 Philips Highway, Jacksonville, FL 32207 Zone 1 Oral Rating Site PSA Office 507-281-5122 ratings@skatepsa.com Oral Rating Exams: April 25, 2011 Written Exams: May 20, 2011

Date: Location: Event:

June 26 Area 7 Jacksonville Ice and Sportsplex, 3605 Philips Highway, Jacksonville, FL 32207 U.S. Figure Skating Basic Skills Workshop [1:00 - 5:00 pm]

MAY | JUNE 2011

J U N E continued Contact: Deadline:

Susi Wehrli 719-635-5200 ext. 423 swehrli@usfigureskating.org Local Contact: Paula Wagener pwagener58@msn.com BA Rating exams to be held following workshop Deadline May 20, 2011

J U LY Date: Location: Event: Contact: Deadline:

July 9 Area 1 Leddy Park Arena, 216 Leddy Park Rd, Burlington, VT 05408 Vermont State Workshop [12:00 n to 6:15 pm] Martha Harding 802-238-0686 mjhinvt@yahoo.com Written Exams - May 9, 2011 Workshop - June 17, 2011

Date: Location: Event: Contact: Deadline:

July 11-12 Area 5 Ice Works Skating Complex, 3100 Dutton Mill Rd, Aston, PA 19014 Zone 1 Oral Rating Site at the Liberty Competition PSA Office at ratings@skatepsa.com or 507-281-5122 Oral Rating Exams: Monday, May 16, 2011

Date: Location: Event: Contact: Deadline:

July 27 Area 9 Holiday Inn, 15471 Royalton Road, Strongsville, OH 44136 Zone 2 Oral Rating Site prior to the 2011 USFS Synchro Training Festival PSA Office 507-281-5122 ratings@skatepsa.com Oral Rating Exams: May 27, 2011

AUGUST Date: Location: Event: Contact:

August 6 Area 10 Kern Center, 1245 N. Broadway, Milwaukee, WI 53202 U.S. Figure Skating Basic Skills Workshop Susi Wehrli 719-635-5200 ext. 423 swehrli@usfigureskating.org Local Contact: Craig Bodoh - timeman@earthlink.net

Date: Location: Event: Contact: Deadline:

August 8 Area 9 Lutheran Health Sports Center, 3869 Ice Way, Ft. Wayne, In 45805 Indiana State Workshop [8:00 am to 1:30 pm] Alena Lunin 260-387-6614 x 108 alunin@icesports.com Written Exams - June 8, 2011 Workshop - July 11, 2011

Date: Location: Event: Contact:

August - TBD Area 13 Colorado Springs, CO ~ Olympic Training Center Zone 6: Oral Rating Site PSA Office at 507-281-5122 or byackel@skatepsa.com

Please visit www.skatepsa.com for the complete Calendar of Events

PS MAGAZINE

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