November/December 2015 by Professional Skaters Association

NOVEMBER/ DECEMBER

2015

www.skatepsa.com

Jodeyne Higgins & Sean Rice 2015 U.S. OPEN GRAND CHAMPIONS

2016 is coming to Vegas!

ddddd ddddd Season's greetings! 20

COLUMNS 4

FEATURES

Over the Edge | Jimmie Santee

Presidentâ&#x20AC;&#x2122;s Message | Angie Riviello

Ratings | Tom Hickey

The Survey Says

Comments from Seminars

SafeSport | U.S. Figure Skating

Sport Science | Heidi Thibert

24 Broadmoor Skating Club

Education | Carol Rossignol

Legal Ease | David Shulman

6 In the Trenches

9 Ratings Exams Passed

26 2016 ISI/PSA Conferences & Trade Show | Las Vegas, NV

32 What Does Adam Rippon Say?

38 PSA Calendar of Events

BY TERRI MILNER TARQUINI

NOVEMBER | DECEMBER

2015 ~ No 6 #ISSN-574770

BY KENT MCDILL

36 New Members

Jimmie Santee | Editor Carol Rossignol | Contributing Editor Amanda Taylor | Art Director Elizabeth Thornton | Advertising/Editorial Assistant

PHOTO BY VICKI LUY

PS Magazine TREASURE HUNT! Be the first person to find the gold PSA logo in each issue of PS Magazine and we will send you some treasure! Once you have found the logo in this issue, post where you found it on the PSA Facebook page and we'll send you a prize.

Over the Edge

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

JIMMIE SANTEE, MPD, MG

PSA BOARD OF GOVERNORS West

Renewing the Evolution of Figure Skating

ome believe that we can blame judges for the substandard quality of skating today as too many tests pass that are poor. I don’t entirely believe that. We can’t blame the judges exclusively, because as coaches, we continue to seek out the minimum standard needed to pass tests. As an early specialization sport, coaches understand that skaters tend to struggle through the maturation phase. We are in a hurry to get our skaters doing triples before maturation sets in. Worse, with the margin of error for smaller, lighter skaters being much greater than those who have matured physically, it allows coaches and judges to overlook flaws in technique that will eventually stop the skater’s progress. As a whole, we have strayed from the correct way to develop talent. The emphasis of developing skaters, either as a judge or coach, should not focus on passing tests, but on mastering skills. In some ways, it’s not the skill itself, but the root of the skill to be learned that needs to be mastered. As an example, a senior level skater does beautiful footwork… great edges and turns with speed and power. The coach asks the skater to do a basic back three turn by itself on a circle; something so simple to many of us who skated figures. But this skater struggles to hold onto the check and stay on the circle. It’s as if they were learning this turn for the first time. The skater is not over their skates, arms firm, and on the circle. They turn by swinging the leg, breaking at the waist, as opposed to rocking to the heel, rising out of the knee and countering “... I can’t wait for pressure between the shoulders and hips as the hips and shoulders rotate against each other. the unveiling of A few simple corrections and the turn looks the updated and good. The skater completed two distinctly different turns. One is off axis and the skater rebranded Learn struggles to hold the position, but doesn’t put his foot down. The second is smooth with to Skate USA a strong check and is easily held for three program later seconds. I believe this is the problem. As the standards of passing tests have declined, we this year. This often see skaters pass tests with a poorly done turn like the first example. They complete the is a tremendous turn…but it was not easy. The story could be opportunity for repeated for many elements. Additionally, I believe the majority of the industry to jumping mistakes happen during the take off. ‘right the ship.” Often because of weak basic skating skills, the skater is unable to balance their center of mass over the correct portion of the skate. Think about the two distinctly different turns I described above. Literally with the first turn, if they don’t jump quickly after the turn they would fall to the ice. As opposed to the skater controlling the edge, gravity does it for them. Why do you think U.S. skaters have such a problem staying on the outside edge for a Lutz? Back to the top please… a lack of understanding of fundamental skating skills and the four basic edges. This also contributes to what I have been writing about in the last two de-

NOVEMBER | DECEMBER 2015

East

Doug Ladret Todd Sand Teri Klindworth Hooper Patrick O'Neil Tim Covington Robyn Petroskey-Poe Don Corbiell Cindy Larson Sullivan Kirsten Miller-Zisholz

PSA

The Big Picture

Mid-West

Angela Riviello Christine Fowler-Binder Rebecca Stump Alex Chang Carol Murphy Kelley Morris Adair

Members at Large

Committee on Professional Standards Ratings Chair Seminar Chair ISI Rep to PSA U.S. Figure Skating Rep to PSA U.S. Figure Skating Coaches Executive Director Legal Counsel

Robbie Kaine Tom Hickey Doug Mattis Scott McCoy Ben Miller-Reisman Kelley Morris Adair Jimmie Santee David Shulman

COMMITTEE CHAIRMEN Awards Coaches Hall of Fame Education Seminars State Workshops Apprentice Area Representatives Hockey Skating PS Magazine Sport Science Endorsements Executive Executive Nominating Finance Fundraising ISU/ IJS Ethics and Legal Nominating Professional Standards PSA Rep to ISI Ratings Special Olympics

Denise Williamson Kelley Morris Adair Heidi Thibert Doug Mattis Tom Hickey Rebecca Stump Gloria Masterson Leous Paul Paprocki Bob Mock Heidi Thibert Jamie Santee Angela Riviello Kelley Morris Adair Carol Murphy Patrick O’Neil David Santee David Shulman Kelley Morris Adair Robbie Kaine Gerry Lane Tom Hickey Eleanor Fraser-Taylor

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

Martha Harding Anne Marie Filosa Lee Cabell Tim Covington Gloria Masterson Leous Kevin Curtis Liz Egetoe Melanie Bolhuis Lisa Bardonaro-Reibly Stacie Kuglin Brigitte Carlson-Roquet Sharon Brilliantine Tracey Seliga-O’Brien Lisa Mizonick Don Corbiell Josselyn Baumgartner John Kauffman

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.

evolution of figure skating editorials. Matt Robinson and Jeff Schneider of the University of Delaware, wrote in the most recent issue of Olympic Coach Magazine, …Bayli, Way and Higgins (2013) reported that the younger ages are the most critical stages in an athlete’s development. In competitor countries it is common that trained coaches work with athletes at these critical stages. It is also common in some countries that a coach must have a coaching license in order to coach at any developmental stage. In contrast, in the U.S. it is common that youth athletes in those same critical developmental stages may have untrained coaches who unintentionally may be inhibiting a young athlete’s development by not implementing appropriate playing-to-training ratios, not emphasizing fundamental skills over tactics, and using drills that are not age or skill appropriate. These are all important aspects of player development that an untrained coach may not appreciate. This supports my position in my July editorial where I said that 16 year old instructors, “… did not understand how the progression of skills worked, nor had any knowledge of the standards required to keep kids progressing.” Unfortunately, there are many established coaches that either don’t understand how the progression of skills leads to more complex skills or just ignore them. In my opinion, the one foot glide and swizzles are the most important skills a skater will learn. They are the foundation of all skating skills. Not only important to figure skating, but hockey and speed skating too. Do you teach a triple Axel? No? How about a one foot glide, bunny hop, forward and backward three-turns, waltz jump, loop jump, and back spin? Many will answer yes to the second set of skills, but not the triple Axel. But in theory isn’t the triple Axel a combination of the latter set? Why would we not focus on mastering the basics to achieve that goal? How do we fix this? Personally, I can’t wait for the unveiling of the updated and rebranded Learn to Skate USA program later this year. This is a tremendous opportunity for the industry to “right the ship.” This is the chance to re-educate all coaches and judges on the proper fundamentals of long term athlete development. PSA is now planning new programs focusing on those basic fundamentals… the same fundamentals that are relevant to the beginner and elite skater. Specifically, PSA will focus on issues relating to the early specialization of figure skating, the understanding of physical literacy, and the physical and emotional growth and development of our athletes. The growth and development of children can vary immensely between the ages of nine and fifteen but are often, states Dr. Balyi, trained at the chronological age. PSA needs to help develop a sport-specific, longterm development plan by fostering a better understanding of how becoming a skater falls into the growth of a child. Our development strategy should focus on the science of teaching. Balyi points out that by age 7, 95% of the brain and nervous system are developed. Teaching “…movement skills of agility, balance, coordination and speed should occur by age seven,” he says. Between the ages of five and 12 is the best period for skill development. At the development stages, we should be competing less and spending more time learning skills. The system should not only develop champions, but healthy skaters for life.

The Joy of Coaching

For the first time, the careers of America’s top figure skating coaches are documented in a colorful and elegant book. Prominent coaches remember the master motivators who taught them to skate and encouraged them to teach the next generation. This inspiring book features the entertaining and emotional stories of hundreds of figure skating coaches, each of them putting a memorable spin on the sport.

PS MAGAZINE

President’s Message ANGIE RIVIELLO, MPD, MG

2016 - Here We Come! T

his is the special time of year when we have the opportunity to spend time with family and friends. We spend a great deal of our time running from place to place, and it’s so easy to get overwhelmed and lose track of what is truly important: family and friends. I look back on 2015 as it closes and I’m thankful for the wonderful people along the way. I want to thank the staff at PSA headquarters. It is a true honor to work with such a group of professionals with a passion and commitment to this organization- it’s inspirational. Those of you that attended Conference this past May had the opportunity to see first-hand the dedication of the headquarters staff. It was by far one of the most exciting Conferences I have ever had the privilege of attending. All of the PSA staff works well beyond their “job descriptions” and gives so much to the greater good of this organization. It starts with our Executive Director’s example of passion and hard work and it flows through the entire staff. The staff needs a standing ovation as this organization only becomes stronger and better because of their dedication. The Board of Governors is an amazing working group of individuals that are willing to donate and give their time and talents to make a difference. There are two board meetings every year and it’s inspiring to sit and listen to the wonderful ideas that are offered with so much energy

In the TRENCHES by

SCOTT BROWN Master-rated coach & IJS Technical Specialist

and excitement. This group of people truly change the way we look at things and how we do things. Ratings examiners! This group of volunteers is the heartbeat of the PSA. For each exam that is administered, it takes three master rated coaches to give the exam. This equals 3.75 volunteer hours per exam. There are hundreds of exams given each year with hundreds and hundreds of volunteer hours donated to the PSA so we can continue to offer the most advanced coaching accreditation program. And we cannot forget presenters. Through all of our education opportunities we have many presenters that give their own time to share their knowledge. We are thankful to each and every one of our presenters that dedicated their time, enthusiasm, and talents to make us all better at what we do. Although this will be my last year serving as your President, I look forward to 2016 and what PSA can accomplish. These past several years have truly been a pleasure and I am honored to have served all of you. As we close 2015, let’s look at all the amazing things it held and look forward to 2016 with excitement. I hope you have a wonderful holiday season and may the New Year be just what you wished for. Happy holidays and happy coaching!

Ten Optimistic and Inspiring Quotes

1. “You are never too old to set another goal or to dream a new dream.” C.S. Lewis 2. “Our greatest weakness lies in giving up. The most certain way to succeed is always to try just one more time.” Thomas A. Edison 3. “It does not matter how slowly you go as long as you do not stop.” Confucius 4. “The secret of getting ahead is getting started.” Mark Twain 5. “Be kind whenever possible. It is always possible.” Dalai Lama 6. “There are only two ways to live your life. One is as though nothing is a miracle. The other is as though everything is a miracle.” Albert Einstein

NOVEMBER | DECEMBER 2015

7. “The opposite of love is not hate, it’s indifference. The opposite of art is not ugliness, it’s indifference. The opposite of faith is not heresy, it’s indifference. And the opposite of life is not death, it’s indifference.” Elie Wiesel 8. “It’s the will that’s awakened in the darkness, that brings us to a more permanent light.” Doniel Katz 9. “Birds make great sky-circles of their freedom. How do they learn it? They fall, and falling, they’re given wings.” Rumi 10. “How wonderful it is that nobody need wait a single moment before starting to improve the world.” Anne Frank Reposted from www.entrepreneur.com

DECEMBER

1, 2015

A global day dedicated to celebrating the generosity and supporting causes you care about. Thank you for your support of the PS Foundation.

The Professional Skaters Foundation was founded to expand the educational opportunities of PSA members through a 501(c)(3) non-profit, charitable foundation. The Trustees of the PSF have developed several scholarship programs for its members through a selection process based on established guidelines and criteria.

www.skatepsa.com

Ratings TOM HICKEY, MG, MPD

She Passed!! BY MARCIA WILLIAMS MPD, MG, MM, SD

y 13 year old student, Olivia, passed her novice MIF test last month. We were on cloud nine! The story begins mid-August 2014, when she passed the intermediate MIF test. Just days later I missed a step, fell, and broke my ankle. It was a severe tib-fib fracture requiring surgery. Dr. Joe placed 12 screws and a plate in my ankle to put it back together. Just two weeks later I started teaching from the players’ bench. Because I was non-weight bearing for the next 13 weeks, I used a wheel chair, walker, knee scooter, and crutches. Those knee scooters go really fast! Finally, in December, I was allowed to put weight on my ankle, although it was still very swollen and painful. In February, I required a second surgery to remove some of the hardware. This greatly helped with the mobility in my ankle. Finally, on April 15th, I was able to squeeze my foot into my skate. With one good foot and one bad, I was able to hobble around the rink for about half an hour. Why am I telling you about this, you ask? Because, if it weren’t for the PSA ratings program, I don’t think I would have been able to teach my skater the entire novice MIF test without stepping onto the ice. She learned the novice moves by my explaining each move in detail, a lot of drawing of the moves, using the U.S. Figure Skating rulebook and PSA MIF manual, and me hobbling around on one foot on the players’ bench getting into awkward novice moves positions. Imagine teaching quick rocker choctaws, rocker choctaw sequence, explaining the loops, what counters are, what the typical errors are and how to fix them without ever being on the ice with your skater. I credit my Master Moves in the Field Instructor rating, and the Ratings Prep programs I attended over the years, along with conference and seminars that provided me the tools to teach a novice MIF test totally on one foot, from the boards. Ten months later, my student passed the test. This is a true testament to the PSA ratings program. Ask yourself the question…could I teach a MIF test without getting on the ice? The PSA ratings program prepares you to do just that! Today, I am very happy to be back on the ice, using my “new normal” right ankle. I am grateful to the PSA for giving me the tools to coach from the boards. Marcia Williams is a U.S. Figure Skating Gold Medalist, and former national dance competitor. She is PSA Master Rated, a PSA Ratings Committee member, and a PSA ratings examiner. Marcia teaches skating in Cincinnati, Ohio.

NOVEMBER | DECEMBER 2015

“... if it weren’t for the PSA ratings program, I don’t think I would have been able to teach my skater the entire novice MIF test without stepping onto the ice.”

DISCLAIMER: Written by Guest Contributor | PSA regularly receives articles from guest contributors. The opinions and views expressed by these contributors are not necessarily those of PSA. By publishing these articles, PSA does not make any endorsements or statements of support of the author or their contribution, either explicit or implicit.

Recently Passed

RATING EXAMS

Congra

coachuelastions !

Congratulations to the following coaches who passed the Basic Accreditation (BA):

Congratulations to the following candidates who passed a rating exam:

PSA E-Learning Academy

Nashville, TN | August 13-14, 2015

Konstantin Baradakov Jamey Barber Jaclyn Cartwright Carly Donowick Hannah Graff Megan Hines

Maria Adcock RG, CM Konstantin Baradakov CFS, RM Erica Bateman CFS James Bowser SG Elizabeth Egetoe SM, SG Samantha Gromley CM, RG Kristen Hemstreet RPD, RM Kelly Hobbs SM, CFS Joy Hoedel-Elder RM

Holly Kidrowski Madeline Kuhn Jaqueline Laniado David Leatherwood Ashley Wyatt

RANKING â&#x20AC;&#x201D; The next Ranking deadline is January 1, 2016

Do you have skaters at regionals or beyond? If so, why not advertise it? The Professional Skaters Association Ranking System is becoming recognized world-wide. The criteria to qualify for this program is directed toward the career accomplishments of PSA coaches based on the performance of their skaters. Visit skatepsa.com for more details.

Deborah Kozak CG Melinda Mowdy RM, CG Sarah Pulido-West CG Glenn Replogle CG Anita Saxena CM, RG Jackie Timm SM Paula Trujillo RGD Stefanie Walsh CFS Kathy Wolff Baradakov RM, RG

Independence, MO | August 29, 2015 Debbie Cole SM Alyssa Craig SG Irene Harm RG Joy Hoedel-Elder CM, SG Grant Huang SFS John Ivanich RG Nicholas Kraft CG, SG

Andrea Kunz-Williamson SPD Delsie McCoy RM, RG Rachel Patterson CM Stephanie Siswick RG, RM Alison Skalla Brown RM, RG Liyen Vong SG

Scottsdale, AZ | September 12, 2015 Uyen Carlson RG Laurel Combs CFS Dawn Piepenbrink McCosh CPD, SPD Denae Raught CFS

Danette Trett RPD Rozakine Voges RG Toni Wright RG

Congratulations to the following coaches who successfully passed the Foundations of Coaching course (FCC) RATINGS ANNOUNCEMENT

Effective January 1st, 2016 there will be a mandatory question on every oral rating exam in the SafeSport category for all disciplines. Up until then the SafeSport question is just an awareness question and will not impact the result of the exam.

SAFESPORT

Estero, FL | August 1, 2015 Arye Beck Estro FL Marianne Bourque Parrish FL Mikaela Brumagin North Fort Myers FL Catherine Collings Lehigh Acres FL Janice Dudley Venice FL Kandis Eckloff Fort Myers FL Nicole Gagliardo Estero FL Lisa Geltz-Perri Naples FL Arissa Gratkowski Naples FL Michael Haskins Estero FL Inna Koroleva Bonita Springs FL Maria Koroleva Bonita Springs FL

Sydney Kruszewski Naples FL Marisa Miner Ft. Myers FL Diane Myers Fort Myers FL Bradley Newman Howell MI Cody Roppelt Cape Coral FL Karen Roppelt Cape Coral FL Laurie Sanii Decatur GA Lauren Skaathun Naples FL Carolyn Tonidandel Bonita Springs FL Deanna Velez Miami Shores FL Roman Vickers Bonita Springs FL Kristina Von Schorfeldt Ft. Myers FL PS MAGAZINE

SAFESPORT

The Dynamics of Interaction Between A Skating Coach and Their Student BY SIGNE WHITSON, AUTHOR, CHILD AND ADOLESCENT THERAPIST

s a skating coach, in addition to teaching your students the dynamics of ice skating, you also have a goal to ensure the safety of your students, and particularly when you are dealing with youth. The interactions you display not only set the precedent for a valuable experience for your skater, but also represent the professionalism as a skating instructor/coach that you strive to accomplish. The ultimate goal is to provide an encouraging and positive experience. Because our society has developed sensitivity to issues relative to the interaction between adults and youth, as a skating coach, it becomes your responsibility to posture an appropriate and positive environment. The young skater you are mentoring, in addition to the skating skills you teach, needs to feel valued, and recognize the caring connection you provide. Unfortunately, there are individuals who have soured the relationship between a coach and their youth student, and for this reason, it is imperative that you take the necessary precautions to protect not only your reputation, but any harmful retribution. For your protection, the following represent suggestions to mitigate potential issues: • Attempt to keep your skating activities visible to others on the ice • Do not have any contact in an isolated area, such as a locker room or restroom that could potentially suggest inappropriate behavior • Continue to provide positive reinforcement and praise for good skating technique demonstrated by your student • Discourage any degrading comments, inappropriate jokes or touching that could potentially be considered too intimate (a pat on the back is generally considered an appropriate behavior) • Design a policy that deals with bullying between two youth. • If possible, having two or more adults present at all times will be a valuable technique • Try to restrict or prohibit activities outside of scheduled coaching sessions

NOVEMBER | DECEMBER 2015

• Develop a policy regarding interaction with other adults and your youth, and any interaction between an individual with who you are not familiar • Discuss with a parent or guardian what they are comfortable with and what interactions can be expected, and be sure that they are agreeable to these guidelines • Have a policy that states when your responsibility with the youth begins and ends (e.g.-the child is dropped off at the rink, and when the instruction session ends, the parent/guardian should be present to pick their child up)

Not every situation can possibly be identified, however, when in doubt, error on the side of caution. Please feel free to contact ESIX at 678.324.3300 or info@esixglobal.com for additional information, or to answer any specific questions you may have.

Sport Science HEIDI THIBERT, MFS, MM, MC

Fitness Periodization for the Developmental Skater BY KEN KASHUBARA, CSCS

he National Strength and Conditioning Association (NSCA) recommends that figure skaters follow these periodization phases: • Active Rest • Preseason • Offseason • In Season • Taper • Major Competition This progression allows the International-level skater to peak, athletically, for the Olympics or World competitions. It allows developmental figure skaters to peak for regional, sectional or national competitions. The juvenile level figure skater, for example, induces many challenges for the off-ice professional. First and foremost is the age. The youth athlete’s body is going to be more linear than adults. The youths are growing taller. These elements of change disrupt the center of gravity, posture, and coordinative abilities. Even developmental junior-level skaters present challenges. While most of them will not grow much taller, they are not used to their newfound stature, or the height of their jumps. They also might be struggling with endurance because of longer programs and the added adult weight. The adult athlete has their sights set on where they are going. The youth athlete is just trying to figure out where they are. Problem #1: The parents of a talented 9-10-year old juvenile-level skater want him/her to be performing strength and conditioning workouts designed for 15-16year old junior-level skaters. Solution #1: Agree with the parents that the kid is talented; then tell them “No”. At that age, the athlete needs the off-ice focus to be core strength and coordination. Regardless of talent level, a 9-year old does not have the off-ice experience or joint strength to safely perform strength and conditioning workouts designed for 16-year olds. End with a positive. The younger students can take ballet and stretching classes with older students.

In general, athletes fall into three age groups:

Children 7-10 years old are considered preadolescent.

Their structure does not resemble the adult form.

Individuals 11-14 years old are considered adolescent.

Their bodies are changing into the adult form.

NOVEMBER | DECEMBER 2015

Youth 15-years and older have the young adult body type, on average.

Their bodies have, or soon will, reach the adult form.

Try to plan strength and conditioning workouts and classes with these three age groups separated. A physically, mentally and emotionally mature preadolescent may move up to adolescent workouts. A non-qualifying or immature young adult may move down to the adolescent level. Find the best fit for each individual athlete. Problem #2: My skater has poor endurance and can barely get through her programs. Solution #2: The type of cardiovascular endurance training the athlete should perform varies. It depends on muscle types needed, energy systems required, and the time of year.

• Off Season: Higher level skaters, starting at perhaps novice level, should build the aerobic energy system during the offseason. Athletes should spend a minimum of three hours per week developing the aerobic pathway. Spend twenty to thirty minutes per work day performing continuous on ice stroking, slide board, biking, jogging or elliptical machine. • Middle off-season: During the middle offseason, those same higher level kids should begin developing their anaerobic endurance with interval training. Cut down on continuous duration and add rest periods. Consider work-to-rest ratios. Start the athlete out at a 3:1 (three minutes activity with one minute rest). Then make it more anaerobic by lowering activity duration (while increasing intensity), and prolonging rest periods. • Late Off Season:: Build speed endurance in the late offseason. Dramatically increase the intensity of the cardiovascular activity and increase rest times. The old saying is, “You can’t be fast if you train slow.” An athlete needs maximal recovery during training in order to achieve maximal speed and power. The work-to-rest ratio here should be more like 1:3, meaning three times more rest than work, but make the work full speed. About six weeks before the season, adjust the cardiovascular activity to be specific to figure skating. Synch wind sprints with the time of the free skate

programs. “Gassers” are a good example. Set up cones ten yards apart. Have the athlete run ten yards down, back to start, ten yards down, and then return to start. This is forty yards total with three changes of direction. Make the athlete complete this in ten seconds. Allow ten seconds rest and then run again.

Be sure that the athlete can run these for the duration of their free skate programs. The ladies intermediate singles competitor would have to complete a minimum of eight “Gassers” in ten seconds or less, given only ten seconds to rest (2:30 total time). This would ensure that her speed endurance equals the time demand of her program. If they can do more than eight, great, but make the cutoff point at twenty.

Problem #3: A lot of skaters have poor posture and stability on their jump landings Solution #3: Evaluation of posture and stability should be completed with off-ice screening. Many systems are in place for these types of evaluations, from” Functional Movement Screening” to “Muscle Activation Techniques”. The goal of these systems is to find the cause of the problem. The most common causes of poor posture and stability in jumps are weak muscles in the middle back, core and legs, and difficulty finding the vertical center of gravity.

Core: Defined, core muscles are any muscle that is connected to the pelvis or lumbar spine. It consists of up to thirty-five different muscles. When training the core, include exercises for the anterior, lateral and posterior musculature to create a well-rounded basis of strength. Figure skaters do not hold still for thirty seconds during their programs, so why should they hold a static plank for thirty seconds during a workout? Use the plank exercise; but have them move. Hold the plank while simulating a skating stroke. Hold a plank and twist. Hold the plank and kick. Work the core with motion. • Core: Defined, core muscles are any muscle that is connected to the pelvis or lumbar spine. It consists of up to thirty-five different muscles. When training the core, include exercises for the anterior, lateral and posterior musculature to create a well-rounded basis of strength. Figure skaters do not hold still for thirty seconds during their programs, so why should they hold a static plank for thirty seconds during a workout? Use the plank exercise; but have them move. Hold the plank while

simulating a skating stroke. Hold a plank and twist. Hold the plank and kick. Work the core with motion. • Middle Back: For the middle back muscles, have the athletes lie flat on their stomachs with dumbbells in their hands. From there have them perform “letters.” Lift the arms in the form of a Y, T, W, L and I. Complete ten of each letter without pausing between letters. The athletes won’t be happy, but they will be stronger. The core and middle back should be trained all year. • Single-Joint Exercises: The offseason is the time to build real body strength; and like everything, there is a progression. The progression begins with single joint exercises. Single joint exercises allow younger athletes to learn the names of the muscles, their location and function. An easy example is the quadriceps. The “quads” are located on the anterior portion of the leg, above the knee, and they extend the leg. The athletes practice moving single joints, focusing on the individual muscles. Have more experienced athletes perform single joint exercise during the Active Rest Phase (immediately after the season). • Multi-Joint Exercises: Perform multi-joint exercises in the early offseason. Multi-joint exercises require more than one muscle group to complete the movement. Think about the pectorals, deltoids and triceps working together to push the body up during a pushup. Multi-joint exercises can be broken down into six major movements: 1) upper body push 4) squat 2) upper body pull 5) bend 3) twist 6) lunge Also, consider the three planes of motion: 1) forward and back 2) side to side 3) turning There are well over 300 muscles in the body. Trying to create workouts that isolate every muscle becomes a maddening experience. However, if you train six movements in three planes of motion, it becomes simpler, and every muscle will be worked. Combination Exercises: The last step is combination exercises. Combination exercises have simultaneous upper and lower body movements. They include examples such as lunging while pushing a dumbbell overhead, squatting while pulling a strength band, and twisting while bending. Combination exercises require total-body muscular coordination. They require

PS MAGAZINE

great core strength. They teach the athlete to be strong from head to toe during movement. They are also a great tool for Pairs skaters and Ice Dancers. A 13-to14-year old skater with a year of training experience should be able to complete combination exercises. Younger athletes will struggle mightily. Make sure they are ready - don’t force-feed them combination exercises. Power: Have the athletes work on their power in the late offseason. This can be accomplished in many ways, but use caution. The barbell “Clean and Press” and “Snatch Olympic” lifts are sports in and of themselves. They are complex techniques that can help generate a lot of force, but can also cause injury when not completed properly. The average developmental skater does not have to perform Olympic lifts. They can develop power with medicine ball and kettle bell exercises. I would only recommend Olympic lifts for experienced, elite figure skaters who are at risk of physical plateau. Center: Help the athlete find their center of gravity, especially during the season and preseason. Get them into ballet classes for passé pivots, arabesques, and releves. Problem #4: Why do some of my skaters struggle so much with checkouts? Solution #4: Athletes with the best quickness, agility and coordination seem to have the best checkouts. As with most off-ice training problems with figure skaters, it’s not only how to improve in an area that is important, but also when.

The majority of figure skaters at the juvenile level and below should completing coordination circuits for most of the year. The qualifying novice or higher level skater can perform the following coordination circuits in the early offseason as a way to get back to basics. Coordination includes six aspects: • Balance • Spatial awareness • Reaction • Adjustment • Rhythm • Problem solving Add one exercise per aspect. This circuit is completed directly after the warm-up.

BALANCE

Have the athlete stand on one leg or on an unstable surface for balance. The difficulty progression is: one leg on a stable surface, two legs on an unstable surface (such as a BOSU ball), and then one leg on an unstable surface. Make a skater with terrific static balance perform these with their eyes closed.

REACTION

For reaction, place four cones in a square and have the athlete stand in the middle. Then point to a cone, and make them run and touch the cone. When they touch the cone, point to another, and another, etc. As a coach don’t even think, just point.

NOVEMBER | DECEMBER 2015

RHYTHM

For rhythm (figure skating coaches may call this “timing”, have the athlete do jumping jacks or jump over a line on a set pace. This pace may be set by a metronome, hand motion, verbal cue, or the beat of a song playing on the radio. In a group setting, the athletes may do synchronized jumping jacks, or another synchronized movement.

SPATIAL AWARENESS

Spatial awareness can be built by a variety of modalities. These include jump rope, agility ladder, Frappier footwork, and running backwards. They can also run backwards in a circle to create a more skating specific exercise. Focus on the accuracy of foot placement on all of these exercises.

Adjustment exercises require the athlete to adapt to changing conditions. Have the athletes shuffle right or left. Upon a cue, have them stop and balance on the outside ADJUSTMENT leg (outside edge) as quickly as possible. Then instruct the athletes to shuffle and stop on the inside leg (inside edge). Switch directions and balance leg in order to create an unpredictable environment.

PROBLEM SOLVING

Problem solving is accomplished by having the athlete think while moving. An example problem solving exercise is having the athlete jump three times forward and then twice backwards, and repeating. Or, tell the athlete to run through a ten-rung agility ladder in 15 steps, without skipping a rung, or stepping in any rung more than twice.

As the higher level athletes proceed into the mid-to-late offseason, advance them to speed, agility and quickness drills. Examples: Sprint, jump rope, dot drills, Frappier footwork and cone drills. Consider using a mix of “closed” drills and “open” drills. A closed drill is specific.

The athlete knows exactly what is expected of them, like a “Pro Agility Shuttle Run”.

An example of this is a “Mirror Drill”. Have two athletes face each other a few A nonfeet apart from one another. Have one programmed shuffle side-to-side. The other has to react open drill forces in order to stay nose-to-nose in front of the the athlete to other athlete. Think of this like a defensive adjust and react. player staying in front of their opponent in basketball, or a defensive back in American football trying to cover a wide receiver.

As the season approaches and peaking season is around the corner, make the coordination drills specific to figure skating.

• Have them perform a passé (back) spin with a checkout. • Make the athlete perform checkouts on an unstable surface. • Place ankle weights on them and perform twenty-five to fifty checkouts. Problem #5: How can I simulate my student’s programs off-ice with strength and conditioning workouts? Solution #5: What we are talking about here are peaking workouts. These should only be performed in-season and the weeks leading up to the athlete’s most important competition of the year. Approximately 90% of qualifying figure skaters ought to peak for the regional competition. Pre-juvenile and lower levels should not perform these workouts. Keep them focusing on basic skills. The peaking workouts must be specific to the elements and time of programs. The intermediate ladies short program, for example, is approximately two minutes long and contains six elements. • Create a circuit that simulates this. • Pick six exercises that require similar demands as the elements. • Complete each exercise for twenty seconds. • Make it simple so there is no lull between exercises. • Go from one to the next immediately, and in the specific order of the individual program.

In-season, complete off-ice jumps during the warm-up, and cool down with off-ice program run through (no jumping). Always end the workouts with static stretching. Last problem: Leading up to a competition, what should my athlete do when they are not engaged in skating activities? Last Solution: • Eat clean. • Drink at least half your bodyweight in ounces (60-plus ounces for 120-pound athlete) every day. • Lastly, the rule of thumb is: if you don’t have to run, walk. If you don’t have to walk, stand still. If you don’t have to stand, sit. If you don’t have to sit, lie down. If you don’t have to be awake, sleep.

Ken Kashubara is an NSCA Certified Strength and Conditioning Specialist. He is Chair of the NSCA Figure Skating Special Interest Group. He has been working with figure skaters since 2010 and has trained two different age group winners of the S.T.A.R.S. Program. As an athlete, Ken was a full scholarship football player at the University of Pittsburgh. He can be reached at sport_heaven@ yahoo.com

Do this for the long program as well. Still using the intermediate ladies short program example: A program could consist of: • Axel • jump combination • layback spin • step sequence, • jump • combo spin

A corresponding strength and conditioning routine could look like such: • one leg box jump • alternating leg box jump • off-line pivots • agility ladder • one-leg squat • holding combination spin positions on • an unstable surface

Some other exercises that could be used are: • slide board • pulling a strength band into (or out of ) an air position • quarter-half-full jumps • pre-jump position hold • simulated Axel takeoffs (no jump) • checkouts on an unstable surface • flexed arm hang, medicine ball twists • using a “Skate Spinner” • holding a weight vest at arms’ length and spin in a tight circle Include the Gassers cardiovascular endurance training from Solution #2. The athletes will not be happy campers during these workouts, but they will be in shape! The last hard workout should be seven to ten days before the event. As the event nears, complete mobility work, core stability exercises, no-jump program run through, and static stretching. As always, include a proper warm-up and cool-down. A typical warm-up progression is: • increase heart rate • calisthenics • joint mobility

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Education CAROL ROSSIGNOL, MD, MS, MG, MPD, MFF

Music and Choreography

A Little History BY GEORGE CRHA

oday, it is obvious that figure skating is inherently musical. This has been true ever since its beginnings in the nineteenth century, when it arose from the ballet as a formal discipline. Jackson Haines, the father of modern free skating, was a professional dancer. In his performances in Europe (1864-75), he skated to music in theatrical costume. Gradually, the technical elements became more developed as the compulsory figures came on the scene at the turn of the century. This detracted somewhat from a sense of the importance of music. As technical progress advanced still further with the more elaborate tricks, however, the need for harmony between motion and music began to be sensed. There is a symbiosis between the musicality of the performance and its technical excellence. It is only a measure of technical competence that gives the skater the ability to render a musical performance at all. When the performance goes further and it is truly at one with the music, then technical perfection virtually falls into place as a result. We can see this in a brief sketch of the history of music and choreography on the ice. Early this century, the famous Hungarian skater Lily Kronberger (world champion from 1908-11) performed a show in Vienna to the accompaniment of a military band. This was the first revelation of how strong the musical aspect could be in a performance. Choreography was non-existent; women wore long flowing skirts and muffs to keep their hands warm and as a result were also severely restricted in their movements. Little attention was given to music and virtually none to choreography in skating

“Choreography was non-existent; women wore long flowing skirts and muffs to keep their hands warm and as a result were also severely restricted in their movements.” 16

NOVEMBER | DECEMBER 2015

competitions until the 1930’s. The only exceptions to this were Sonja Henie and Karl (Karli) Schafer who, because of their unequalled talent, embodied the rhythm of their music. Henie’s costume, with her hemline above the knee and her free-moving hands, started a revolution: it was now possible for women to greatly expand their repertoire of movements and catch up with the male skaters, who were already wearing leotards. Even Henie and Schafer did not yet fully incorporate the musical motifs into their performances, however. After World War II, there was a surge in North American technical proficiency. The American Dick Button and the expatriate Czech Ajá Vrzanova (later known as Aja Zanova) embodied this new level of technical skill. Although technical evolution was very clear, the progress in music and choreography was not quite keeping pace. After the 1956 Winter Olympics, there was a skating exhibition in Prague. There I saw the American skater Tenley Albright, who had just captured the Olympic gold medal, introduce what many believe to be the first truly choreographic skating. I watched her competition perfor-

EDITOR’S NOTE:

World Figure Skating Museum & Hall of Fame

mance followed by her interpretation of the hit of the day, “Rock Around the Clock”. Deeply moved as I watched her, I realized for the first time that the musical potential of figure skating equals or even surpasses that of ballet choreography. What I mean by this is that while skating, like ballet, is a dance to the music, the skater’s speed and power in the glide over the ice gives her abilities to express the music in ways that a ballerina can never attain on a wooden floor. It is clear that Tenley Albright set the course for every figure skater who followed her. Before her, figure skating was just a sport. With her, it became a true art form, as all the great skating performances from that time forward confirm. As I watched Tenley Albright applaud Tara Lipinski and Michelle Kwan at the Nagano Olympics in 1998, I reflected that Albright’s exhibition in 1956 had paved the way for Lipinski and Kwan as well as for my own life work as a coach. Albright had impressed upon me for the first time that choreography is absolutely vital to figure skating excellence. Never having met her, I would like to thank her for being the greatest and best influence on my coaching career. This is part of George Crha’s forthcoming book “Figure Skating Is…” Born and raised in the Czech Republic, the son of a hockey player in the Czech elite league, Crha started skating at age 3 and was a hockey player until he switched to figure skating when he was 12. In 1957, after seven years competing as an amateur, he began a 10-year stint as a professional skater, working as many as 700 shows per year. He was part of the Vienna Ice Revue, performing all over Europe. Crha immigrated to Canada in 1967, a year before the Soviet takeover of Czechoslovakia, first settling in Montreal. He currently lives in British Columbia, Canada. CORRECTION to Cecily Morrow’s bio in the Sep-Oct issue:

“Mr. Lussi authorized Cecily to document his latest methods in the video series, Systematic Figure Skating” of which Volume IV is now available.

We received several letters to the editor regarding the article “Using Basic Physics to Avoid Injuries» by Cecily Morrow, which appeared in the September/October issue. PSA regularly receives articles from guest contributors. The opinions and views expressed by these contributors are not necessarily those of PSA. By publishing these articles, PSA does not make any endorsements or statements of support of the author or their contribution, either explicit or implicit. However, PSA did not place a disclaimer with the article which lead to confusion regarding some of the techniques offered in the piece. The article focused on the techniques of Gus Lussi who died in 1993 at the age of 95. At the time, Mr. Lussi’s techniques were considered groundbreaking. However, as with most innovations, those techniques have evolved in the years since his death. Even though the fundamentals regarding Mr. Lussi’s spin technique are still used today, his jump theories regarding triples and quads are not as relevant by today’s teaching standards. In today’s standard of Olympic level skating master rated coach Audrey Weisiger commented, skaters are taught to rotate as soon as possible and in a tighter position. Additionally, the drawings associated with the piece should have been corrected. Specifically, the back inside takeoff edge is not drawn properly on either the delayed Salchow or Salchow. Another commenter was Dr. Lee Cabell, Professor in the Health Science Department at Seton Hall University, and master rated coach. Here is a portion of his comments: As we know, Gus Lussi was a great coach producing many Olympic and World champions, and he was innovator at his time. For that he receives the full credit. However, the evolution of figure skating and jumping technique has caused to review his teaching with an eye that needs some modifications. We can compare it to the technique of tennis played in the 1960s and 70s when a forehand and backhand shots were played with an open and straight arm. Certainly we don’t see this today due to the fact that the game of tennis has become faster with harder shots. Tennis players use bent arms with a lot of spin which produces harder and more difficult shots. It is the same in jumping in figure skating = shorter, harder, faster, producing multiple-revolution jumps. From a biomechanical point of view there needs to be some clarifications. 1. Cecily: “Many skaters initiate rotation while jumping up, but only travel forward based on the amount of speed the have going into the jump. …you are left with vertical, angularly torqueing hops.” That is wrong according to Cecily. Cabell: A torque is necessary while a blade is in contact with ice. That is the only way to create an angular momentum which carries through the flight. That is how a necessary rotation is created. No need to focus on the arms and free leg positions during the take-off time, focus on the skater’s blade, ankle, hips and shoulders. That will determine the quality of the take off and the jump itself. 2. Cecily: “In contrast, a jumper who travels at speed over the ice on a gradual curve to take-off then initiates rotation upon ascent must fight the strong pull down and around of centripetal and gravitational forces from the moment he steps onto even a gently continued on page 18 PS MAGAZINE

curving take-off, many times leading to revolving around an axis, not quite over one leg, resulting in a myriad of problems on the landing." Cabell: It is absolutely necessary to take off from a curve. The skater cannot take off from a straight line and rotate. That is not possible if an angular momentum is to be created. The question is, how deep the curve and how fast (horizontal velocity) – that and only that will determine the quality of a multi-revolution jump.

PATTERNS FROM OVERHEAD

3.Cecily: “The unhinging of the leg and opening the arms actually completes the last three-quarters of the jump rotation, preparing the skater for a clean landing with increased speed”. RBO edge

Cabell: That is not possible in todays’ triple and quadruple jumps. Simply there is no air flight time for that. The skater tries to maximize the air time and land in the necessary closed position in order to complete the rotation. In quadruple jumps, a skater needs to complete two rotations before the apex of the jump and two rotations after. No time for a delay of rotation.

circle entry (for Salchow) with rotation

Jimmie, I truly believe some rectification is necessary to help our coaches to understand the jump technique. Strength and conditioning of our skaters is a must – not only to prevent the injuries mentioned in the article, but be able to execute these jumps. I am convinced that all quadruple jumps will be in a male program very soon and quintuples are around the corner.

LFO

Please use my name for these claims, our U.S. coaches need to know what is out here these days. Thank you, Lee, for your comments. It is our goal to provide the preeminent technical information available. As editor I make the final decisions regarding published articles. Generally, the PSA litmus test for technique follows three principals: Is it safe? Does it produce the required result? Is it efficient? I believed when I first reviewed the article that it met that criteria. In the future we will expand the number of peers that review the technical information to ensure that the material is of the highest current standard.

LBI

less distance RB landing

rink barrier

Rocker

LFO

LBO

BxRoL

LBI take-off

X rotation For the Salchow, Lussi recommended a delayed-rotation jump entry (against rotation direction)

greater distance

rink barrier

NOVEMBER | DECEMBER 2015

RBO landing

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THE SURVEY SAYS…

Comments from Nationwide Full Day and Half Day Seminars:

PSA would like to take a moment to address some of the most recent comments and requests from attendees at our Nationwide Seminars. We value our coaches' input and strive to make each educational event worth attending. In reviewing seminar surveys, there were a few common statements made that we would like our membership to note. We appreciate all who attend our educational events and your input. “Teach us what the passing standard is” or “Tell us what will pass or fail” Unfortunately passing standards vary from region to region, and even from judging panel to judging panel. The PSA’s belief is that, as coaches, we need to focus on our skaters mastering a skill or the root of a skill before testing, not looking for the minimum standards. –Ed.

The transistors were purchased for use at conference because of the large number of attendees, and many people are not able to get on the ice because they don’t bring their skates. When the Moves in the Field were changed in 2010, our Nationwide Seminars saw very large numbers of attendees and it was decided to send the audio equipment. There are a number of factors that are considered for the use of audio equipment at the PSA Seminar sites. Factors such as shipping costs, replacement of damaged equipment that is returned, the apprehension of speakers to use the equipment, and the size of the participant load are all taken under advisement before coming to a decision. –Ed.

Data from Seminar Evaluations FULL DAY SEMINARS:

• 94% were Highly Satisfied or Moderately Satisfied with their experience • 68% listed location as the most important factor when deciding to attend a PSA Full Day Seminar • The most common response for a seminar in 2016 were: • More presentations/topics • More IJS • More on jumps • More on spins • Business practices • Ice dance

“Have topics for new coaches”

HALF DAY SEMINARS:

The PSA Foundations of Coaching Course (FCC) is designed for new coaches or as a refresher for experienced coaches. You can find information on this program on the PSA website: www.skatepsa.com. Contact Barb Yackel at 507-281-5122 or byackel@skatepsa.com if you would like to host an FCC in your area. –Ed.

• 74% listed location as the most important factor when deciding to attend a PSA Half Day Seminar

“Test headsets before shipping” All audio and A/V equipment is checked before shipping to assure it is working. Sometimes there is a compatibility issue with A/V equipment, and there may be an interference issue in some arenas with the audio equipment. –Ed.

“Want ear buds no matter how few attending”

NOVEMBER | DECEMBER 2015

• 93% were Highly Satisfied or Moderately Satisfied with their experience

• The most common response for a seminar for 2016 was “make it longer, or a full day seminar” Jackie Brenner and Greg Maddalone at the Baltimore, MD, seminar.

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Fairfax Ice Arena Welcomes

Laurent Depouilly & Kalle Strid to our coaching staff

World & Olympic Coach

LAURENT DEPOUILLY Mr. Depouilly has had an extensive and successful career. As a Men’s Single skater for the French National team, he medaled four consecutive years while winning a Gold Medal in 1986. Laurent Depouilly’s accomplishments as a Coach and Competitive Figure Skater: • World and Olympic Coach • National coach for the French Federation of Figure Skating Minister of Sports • Director of the National Ice Skating Training Center for the Youth Team in Bordeaux, France • French National Champion • Skated in the Olympics in Sarajevo, Bosnia

World Coach & Choreographer

KALLE STRID Mr. Strid recently relocated from Denmark to the United States, where he was the Head Coach at The Skating Club of Copenhagen. He was the choreographer for the Danish and Swedish National Team and skaters in the World and European Championships. Kalle Strid’s accomplishments as a Coach and Competitive Figure Skater: • Swedish National Senior Team member • 2-time Swedish National Medalist • Coached at 4 World Championships and 5 European Championships • Worked on the ISU Nordic Development project with Brian Orser, Nobou Sato, Rafael Aratunian, Barry and Valerie Bartlett and Peter Johansson

To schedule a lesson with Laurent Depouilly or Kalle Strid, contact the Skating School Director Gary Cocuzzi, Email garyc@fairfaxicearena.com or Call (703) 323-1132.

FARIFAX ICE ARENA • 3779 Pickett Road • Fairfax, Virginia 22031 • www.fairfaxicearena.com PS MAGAZINE

BROADMOOR I

Skating Club

by Kent McDill | Photos courtesy of BSC

t’s 1938. Among the foothills of Pike’s Peak sits a beautiful stopping point for winter wanderers: the Broadmoor Hotel. Across a lake from the hotel location sat a building which was originally designed to house the resort’s riding academy. But in January 1938, that building was converted into a skating rink. Thus was born the

Broadmoor Ice Palace | PHOTO COURTESY The World

Broadmoor Ice Palace, which eventually became the Broadmoor World Arena, and then became home to the Broadmoor Skating Club. The Broadmoor Skating Club (BSC) celebrated its 75th anniversary two years ago, remembering its storybook beginnings and contemplating what it is today. The BSC has produced an incredible list of champions, world and national competitors, and was represented in the Olympics by none other than Peggy Fleming, as well as others. “It seems to me the overarching aspect making the BSC special and what enhances its reputation is the number of champions produced by the coaches there,” said BSC board member and coach Janet Champion, a winner of the Professional Skaters Association Lifetime Achievement Award. “We gain daily inspiration

Figure Skating Museum & Hall of Fame

LEFT: Colleen

O'Connor and Jim Millns at the 1976 U.S. Figure Skating Championships RIGHT: Lucille

Ash and Sully Kothman at the 1956 Olympics in Cortina d'Ampezzo, Italy

NOVEMBER | DECEMBER 2015

from the great skaters and coaches who have trained under the Broadmoor Skating Club banner.” “I could not be more pleased with what has occurred over the years at the Broadmoor,” said former club president Les Cramer. The Broadmoor Ice Palace opened on Jan. 1, 1938, and the featured skater that night was one of the most famous American skaters of that time, national champion Maribel Vinson. Later in 1938, a club was formed of the area’s figure skaters. The Pikes Peak Figure Skating Club was created, and among those involved were Jack Might and Patricia Veath. The two formed a pair team that performed regularly at the shows at the Broadmoor. It took just two years for Jack and Patty to earn the club’s first title, winning the Pacific Coast Championship in Junior Pairs (Might also won the Novice Men’s title in that competition). It was the first time the Pikes Peak club had its banner carried in any competition anywhere. According to the Broadmoor’s detailed 75th anniversary program, an Oakland area newspaper noted “They were so good the audience called them back for an encore at the conclusion of the meet.” When figure skating took hold on the West Coast, it did so in Los Angeles first, but the Pikes Peak Figure Skating Club was the region’s first club to have an official judge recognized by the United States Figure Skating Association. Wil-

Olympic champion and four-time world champion, Hayes Alan Jenkins, pictured in 1956

liam Warman was a member of the PPFSC, and was appointed to be in charge of carnivals and exhibitions for the USFSA. There is something to be said about the beauty of the facility created at the foot of the mountain. It took just three years after the creation of the Broadmoor Ice Palace for it to host its first competition, the Pacific Coast Figure Skating Championships,

marking the first time the competition was held outside of California. This time, Might and Vaeth won the Senior Paris event, while Vaeth and Patty Sonnekson won first and second, respectively, in the Junior Ladies event. Might, Vaeth, and Sonnekson went on to compete and win many medals, the first in the long history of what eventually became the Broadmoor Skating Club.

The shame of the story is that through all of their national titles (Might went on to compete with Margaret Field as a member of the St. Moritz Skate and Ski Club), all of the skaters from the late 1930s and first half of the 1940s were unable to compete for World titles due to the conflicts that became known as World War II. Likewise, the 1940 and 1944 Olympics were not held due to the war, further shading the PS MAGAZINE

legacy of the first best skaters from the Broadmoor. In 1945, Jack Might married, and his wife Ginny bore a son, Jack, and boy-girl twins, Debbie and Donnie. They represented the BSC name as well as the family name through years of competition in singles, pairs and dance. A third generation Might has also skated in shows for the BSC. In 1948, the PPFSC changed names, becoming the Broadmoor Skating Club (BSC). During the decade of the 1950s, the BSC was represented by both a U.S. National Champion and a World medalist every year, a record no other American club has matched. In 1950, the brother-sister pair team of Karol and Peter Kennedy became the club’s first National and World champions. They were also the first U.S. pair team to win a World Championship. In 1952, they were Olympic silver medalists at the competition in Oslo, Norway. Hayes and David Jenkins moved from Akron, Ohio, to Colorado in 1952 and railed at the Broadmoor, becoming club members at the time. Hayes was the U.S. National champion four times, with three of those times representing the BSC. Those same years, he won the World championships, and in 1956 he won the Broadmoor’s first Olympic gold medal at the games in Cortina

d’Ampezzo in Italy. After Hayes was done winning his titles, David went on to win three more, so the Jenkins won seven consecutive world titles between them. He took home the bronze the year Hayes won the gold in Italy, then won the 1960 gold himself in Squaw Valley, Calif. As photos of the area show, the site of the original Broadmoor World Arena could not have been more picturesque, so it is not surprising that the first national competition to be televised in the United States was in 1961 when the Nationals were held at the Broadmoor. Soon thereafter, tragedy struck the American figure skating community in the form of the plane crash that killed the entire U.S. World Championships team outside of Brussels. Like all skating clubs, the BSC had its skaters and coaches on that flight, including long time standard bearer Edi Scholdan. Every club in the country found a way to bounce back from that event. Thayer Tutt, president of the Broadmoor Hotel at the time, hired Hall of Fame coach Carlo Fassi to be the head pro at the World Arena to replace Scholdan. One of Scholdan’s young students, Christine Haigler, was a lifelong member of the BSC, and started training with Fassi when he arrived.

She earned U.S. National silvers in her career, and skated in the 1964 Winter Olympics in Innsbruck, Austria. But more famously, Christy Haigler became Christy Krall and began her long and successful career as a coach at the old Broadmoor World Arena, then moving to the new location. In 2013, Krall was named the PSA Coach of the Year. In 1965, one year after finishing sixth in the Winter Olympics in Innsbruck, Austria, Peggy Fleming and her family moved to Colorado Springs so she could train with Fassi at the Broadmoor. By 1967, she was representing the club in competitions, and won her Olympic ladies gold in 1968 at Grenoble, France as a BSC member. In 1976, the Olympics welcomed ice dance as a competition, and the BSC came home with the first bronze medal in that competition thanks to Colleen O’Connor and Jim Millns. Jill Trenary made the BSC her home in the late 1980s. Todd Eldridge won a World Junior Championship in 1988 as a BSC member. In the 1990s, Scott Davis won back-to-back U.S. men’s championships for the Broadmoor. In 1977, the Broadmoor Skating Club celebrated its love affair with figure skating, and showed off its beautiful location and club with

1960 Olympic team

David Jenkins was a two-time Olympic medalist (gold in 1960 and bronze in 1956), and a three-time world champion

NOVEMBER | DECEMBER 2015

The Broadmoor's first-ever national competitors, Patty Vaeth, Jack Might, and Patty Sonnekson in 1940

the Christmas Pops on Ice program. Legendary conductor Arthur Fiedler conducted the Colorado Springs Symphony for the show, which included on-ice performances by Fleming and Trenary as well as Dorothy Hamill, Janet Lynn, Robin Cousins, Brian Boitano, and Scott Hamilton. Now almost 40 years ago, that event still shines in the memory of club members who were in attendance. In 1994, the popularity of the

slopes of Colorado burgeoned, and the Broadmoor Hotel wanted to tear down the World Arena in order to create more hotel space. After a magnificent (and large) sendoff event that included a performance by Jack Might, the Broadmoor Ice Palace/ World Arena was torn down. “The old rink, and the Broadmoor Skating Club, are one and the same,” said Debbie Might, who grew up in the old building. “I cannot think of one without the other. The BSC was an integral part of our entire family’s lives. I loved growing up as a member of the Broadmoor Skating Club and all that it brought into my life.” In 1998, the new Colorado Springs World Arena opened and in 2015, it officially became the Broadmoor World Arena, again for the first time. “The three connected ice surfaces, two of which are devoted to figure skating all week, every week, is one of the most significant aspects of the Broadmoor World Arena,” said current BSC President John Lefevre. “Thus, the club attracts skaters who want to compete and win. The level

Author’s Note: Many of the details of this story came from an exhaustive history written by club members for the 75th anniversary. This story could not have been completed without that information.

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of accomplishment of our skaters is very high. We have 41 skaters going to regionals this year.” All good skating clubs and venues look forward as well as back. Lefevre said while he enjoys the fact that established skaters find their way to the Broadmoor, he wishes the club spent more time growing its own talent. “I would like to see the Club attract more low-level skaters so we can nurture them from the ground up,” Lefevre said. “Most skaters who come here have learned to skate somewhere else and come here because of our reputation, the level of skating, our success at competitions, our fine coaches, and the amount of figure skating ice available.”

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PS MAGAZINE

Announcing the

ISI & PSA CON

The odds are in your favor!

NFERENCES & Trade Show Back to Basics–

Essential Skating Skills and Personal Branding

May 31-June 4, 2016

Tentative List of Conference Topics

ON-ICE topics

• Fundamentals of Figures • Fundamentals of Pairs • Fundamentals of Skating • Fundamentals of Synchronized Skating • Fundamentals of Jumping • Fundamentals of Spinning

OFF-ICE topics • • • • • • • • • • • • • • • • •

Round Table – Everything PSA Newcomers Meeting Meet Your Area Rep & Meeting Special Skaters Classes USOC Pro Active Coaching Sport Performance Public Speaking Sport Science Resiliency and Strong Bonds Resume Writing and Interviewing PSA Membership Meeting ISI Section Meetings USOC Leadership Discussion Hockey Skating II Hockey Skating III How Coaches Grow Their Business with a Clear Personal Brand

• Choreography • Fundamentals of Ice Dancing • Fundamentals of Moves in the Field • Turns and Dance Steps • High Level Jumps • Hockey Skating II and III

• • • • • • • • • • • • • • • • •

How to Spot a Predator – Keeping our Kids Safe Physical Acting for Skaters Personal Branding Learning Curves on the Ice Positive Coaching Alliance Workshop for Coaches to Develop and Refine Their Personal Brand Coaching Policies in the 21st Century Intro to Doubles – No Trouble Music Editing How the FTC Ruling Affects Coaches In-depth IJS – Spins, Jumps, Step Sequences IJS 101 – The Basics Jumping Higher What Athletes Expect from Their Coaches Concussion Awareness IJS Question & Answer Session U.S. Figure Skating Sport Science

Get the Early Bird rate of $425 by February 1, 2016 and save $100 on your conference fee!

Cyber Monday

November 30, 2015 — $395

Early Bird

February 1, 2016 — $425

Advance Deadline

April 15, 2016 — $525

Standard Rate

After April 15, 2016 — $625 * Member rate listed — add $100 for non-member

You're in luck!

Don't miss our featured speaker

ON-ICE SESSIONS June 2

Rafael Arutyunyan

3667 Las Vegas Blvd South Las Vegas, Nevada (800) 919-7472

Las Vegas Ice Center

2015 Coach of the Year, World & Olympic Coach

Room Rate cut-off: April 29, 2016

Las Vegas, Nevada

9295 W Flamingo Road Suite 130

Monday 5/30

Tuesday 5/31

Wednesday 6/1

Thursday 6/2

Friday 6/3

Saturday 6/4

Rating Exams

Joint ISI/PSA Conference Opening with Keynote speaker

Rink Sessions at Las Vegas Ice Center

Conference sessions all day

U.S. Figure Skating Sport Science

Trade Show & Luncheon

PSA Conference Closing (noon)

2016 U.S. Open Competition

Conference sessions all day ISI/PSA Presidents' Reception

(8am-2pm)

Off-ice sessions at the hotel (afternoon) ISI/PSA Trade Show Opening & Cocktail Reception

PSA Awards Dinner

ISI Awards Dinner PS MAGAZINE

SAFESPORT Where your game plan starts Federal and State Reporting Laws Reporting laws reflect our community’s paramount obligation to protect children from maltreatment. While the requirements listed below are the legal minimums, we encourage you to take immediate action if you believe the health or welfare of a child is at stake. If you have any questions concerning reporting, you should also speak with your legal team immediately.

Federal Law Federal legislation—the Federal Child Abuse Prevention and Treatment Act (CAPTA) (42 U.S.C.A. § 5106g), as amended by the CAPTA Reauthorization Act of 2010—sets minimum standards for defining child abuse and neglect for those states that accept federal funding. Under federal law, the minimum acts or behaviors constituting child abuse and neglect by parents and other caregivers are: • “Any recent act or failure to act on the part of a parent or caretaker which results in death, serious physical or emotional harm, sexual abuse or exploitation”; or • “An act or failure to act which presents an imminent risk of serious harm.”

State Law As noted, whether to report child abuse and neglect under state law turns on several factors: What is “child abuse and neglect”? Although federal legislation sets minimum standards for defining child abuse and neglect, the definitions of

NOVEMBER | DECEMBER 2015

child abuse and neglect vary by state. It is thus critical that you work with your attorney to determine (1) what law governs your reporting obligations; and (2) what the law was when the alleged child maltreatment occurred. Who is required to report? Many states identify professionals who are required to report child maltreatment (“mandatory reporters”)—e.g., social workers and teachers. An increasing number of states have included coaches as mandatory reporters. Note, however, that who constitutes a mandatory reporter varies by state. In addition, several states also require any person who suspects child abuse or neglect to report, regardless of profession. Who is permitted to report? Your legal obligations may vary with your ethical obligations. For those states that do not require all persons to report suspected abuse or neglect, any person is permitted to report (“permissive reporters”). Be aware that certain professions also have their own professional codes of conduct that they must follow and that may affect how and when an individual may report. What is the standard for reporting? The circumstances under which a mandatory reporter is required to report vary by state. The DHHS summarizes two typical reporting standards, for both mandatory and permissive reporters: (1) “the reporter, in his or her official capacity, suspects or has reasons to believe that a child has been abused or neglected”; and (2) the reporter has knowledge of, or observes a child being subjected to, conditions that would reasonably result in harm to the child.” Again, work with your attorney to determine when you are required to or should make a report to a state agency.

Is the communication privileged? Some states identify when a communication is privileged, i.e., there is a right to maintain a confidential communication between a professional and their client or patient. However, this privilege is greatly restricted for mandatory reporters. For instance, states commonly provide that the physicianpatient privilege is superseded by the requirement to report child abuse. Will the report be anonymous? Most states permit anonymous reports. Will the reporter’s identity be disclosed? If a reporter does disclose his/her identity, many states protect the identity of the reporter from disclosure to the alleged perpetrator. In some cases, however, a reporter’s identity may be released (i.e., by court order or by waiver and/or consent). We also encourage the community to read more about abuse and neglect, familiarize themselves with the resources available to report abuse, and learn about the counseling and referral services that are available. • To read more about mandatory reporting, with a summary of state reporting laws, for state (toll-free) child abuse reporting numbers, and to search the definitions of child maltreatment by state, visit: www.childwelfare.gov • For crisis assistance, counseling, and referral services: Childhelp is a national organization that provides crisis assistance and other counseling and referral services. The Childhelp National Child Abuse Hotline is staffed 24 hours a day, 7 days a week, with professional crisis counselors. All calls are anonymous. Contact them at 1.800.4.A.CHILD, or visit www.childhelp.org.

Application Deadline: Must be RECEIVED by January 1, 2016.

Four scholarships will be awarded for the 2016 season and must be used for 2016 programs only.

APPLICATIONS AVAILABLE FOR THE

WALTER AND IRENE MUEHLBRONNER SCHOLARSHIP AWARD The Walter and Irene Muehlbronner Scholarship is available to PSA members for attendance at PSA education programs such as Rating Prep, Seminars, Workshops or the International Conference. SCHOLARSHIP DESCRIPTION In memory Walter Muehlbronner and in honor of Irene Muehlbronner, the Trustees of the Professional Skaters Foundation are proud to award the Walter and Irene Muehlbronner Scholarship. Scholarships are intended for the reimbursement of associated fees to attend PSA education programs. Up to four scholarships are awarded annually of up to $1000 each. These scholarships are intended for the development of coaching skills. Awards are based on dedication to coaching, sound character and ethical practices. Applicants must hold a Registered or higher rating in any discipline. ELIGIBILITY To be eligible for this scholarship, you must: • Be a full member in good standing of the Professional Skaters Association for at least one year • Hold a Registered or higher rating in any discipline • Proof of liability insurance • Completed CER Category A or B for the 2015-2016 season Race, religion, color, creed, sex and ethnic background are not considered in the selection of recipients. SCHOLARSHIP APPLICATION PACKAGE CONTENTS To apply for the Walter and Irene Muehlbronner Scholarship, complete the application package, including: • A completed Walter and Irene Muehlbronner Scholarship Application — www.skatepsa.com • A 500 word essay regarding your coaching philosophy and goals • A letter of recommendation from a peer coach • A letter of recommendation from a client Contact the PSA office for additional information or an application. The Professional Skaters Foundation (PSF) was founded to expand the educational opportunities of PSA members through a 501(c)(3) non-profit, charitable foundation. The Trustees of the PSF have developed several scholarship programs for its members through a selection process based on established guidelines and criteria.

PS MAGAZINE

2015 NATIONWIDE SEMINARS

“Fantastic! It’s my mission to get to a seminar each year from now on. It was such a motivating and inspirational experience. I feel more energized—less stagnant.” HOST A SEMINAR! Bring the knowledge, expertise, and passion of masterrated coaches to your area. Applications available online or email Barb Yackel at byackel@skatepsa.com BOSTON, MA NATIONWIDE SEMINAR

a i v i r T ontest C $525

value!

Be on the lookout for our fifth annual Trivia Contest with a chance to win a free registration to the 2016 ISI/ PSA Conferences & Trade Show in Las Vegas, NV.

Keep an eye out in your inbox for the chance to win!

Alisa Contreras won the PSA jacket raffle. Congratulations and thanks to everyone for a fantastic seminar! Presenter Kori Ade, Alisa Contreras, and co=hosts Linda Blount and Rebecca Stump

May 31, 2016

SoBe Arena, Las Vegas after the competition, join us for the isi/psa conferences & trade show 2015 U.S. OPEN COMPETITOR

Ashley Clark

NOVEMBER | DECEMBER 2015

The odds are in your favor!

W E E K LY T I P S

to keep you competitive

SEE THE WORLD and BE ON THE CUTTING EDGE of the skating world Team up with world-class skaters in a show that warms hearts around the world!

Feld Entertainment ® is seeking male and female skaters for U.S. and International tours of Disney On Ice. It is your opportunity to truly shine. Please send a skating resume, photos, a current video (3 – 6 min.) and all contact info to: Judy Thomas, Talent Director and Production Coordinator, Feld Entertainment 2001 U.S. Highway 301. Palmetto, FL 34221 USA

©Disney

Phone: (941) 721-1234 Email: jthomas@feldinc.com

Each week we will be revealing a new coaching tip from one of our fabulous PSA coaches! Look for Tip of the Week in our Community Updates that come out on the first and third Thursday of each month. Tip Tuesday will alternate weeks and will be posted on our Facebook page. You can find all of our tips on our YouTube channel ProfSk8rsAssoc

tiptuesd y PRO FE SSIO N AL S KATER S AS SO CIATIO N

PS MAGAZINE

What Does Adam Rippon Say? “Moxie.” That’s what the NBC announcers said when Adam Rippon opened his free skate at the 2015 U.S. Championships with a powerful and high-flying quadruple Lutz. And four minutes later, in addition to the quad Lutz, Rippon logged in two triple Axels, two triple-triple combinations, a polished and perfectly packaged presentation - and a standing ovation. “He’s been waiting a long time for this,” Johnny Weir said of the performance that vaulted him from fifth after the short program to a silver medal. Rippon hasn’t waited; he has worked. With coach Rafael Arutyunyan for the last three years and back to the Russian-based technique that he was first taught, Rippon earned second place at the 2012 U.S. Championships. Then things got tough—a fifth and eighth at the next two nationals. Bringing a new trainer on board, Rippon’s strength skyrocketed, he got his head on straight and he opened both programs with the quad Lutz. Focusing on adding footwork to the entrance of the quad and looking toward the 2016 U.S. Championships and qualifying for Worlds, Rippon talks hard work and discovering personal victories.

What drew you to skating initially? I was raised in northeast Pennsylvania and we have very hearty winters. My mom would take me skating every winter and I hated it. But then, the winter I was nine, I suddenly kept asking to go back, so my mom signed me up for group lessons for my birthday and I loved it. Before then, if she was dragging me along, all I’d care about was whether I could get a hot chocolate and a soft pretzel. But,

NOVEMBER | DECEMBER 2015

once I started learning, I really got into it. Plus, I was always drawn to the performance aspect of skating.

Day in, day out—what keeps you motivated? I always, always set goals for myself. In the past, it was hard for me to identify my personal victories, but I have become very good at using my past bad performances to improve. I am always asking myself, ‘Am I moving forward?’ You spent your early skating career with Russian coaches (Yelena Sergeeva, followed by Nikolai Morozov), then went to Brian Orser, followed by Jason Dungjen and Yuka Sato. Now you are with Rafael Arutyunyan, a Russian coach. Is there something about the Russian style of training that works well for you? I’ve had the best of both worlds and I bring a little of what every coach has taught me to the table. My first coach was Russian so my basics were based in Russian technique. American technique bases things on being straight and in line and Russian technique bases things on a circle. Because I started that way, I think I identify more with that way of skating and I think I thrive with that technique. You’ve had several coaching changes. Looking back at that experience, what are some things you would say you have learned something from the coaches you have worked with? From my first coach Yelena, I learned really good, solid basics, which are so important. From Nikolai, I learned how to adapt to any situation so it wouldn’t affect my skating. From Brian, I learned the value of a positive attitude and to keep the atmosphere light, even though the training itself is serious. Knowing how to do that can get you through the hard days. Jason and Yuka really helped me with trusting myself under pressure so I know that when the lights are on and the judges are watching, I can hit the elements. Rafael has tied all of those things together and made it so I can take those tools and work harder and get stronger and better. Rafael told me in a previous interview that he oftentimes gets his skaters when they are

By Terri Milner Tarquini |

PHOTOS BY VICKI LUY

in desperate need of help. What did he bring that clicked with you so that you have won two U.S. silver medals under his tutelage? One of the funniest and truest things Rafael ever said to me was that his skaters come to him like he’s an emergency room. Ashley (Wagner, also an Arutyunyan student) couldn’t get the triple-triple and her coach, John Nicks, was retiring. I had been injured and hadn’t skated much over the summer and I was heavy and not really sure where I was headed. I just put myself in Rafael’s hands and trusted him. I felt pretty low so I was fairly open to just letting go and making changes. It’s interesting, Ashley was the oldest lady at the last U.S. Championships and, at this year’s U.S. Championships, I might be the oldest male. When you’re older, you can sometimes get into a routine and it can be hard to change, but Rafael is continuously pushing us to go past what we thought we could do. Rafael said he believes in a process where programs in practice are so difficult that competition seems easy, thereby preparing his skaters for just about anything. Does this work for you? I just got off the ice from doing a long program where the second half had a triple Axel and two triple-triple combinations. Anything can happen in a competitive program, but when you are prepared for anything, there’s no reason to panic. Especially the last part of last season, I had no qualms I could do everything. Your signature move, called the “Rippon Lutz” is a triple Lutz with both arms over your head. Was there any inspiration from Brian Boitano? Well, I was doing it with just the one arm overhead and I was working with Brian Orser and people would always say how funny it was that a student of his was doing the Tano Lutz. We heard it so often that I just thought, ‘I bet it I can add another arm.’ I tried it on a double and almost died, but then I got it. So then I tried it on a triple and almost died again. But then I worked on it all summer and I got it.

Most of your competitive career has been under the IJS system. How do you make it work for you? My personal view of the IJS is that they are always striving to make it better. I do think it can somewhat inhibit you from being creative, but sometimes when you are inhibited, it can push you and force you to even higher levels of creativity. With regards to the GOE, I think it could perhaps have a broader spectrum, say a -5 to a +5, just so there’s more reward for those elements that are truly worthy. I think it would be great if the level of spins could be eased up on some. Rather than changing position every two revolutions, it can show more mastery to just hold a position. There are some amazing spinners out there where that would look so good. I also think that the program component score doesn’t reflect the presentation aspect as much as the presentation mark from the 6.0 system. It seems to still be a little technical-based, which makes for the performance aspect of a program to not be taken as seriously as the technical aspect. But with IJS, in the end, you know what the rules are and you try to play them to your advantage. Is there something that you can point to that you feel has been pivotal to your success as a skater? Besides working with Rafael, who has taken my skating to a new level, I had a real turning point in my career last season. I was very down on myself and struggling. I didn’t know what I wanted to do and I felt uncomfortable at competitions and like I didn’t belong. Then I started working off the ice with trainer Denys Petrov. He worked me like a dog. Every single day. I was working so hard that I started to feel that I deserved to be great at my competitions. I stopped being so worried about the results and the outcome. When you put that much into it, you can’t be upset with how you do and you can’t have regrets. Last year, at the 2015 U.S. Championships, I had a small step-out of my quad Lutz and

did a triple Axel and a triple Lutztriple toe and I felt great about my performance, but I found myself in fifth place. In the past, I would have felt like, ‘That’s not fair.’ But I stopped and realized that I worked so hard that I needed to take a moment and be proud of what I had done because I did have a great skate and it did feel so good. I had to give myself that. And, after that, Rafael saw that I still had the fire within me. I decided to take my career by the throat. I have worked too hard to fade out.

What words of wisdom have really stuck with you? I have worked with some of the best coaches in the world and I hear their words all of the time in my mind. I really think it mostly comes down to this: “Put your head down and focus on your own training. Do everything within your own power to be the best you can be.” If you do that, then you have to leave the arena proud. What is your favorite move to perform? This is not the answer I would have given three years ago, but now I’ll say it’s the triple Axel. A good triple Axel is big and powerful and it just flies.

2015 U.S. Figure Skating Championships

If there was one thing about the sport you could change, what would it be? (Laughs) It would be great if everyone thought that my triples were quads. How would you describe your journey in the skating world so far? I’ve had a long journey. It’s been a learning process, but I feel like life is a learning process and I’ve learned so much about myself from skating. I think I’d describe it as joyful and great and hard and very, very rewarding.

2015 U.S. Figure Skating Championships

PS MAGAZINE

Legal Ease DAVID SHULMAN, MFF, MP

WANTED

A Lawyer to Provide Real Answers for Real Coaches Who Are Having Real Legal Problems

SA member coaches have made clear: when they want me to provide answers to their legal problems, the answer(s) must be given quickly, accurately and in language they can understand. Coaches are requesting that I provide explanation of the law, how to avoid legal problems in the future, and suggested action to favorably conclude the current problem confronting them. The law in question typically involves a business practice, or contract with a coach/parent/student. Beware of the person or business on the other side of the bargaining table telling you, “No need to get lawyers involved, just sign here.” Or the person who tells you, “Our lawyer looked it over and said it was okay for you to sign...and if you wish to ask her/him any questions, here is the phone number for you to call.” If this offer is made to you, give any excuse, and depart the premises NOW. You are about to become somebody’s lunch! Now some practical answers. Last month in the article, “Names and labels are important,” I discussed filing a complaint should the employer be mislabeling. A clear case of mislabeling is when an employer assigns the coach jobs, such as stocking rental skates, clean up, ticket taking. Such jobs are usually done by a rink employee who is on payroll, and has numerous benefits. Likely you are under a contract where you claimed, and all parties agreed, your status was as independent contractor and made no provision for benefits. If discussing this situation with the manager has brought no change, it is time for to take action. “The Fair Credit you The U.S. Department Reporting Act (FCRA) of Labor has a Wage and Hour Division (WHD), responsible for was enacted to promote administering and enforcing laws the protection of workers. The accuracy, fairness for WHD can be contacted at 1-866and preservation of 487-9243 or on the web www. wagehour.dol.gov. This is a place privacy of information to start. And remember, you are in files of consumer looking to have the benefit and protection offered an employee, reporting agencies.” when doing work as an employee.

NOVEMBER | DECEMBER 2015

FAIR CREDIT REPORTING ACT

A law was passed several years ago that has become very important to persons using credit. The Fair Credit Reporting Act (FCRA) was enacted to promote accuracy, fairness and preservation of privacy of information in files of consumer reporting agencies. Medical history, credit bureaus, rental history, check writing records all are considered by the FCRA as businesses covered. You have rights under the FCRA. Why should you care? Your credit history controls what you can borrow from banks. What you can buy on credit from a store. It can even affect how you are treated as a patient in a medical facility. This is a partial list of rights you have: • You have a right to request a credit score. This is a number summarizing an estimate of your credit worthiness. • You have a right to one free credit disclosure every 12 months from the three nationwide credit reporting agencies. See www.consumerfinance.gov/ learnmore • You have a right to demand and have corrected false or inaccurate information. If you are victim of credit fraud or identity theft, you must file a notice with police. You must file to have a fraud alert on your file. • You have the right to deny access to your credit records to all persons or business. Be aware most businesses will only deal with you if given permission to check you out. You do have the right to limit what can be sought. If having trouble with credit, get a written report of what is the problem. You will likely need the services of a lawyer if faced with unreasonable dealers, landlords, and bankers.

STATEMENT OF OWNERSHIP, MANAGEMENT & CIRCULATION (Required by 39 U.S.C. 3685) Title of Publication Date of Filing Frequency of Issue Office of Publication and General business of the publisher Editor Owner

3006 Allegro Park SW, Rochester, MN 55902 Jimmie Santee The Professional Skaters Association 3006 Allegro Park SW, Rochester, MN 55902

Extent and Nature of Circulation

A. B.

Total number of copies Paid circulation 1. Outside county subscriptions 2. In-county subscriptions 3. Sales through other carriers 4. Other classes mailed through USPS Total paid distribution Free distribution—samples, complimentary & other Total free or nominal rate distribution Total distribution Copies not distributed Total Percent paid Electronic Copy Circulation a. Paid electronic copies b. Total paid print copies + paid electronic c. Total print distribution + paid electronic d. Percent paid (both print & electronic)

C. D. E. F. G. H. I. 16

Are you—or is someone you know—looking to build their coaching career?

The Professional Skater - PS Magazine #574-770 October 2015 Bi-monthly, 6 issues annually, $19.95 annual subscription rate

Average No. copies each issue preceding 12 months 5446

No. copies of single issue published nearest to filing date 4783

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Foundations of Coaching Course A professional development course for both new and experienced coaches The Professional Skaters Association’s Foundations of Coaching Course is a full day of intensive instruction on and off-ice over introductory strategy to successfully navigate the world of coaching and optimize your teaching potential. Register online at www.skatepsa.com

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PS MAGAZINE

New

Welcome coac hes!

MEMBERS NEW MEMBER SPONSOR Connie Achtenberg Jordan Alexander Stephen Alonge Sarah Anderson Margret Anderson Roberta Bailey Cerene Belli Brien Bennett Lucy Berger Sequoia Bernard Alexandra Berti Stephanie Betts James Black Victoria Black Andy Blair Kimberly Bodine Karina Bohorquez Bobbi Borsellino Kallie Bosman Brooke Brannon Remington Burghart Christy Byers Shauna Cagnoni Elisabeth Carlson Shannon Carmody Jaclyn Cartwright Stephanie Casagrande Samantha Cesario Daniel Chambers Xiangyu Chen Elizabeth Chitjian Tiffany Chung Rebecca Clark Megan Cordle Kimberley Culp Wendy S. David Emily Day Katherine De Angelis Katelynn DeGroot Tisa Della-Volpe Laurent Depouilly Kaitlyn Deroy Brian Derryberry Nicole Doeringer Jenna Evans Ashleigh Falcione Leah Farzin Elizabeth Feldman Michele Felix Kirk Forbes Tamy Frank-Cannon Heather Frazier Kristina Fritz

Brandon Forsyth Janice Benoit Jacki Munzel Paul Paprocki Amanda Pearson Roberta Bailey Heidi Thibert Molly Moskowitz Ikaika Young Jerry Santoferrara Tisa Della-Volpe Kathy Wainhouse Mallory Wetherington Mallory Wetherington Rebecca Hatch-Purnell Danette Trett Jennifer Houghton Heidi Richetelle Cindi L. Ezzo Janae Thomason Rory Flack Rebecca Hatch-Purnell Richard Swenning Tammy Liptak JJ Beck Tammy Jimenez Carter Jones Mary Lynn Gelderman Mark Janoschak Jimmie Santee Elizabeth Smith Sarah Sherman Jenna Mckenzie Mary Anne Willamson Paul Paprocki Wendy David Christine Binder Kimberly Berry Tanya Street-Burgess Tisa Della-Volpe Audrey Weisiger Angie Lien Julie Patterson Lisa Reibly Lee Cabell Kris Shakarjian Pam Leary Patti Snyder Ken Congemi Amy Evidente Megan Jonasson Laura Handy Jill Cipresso

NOVEMBER | DECEMBER 2015

NEW MEMBER SPONSOR Dylan Furlano Elena Gonzalez Wes Goodwin Kristen Gough Hannah Graff Rose Grant Kaitlin Haney Athena Haritatos Rebecca Hatch-Purnell Teresa Hedges Megan Hines Jill Holste Christine Hotchkin Christine Husar Janet Janysek Emma Jobson Ann Kane Molly Kerr Katie Klaus Madeline Kuhn Daniel Kulenkamp Jordan Kurry Theresa Lampe Jaqueline Laniado Jordan Lee Blythe Leonard Christine Long Natasza Lorentz Katherine Lotzer Emily Lucas Jacqueline Lupinacci-Mooney Divada Mallet Allison Markowitz Oliva Marlinski Jessica Marrone Kelsey McFarland Lauren McHenry Lydia McMullen Roni Miskell Lissette Mora Ramos Grace Moyer Heidi Munger Timothy Murphy Emma-Kate Murphy Rachel Nelson Mikayla Nelson Mackenzie Neuendorf Mary Nguyen Kelda Nolen Moe Okuda Alexandra Pannepacker Joann Perahia Elona Popova

Hilary Eberle Martine De La Torre Marianne Parker Melissa Parker Vriner Tammy Jimenez Tommy Brannen Kyle Mcyntyre Leslie Deason Rebecca Hatch-Purnell Erika Hoffman Liz Egetoe Kristen Hemstreet Peter Sasmore Britni Kelly Stacy Shoeman Heidi Thibert Andrea Kunz-Williamson Christina Bryant Wronkowicz Lisa Grasso-Hartly Danette Trett Doug Ladret Nicole Turay Liz Uhler-Helvey Leslie Deason Heidi Sullivan Karla Atwood Sara Robertson Amy Malachowski Lynda Schrader Marina Guterres Jen DeJohn Pam Kaminsky Danielle Ostower Robyn Marlinski Cathryn Schwab Toni Hickey Janet Ford Wendy David Kyle McIntyre Jennifer Houghton Angela Roesch Davis Peter Johansson Bobbe Shire Cathryn Schwab Lori Brakke Cassandra Joyce David Redlin Jana Raisner Elizabeth Egetoe Brittney Podolsky Amber Hartman Serguei Soukhanov Lisa Menotti

NEW MEMBER SPONSOR Aubrey Pratt Gunda Pretzel Eric Pringle Marina Provenzano Elizabeth Pujolas Katelyn Rizzo Shaun Rogers Caroleena Rosenberg Cassandra Ruiz Alexandria Sais Laurie Sanii Alexandra Sargent Amanda Secord Julie Shaull Maggie Shi Samantha Shiring Leah Short Heidi Siedenburg Dana Sivak Caitlyn Smith Ashley Smith Marissa Spivack Rachel Spoto Emily Spradling Samantha Stevens Caroline Summerlin Julie Szczygielski Connor Tasker Stacey Tiggard Devan Tighe Karen Tong Jessica Tuzinowski Dezarae Vazquez Teressa Vellrath Hannah Vertin Emily Vogel Christina Walczak Alison Waner Kellee Weiner Samara Wendel Ashante Wheatley Erin Whynot Christine Wojno Karen Wolcott Heather Wright Zhi Xue Yang Jackie Yin

PATRON Dick Button Madison Byers Bryan Mullen

Amber Hartman Nick Kraft Kimberly Cole Stahle Teresa Yuengert Michelle Webber Rockne Brubaker Sean Rice Kathy Elias Irina Delgado Josh Babb Jackie Brenner Peter Sasmore Danette Trett Kerry Murphy Skokie Skatium Deborah Leitner Jones Steven Hartsell Shawna Barber Paul Askham Candice Brown Amanda Farkas Cheryl Smith Lisa Nowak-Spearing Britni Kelly Kristen Hipolito Nani Tanaka Caroline Summerlin Craig Bodoh Bridget Kaus David Redlin Carla DeGirolamo Laurie Krein Amy Pisz Randy Trabing Brenda Handra Elizabeth LaBurn Rosie Hanson Brittany Smith Choeleen Loundagin Lisa Mizonick Patty Delisi Jodie Maier Kristin Curran Deanna Willmarth Caroline Summerlin Lynda Hathaway Ikaika Young Brittnay Anderson

Young Artists Showcase 6! We’re also proud to announce – Grassroots To Champions & Champion Cords & Champion Skating Harnesses will be sponsoring YAS6! Make sure you follow at: www.YoungArtistsShowcase.net

Sheila Thelen PRESIDENT – Champion Cords PRESIDENT – Champion Skating Harness EXECUTIVE DIRECTOR –

We can’t believe it’s already YAS6! I remember when Audrey Weisiger pitched this artistic/choreographic project to me… (I thought it was truly innovative and genius.) Have you followed all the seasons?

Grassroots To Champions

Email me – your favorite program from any of the YAS seasons – I’ll send a FREE SET of Champion Cords to the first 10 emails! Sheila@ThelenInc.com

Champion Cords are endorsed by the PSA! Order yours at www.ChampionCords.com • www.ChampionSkatingHarness.com • www.SkatePSA.com PS MAGAZINE

CALENDAR

EVENTS

JANUARY Date: Location: Event: Time: Contact: Credits:

January 19-21 (tbd) Area 10 St. Paul, MN Oral Rating Site at the 2016 U.S. Figure Skating Championships Days and Times to be determined PSA Office 507-281-5122 or byackel@skatepsa.com Register online at www.skatepsa.com 1 PSA credit per oral exam taken

Deadline:

December 1, 2015

FEBRUARY

Date: Location: Event: Contact: Credits: Register:

Friday, February 22 Area 13 South Suburban Family Sports – Centennial CO ISI District 12 Instructor Seminar [ Debbie Lane debbie.lane82@gmail.com PSA pre-approved credits ISI

MARCH

Date: Location: Event: Contact: Credits:

March 17-18 Area 16 Courtyard Marriott Hotel, 5835 Owens Ave, Carlsbad CA 92008 760-431-9399 Room rate $125 + tax Oral Rating Site at Ratings Prep [Thurs 8am-8pm, Fri 8am-12:15pm] PSA Office 507-281-5122 or byackel@skatepsa.com Register online at www.skatepsa.com 1 PSA credit per oral exam taken

Deadline:

Oral Rating Exams January 18, 2016

Date: Location: Event: Contact: Host: Credits:

March 18-20 Area 16 Courtyard Marriott Hotel, 5835 Owens Ave, Carlsbad CA 92008 Rink - Icetown, 2283 Cosmos Court , Carlsbad CA 92011 Airport – San Diego CA Ratings Prep [Fri 1-6pm, Sat 8am-6pm, Sun 8am-12:30pm] PSA Office 507-281-5122 or byackel@skatepsa.com Register online at www.skatepsa.com Leslie Deason ldeason@icetown.com 28 PSA credits

Deadline:

Prep Deadline February 17, 2016

NOVEMBER | DECEMBER 2015

Please vis www.ska it tep for the co sa.com mpl Calendar ete of Events

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M AY Date: Location: Event: Contact: Credits:

May 30-31 Area 16 Planet Hollywood Resort & Casino, 3667 Las Vegas Blvd. South, Las Vegas NV 89101 Oral Rating Site at 2016 ISI/PSA Conferences PSA Office 507-281-5122 or byackel@skatepsa.com 1 PSA credit per oral exam taken

Deadlines:

Oral Rating Exams: March 15, 2016

Date: Location: Event: Contact: Credits:

June 1-4 Area 16 Planet Hollywood Resort & Casino, 3667 Las Vegas Blvd. South, Las Vegas NV 89101 and Las Vegas Ice Center, 9295 W Flamingo Rd Ste. 130, Las Vegas NV 89147 2016 ISI/PSA Conferences & Trade Show PSA Office at office@skatepsa.com or 507-281-5122 28 - 35 PSA credits

Deadlines:

Cyber Monday: November 30, 2015 Early Bird Deadline: February 1, 2016 Advanced: April 15, 2016

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