SEPTEMBER/OCTOBER
2016
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2016 Coaches of the Year VERA ARUTYUNYAN, NADEZHDA KANAEVA & RAFAEL ARUTYUNYAN
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SEPTEMBER/ OCTOBER 2016
COLUMNS 2
Over the Edge
4
President’s Message
6
Ratings
8
SafeSport
| Jimmie Santee | Christine Fowler-Binder
| Tom Hickey | U.S. Figure Skating
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Sport Science
12
Education
22
Real Life Coaching
24
Legal Ease
FEATURES 14
2016 PSA Coaches of the Year
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National Skating Month
20
What Does Piercyn Hunt Say?
23
Technique Matters – In Risk Management Too
| Kent McDill
| Terri Milner Tarquini | Terri Milner Tarquini | ESIX
| Heidi Thibert
| Carol Rossignol | Bob Mock
| David Shulman
DEPARTMENTS 7 13 26
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Rating Exams Passed Obituary New Members PSA Calendar of Events Elizabeth Thornton | Editor/Advertising Carol Rossignol | Contributing Editor Amanda Taylor | Art Director
Issue No 5 #ISSN-574770 |
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Coaches–good luck in the 2016-2017 competition season! Find, Friend, Follow
» COVER Award winner Nadezhda Kanaeva in Las Vegas, June 3, 2016, by PSA. Inset group photo courtesy of U.S. Figure Skating.
PS MAGAZINE
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OVER THE EDGE Jimmie Santee, MPD, MG
The Necessity of Change
I
f you were to do a Google search of the oldest companies of Fortune 500, only 13 of the businesses have been around for more than 150 years. The longevity of these businesses is a testament to their continuous adaptation to economic conditions, innovation, and the demand for their services or products. One of those companies is Macy’s. Rowland Macy had failed several times until he opened R.H. Macy’s in New York City in 1858. Over the next 158 years, Macy’s grew, contracted, merged, acquired competitors, filed bankruptcy, and yet is still as relevant today as it was in 1858. Change is inevitable. So are challenges and opportunities. At about that same time Macy’s was established, skating had become one of the most popular forms of winter recreation. Millions of Americans skated and skating was proclaimed by one magazine as the “National Winter Sport”. Demand created opportunities and with opportunities came challenges. One man, Jackson Haines, took skating from winter recreation to one of the greatest winter sports. Having unfulfilled dreams of skating in the U.S., Haines left for Europe. As an innovator, in 1865 developed the two-plate “Change is the law of Haines all metal blade by forging the skate blade life. And those who to the toe and heel plates. The blade was attached directly to Haines' boots, which look only to the past added stability and allowed him to do more athletic leaps and jumps. He was or present are certain credited with being the first to have toe picks, skate to music, and inventor of the to miss the future.” sit spin. Haines is generally known as the father of modern figure skating. – JOHN F. KENNEDY With the popularity of skating exploding, more changes were necessary. In 1914, George Browne of The Skating Club of Boston organized the first International Figure Skating Championships. The competition was promoted by the International Skating Union of America with the specific intent of promoting Haines’ International Style and to standardize rules and events. A direct result of that effort was the creation of The United States Figure Skating Association in 1921. Over the next 50 years, skating adapted and changed to fit the needs of the community. In 1959, at the request of the Illinois Recreation Association, Michael Kirby and several Chicago area rink operators met to discuss the difficulties of maintaining a rink and of attracting and retaining customers. There were several issues that were consistent. On public sessions, patrons skated in circles and quickly became bored. There was no national learn to skate program, making it difficult for skaters to progress to the club level should they choose to. The meeting led to the creation of the Ice Skating Institute of America. By 1964, the ISIA Alpha-Beta-Gamma Recreational Skater Program launched. In response USFSA authorized Robert Ogilve, a PSGA professional, to write the book, Basic Ice Skating Skills, which was published for the USFSA in 1968, to coincide with the launch of the new Basic Skills program. Since then, both organizations’ learn to skate programs have grown and
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PSA OFFICERS President First Vice President Second Vice President Third Vice President Treasurer Past President PSA BOARD OF GOVERNORS West Mid-West East Members at Large
Committee on Professional Standards Ratings Chair Seminar Chair ISI Rep to PSA U.S. Figure Skating Rep to PSA PSA Rep to U.S. Figure Skating Executive Director Legal Counsel 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 Ethics and Legal Nominating Professional Standards PSA Rep to ISI Ratings Special Olympics
Christine Fowler-Binder Alex Chang Rebecca Stump Tim Covington Carol Murphy Angela Riviello Phillip Mills Todd Sand Teri Klindworth Hooper Patrick O'Neil Tim Covington Robyn Petroskey-Poe Cindy Sullivan Jason Dilworth Carey Tinkelenberg Kelley Morris Adair Robbie Kaine Tom Hickey Don Corbiell Scott McCoy Ben Miller-Reisman Kelley Morris Adair Jimmie Santee David Shulman Tim Covington Angie Riviello Rebecca Stump Don Corbiell Tom Hickey Rebecca Stump Gloria Masterson Leous Paul Paprocki Bob Mock Heidi Thibert Jamie Santee Christine Fowler-Binder Angie Riviello Carol Murphy Patrick O’Neil David Shulman Angie Riviello Robbie Kaine Gerry Lane Tom Hickey TBD
PSA AREA REPRESENTATIVES Area 1 Martha Harding Area Area 2 Anne Marie Filosa Area Area 3 Lee Cabell Area Area 4 Tim Covington Area Area 5 Angela Roesch-Davis Area Area 6 Kevin Curtis Area Area 7 Liz Egetoe Area Area 8 Melanie Bolhuis Area Area 9 Lisa Bardonaro-Reibly
10 11 12 13 14 15 16 17
Stacie Kuglin Brigitte Carlson-Roquet Sharon Brilliantine Tracey Seliga-O’Brien Lisa Mizonick Don Corbiell Josselyn Baumgartner Gloria Leous
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. 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, Emai: office@skatepsa.com © 2016 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.
The Joy of Coaching adapted, often mimicking each other’s best attributes. Today, while users of each program point out the differences of each program, the reality is that much of what is voiced is inaccurate. These two programs have the same goal—to promote skating as a healthy and fun lifetime activity. Additionally, U.S. Figure Skating has the duty as the national governing body to produce Olympic and World Champions. But those are less than 1% of its members. The largest demographic of U.S. Figure Skating is their Learn to Skate USA members. Now finally, onto the point… it’s time. It’s time to find a way to have one national learn to skate program. It’s time to bring together the LTS/Recreational competitions to allow every skater in the U.S. to participate in any and all competitions in whatever capacity they wish. We need give skaters one simple path to either the qualifying or recreational competitions. Great skating directors and coaches will still be great regardless of the program. We have been wasting money for too long duplicating services, especially when together we can give a better and more affordable experience to our skaters. Both competitive and recreational skaters can have the opportunities to participate in one organization, thereby saving money and increasing opportunities. History has shown us that when there is a need, someone will stand up, lead and forge a new direction. It’s time for the presidents of U.S. Figure Skating, ISI, and PSA to re-envision the future just as Jackson Haines, George Browne, Michael Kirby, and so many did before.
“The Joy of Coaching is about you and who you are as a coach today. It is about your coaching heritage, your skating DNA and where you sit in the coaching family tree.” ~ Bob Mock, PSA President 1994-1999
Educational Credits Reminder To keep a rating active, affidavits for 28 or more credits in the previous three years are required to be on file with the PSA office. A maximum of 16 credits can be from another organization, including U.S. Figure Skating CERs. The remaining 12 credits be from a PSA event: State Workshops, Nationwide or Half Day Seminars, Ratings Prep, Foundations of Coaching Course, Conference, and the E-learning Series online. New this year — after completing the CER requirement for a season, any additional CERs are counted as PSA credit. If you have questions about your educational credits please contact Ann at amiksch@skatepsa.com or 507-281-5122.
Order your copy at www.skatepsa.com
PS MAGAZINE
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PRESIDENT’S MESSAGE Christine Fowler-Binder, MPD, MG
Olympic Excitement I
’m sure many of you enjoyed watching the 2016 Summer Olympic Games. My family certainly did. It bonded us together every night in front of our Vizio TV—no distractions, no phones, no video games—with only our little family, the athletes, and their stories. Every night we would watch anxiously to see who would compete their best. I was certainly a little more tired at my 5am lessons during those 18 days! I think as figure skating coaches, we are naturally drawn to watching elite level athletes in any sport go for the gold. There were definitely two moments that really made an impact on my family. Maybe it›s because Michael Phelps is from our home town Baltimore that made us feel we had a connection with him, but what Michael accomplished over his career is almost unfathomable. He achieved 28 Olympic medals, 23 gold medals, countless records (both world & Olympic) and at these games it wasn›t the medals and records that defined him. It was his journey that made these accomplishments so special. What made his success at the 2016 Olympic Games possible was his ability to turn his life around and re-dedicate himself to his sport and his passion. He certainly had a natural talent to be the best, he was gifted with a physique to swim, but he still had to fight his own mental obstacles to become the best he could be at these Olympic Games. He fought depression and had to turn negative events around in his life to prove to himself and to others that he deserved to compete and win again. Every time he raced, we all rooted for him, because he represented the good in our world. He represented hope for everyone who battles with life›s ups and downs. He displayed focus and perseverance, he never gave up on his pursuit for perfection. All of our skaters can learn something from this: when you fall down, get back up and try again. Another moment that I will always remember about the 2016 Games is our women's gymnastics team's gold medal win. Displaying grace under pressure, our girls achieved the unthinkable, outscoring their opponents by more than eight points and winning their second consecutive Olympic title. These women were physically prepared and mentally tough. They supported each other, cheered through every exercise, and praised each other unconditionally. They
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competed as a team, competed for our country, and showed us all how teamwork can accomplish the biggest goal. We, as skating coaches, use teamwork every day to help our skaters. Skating may be an individual sport on the surface, but it takes a team (athlete, coaches, parents, and trainers) to succeed. It was refreshing to spend those 18 nights with my children sitting next to me on the sofa, screaming at the TV as loud as they could, as if they were there in person. Their bright minds and young hearts truly embraced the spirit of the Games. It was amazing to witness how sports can bring people together from all over the world, within our country, and even in my own family. So thank you to all of the athletes who competed in the 2016 Summer Olympic Games for allowing us to be part of your journey. I can't wait until Pyeongchang 2018 Winter Olympics!
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\mi-nē-skûrt\ noun
RATINGS Tom Hickey, MG, MPD
The Masters' Master By tOM MCGinnis
F
rom the moment my new Christmas hockey skates hit the winter ice in New York City’s Central Park Lake, I loved skating! I had only strong legs and a good eye as I proceeded on to public rinks, figure skates, and then skating clubs. While skating at the Brooklyn Junior Figure Skating Club, I met Helen Mekalaines Oak, who taught me edges. We formed a pair and entered my first competition, the Middle Atlantics. We placed first in junior dance, third in senior pairs—and I won novice men. There was no turning back after that! In place of club sessions, we used public sessions and luckily, NYC was blessed with six performing ice shows. The pros practiced on public ice too. They were a kind, helpful bunch, always sharing knowledge, encouraging us to take ballet and acrobatics, so I did. Like my friend, Sonya Klopfer Dunfield, I studied with and am indebted to Bill Chase, who taught skating, and John Roach, who taught ice dancing, as well as the NYC Broadway Dancing Schools. One summer, my skating pal, Nicky Powers, who was in the Roxy Theatre Ice Show, retired from the show to do an adagio act. He suggested I replace him. I was accepted! Roxy was a magnificent movie house and a professional skating mecca with ice shows between movies four times a day. The experience at Roxy was great! During rehearsals I hung with Tony Bennett, the show star at the time, and Mel Torme. Between shows, I worked in the ballet room with Roxyettes, and outside the theatre I attended many Broadway pro dance classes. Every three or four weeks, the show changed with the movie and we met a new choreographer, always Broadway’s best, such as Toni Charmoli, Chester Hale, Don Arden, and Ron Fletcher. While there, I had the pleasure of riding the back stage elevator with Marilyn Monroe, as she made a stage appearance to promote her film, Niagara. After Roxy, I spent five years with assorted ice shows and became lead soloist with Holiday on Ice with South and Central America and USA venues. In between shows, I returned to NYC, danced on TV and Broadway, toured with Pajama Game, and even starred in an aquatic show at the World Fair- Aquacade- with the Duke Ellington Band. All these experiences were later supportive of my master choreography rating.
Returning from shows, I taught winters in Philadelphia and summers in Lynn, Massachusetts, where I met Maribel Vinson Owen. She hired me to assist her, teaching her students free skate and choreography. My summer job led me to the Skating Club of Boston, where I still am.
My Big Break Maribel commissioned me to choose music and choreography for her daughter Laurence's last two senior ladies' programs. I did and she became the U.S. Champion in 1961. This led to Mrs. G. Hanlon of Boston, asking if I would teach her daughter, Lorraine Hanlon. I agreed and she won the Senior Ladies' Championship in Long Beach, CA in 1963. I became coach of record for this win and was now feeling good about my coaching career. Maribel was a supporter of the PSA and she insisted that I too should support it. Once I learned of the PSA Rating System, I was thrilled to be judged to PSA standards. I hoped to see if I had the skill to become a successful coach. For good business relations, I recognized accreditation from a professional organization was better than self-promotion. I was correct—and finished with all ten master ratings! At the Skating Club of Boston, I was asked to choreograph and direct the annual Ice Chips shows, as well as give private lessons. With an abundance of capable adult skaters there, I created a successful adult synchro team, the Bostonians, as well. It continues to this day. In those early days at the Skating Club, with partner, Jo Barnum, I became the first coach to pass the U.S. Figure Skating gold pair test, as well as the first professional to pass the gold figures and free style tests.
continued on page 9
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Recently Passed
RATING EXAMS Congratulations to the following coaches who passed the Basic Accreditation (BA) written rating exam in the PSA E-learning Academy: PSA E-Learning Academy Melanie Greene Julia Hardin Daniel Kulenkamp Rostam Mahabadi Amanda Ng Katherine Pareizs Camille Pitman Elena Rodrigues Amanda Secord Bethany Shinn Simon Shnapir
Congra
t
coachuelastions !
Congratulations to the following candidates who passed a rating exam: San Diego, CA | July 27, 2016
Las Vegas, NV | May 30-31, 2016
Alicia Carr RG, CS, RM Katilyn Churchill RS, CS Louise Kapeikis RM Paul Kapeikis RFS Jacqueline Laniado CG Ashley Lasater CG, RFS Rostam Mahabadi RG Rachel Miller CG
Lynn Witt CS Farah Cleary CM Kelly Takemura RFS
Congratulations to the following coaches who received a Foundations of Coaching (FCC) certificate at the following sites: Dubuque, IA ~ April 17, 2016 Kelly Christensen Abigail Clark Katelynn Degroot Alexandra Haguewood
Cheyenne Mueller Ashley Owen Sarah Prentiss Tammy Remakel-Ryan
Katherine Spurgeion Jocelyn Theisen
Christopher Hyland Katherine Jaessing Emily Jarzabek Deanna Joyce Elizabeth Kelly Leslie Kirchler-Owen Sarah Kohout Kendall Lownds Tracie Miller Kristen Morgala Emily Murdach Jennifer Myzia Amira Olingou Jennifer Paske Caitlin Pieroni Michaela Pieroni Danielle Renucci Caysie Reuter
Jana M. Reynolds Seth Reynolds Jennifer Sallade Megan Schultz Kathy Sliwinski Melissa Smoler Becky Spillar Nicole Steffensen Julia Sudie Stacey Tiggard Martha Torres Jola Wesolowska-Mantilla Cecelia Wisner Veronica Zancho
Niles, IL ~ June 26, 2016 Molly Anderson Sandy Atkielski Abigail Brainerd Jillian Bronson Candice Brown Victoria Burden Stephanie Chapman Rebecca Clark Angela Como Hannah Cooney Maura Drew Alexandre Fadeev Nora Gettins Angleina Giuliano Rebecca Goldstein Henk Green Hannah Hamwi Lauren Hancock
PS MAGAZINE
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SAFESPORT
Physical Misconduct How to Recognize, Reduce, and Respond to Physical Misconduct
What you need to know to protect athletes Almost all sport involves strenuous physical activity; in practices and competition, athletes regularly push themselves to the point of exhaustion. however, any activity that physically harms an athlete—such as direct contact with coaches or teammates, disciplinary actions, or punishment—is unacceptable. Physical misconduct can extend to seemingly unrelated areas including inadequate recovery times for injuries and diet. Two of the best ways to promot safe conditions are to set clear boundaries and take a team approach to monitoring athletes.
Definition
• Prescribed dieting or other weight-control methods (e.g., weigh-ins, caliper tests) without regard for the nutritional well-being and health of athlete Non-contact offenses • Isolating an athlete in a confined space (e.g., Locking an athlete in a small space • Forcing an athlete to assume a painful stance or position for no athletic purpose (e.g., requiring an athlete to kneel on a harmful surface) • Withholding, recommending against or denying adequate hydration, nutrition, medical attention or sleep
Physical misconduct involves contact or non-contact behavior that can cause physical harm to an athlete or other sport participants. It also includes any act or conduct described as physical abuse or misconduct under federal or state law (e.g., child abuse, child neglect, and assault).
Exceptions Physical misconduct does not include professionally accepted coaching methods of skill enhancement, physical conditioning, team building, appropriate discipline or improving athlete performance.
Examples of Physical Misconduct Contact offenses • Punching, beating, biting, striking, choking or slapping an athlete • Intentionally hitting an athlete with objects or sporting equipment • Profiding alcohol to an athlete under the legal drinking age (under U.S. law) • Providing illegal drugs or non-prescribed medications to any athlete • Encouraging or permitting an athlete to return to play prematurely or without the clearance of a medical professional, following a serious injury (e.g., a concussion)
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"Two of the best ways to promote safe conditions are to set clear boundaries and take a team approach to monitoring athletes."
RATINGS continued from page 6
I took leave from the SCOB to direct a new Learn to Skate program at the Charles River Ice Center. The experience led to my group instructor and program director master ratings. Then I returned to the SCOB and my private lessons there just as Lynn Benson took a sabbatical from Haydenettes. I succeeded her for two years, working with all the Hayden teams, eventually earning a master synchro rating. To my surprise, Ice Capades called to offer me a position as principal coach and associate choreographer to the stars. I commuted from the SCOB to Ice Capades on tour with three performing units for seven years. Life with the Capades was fun. I worked with Peggy Fleming, Scott Hamilton, Dorothy Hamill, Charles Tickner, Tai Babilonia and Randy Gardner, Barbara Underhill and Paul Martini, Ron Shaver, Lynn Nightingale, Don Knight, Downing and Whiting, and many others. I learned a great amount concerning coaching from Director, Bob Turk, and Choreographer, George Foster (choreographer to the Carol Burnett TV show). I became a World Team Coach four times with pair teams, Gilbert and Lewis, Olympic Team Alternates, and Botticelli and Franks. I also became a Canadian International Coach with Matthew Hall.
Off ice, I also am pleased to have co-founded the International Figure Skating Magazine with Mark Lund. We struggled to produce the magazine and only with the help of Mark Lund’s mother, Eleanor, were we able to succeed. In summary, I am grateful to have been in the right place at the right time, born in Manhattan where all my passions could be encouraged on ice, in theatre, in dance, and all leading to a rewarding and long lifetime of skating. I should like to thank all the brilliant teachers whom I have met in the worlds of skating, dance, and drama and hope that others will be as fortunate as I have been. Coaching and collecting my ratings have rewarded me well. The highlights have been being elected to the PSA Hall of Fame, receiving the PSA Lifetime Achievement Award, and being announced as a nominee to the U.S. Figure Skating Hall of Fame in 2011 and 2012. Above all, I should like to thank all the wonderful people I have taught and still teach, from world competitors to beginners, young and old, who have taught me so much in return. From your students, you shall be taught.
Minneapolis/St Paul
PS MAGAZINE
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SPORT SCIENCE Heidi Thibert, MFS, MM, MC
Different Figure Skating Disciplines and S.T.A.R.S. B y l i n d s ay s l at e r
F
igure skating is a unique sport that requires the grace and flexibility of a dancer, the endurance of a soccer player, the power of a basketball player, and the quick feet of a tennis player. Although many of our athletes are now involved with strength and conditioning programs, the way we train skaters tends to be uniform. A figure skater is a figure skater. This is not the case in most sports. Think about the way athletes train in soccer; a goaltender has a different conditioning regimen than a midfielder. In football, a linebacker conditions differently than a quarterback. This doesn’t mean a linebacker is less of an athlete; a linebacker is a different type of athlete who requires a different set of tools in his toolbox compared to any other position on the field. The same concepts apply to figure skating. Different skating disciplines require different physiologic and performance characteristics. A single skater requires different tools than a pair skater, ice dancer or synchronized skater. Singles and pair skaters require the power for triple and quadruple jumps, while pair skaters and ice dancers require more upper body strength to complete difficult lifts, and synchronized skaters require a combination of strength, endurance, and flexibility. So, how do we train skaters in specific disciplines? For starters, all competitive skaters should be involved in some sort of off-ice conditioning program with a knowledgeable sport performance trainer (look for certifications like the CSCS). This is important for both maximizing performance and minimizing injury risk. For example, a skater who is working on double and triple jumps needs to be able to jump high enough to complete a clean jump but also needs the ankle, knee, hip, abdominal, and spinal musculature strength to attenuate the forces properly during landings. As demands and loads increase (i.e. increased program time or increased number of jumping passes in programs), strength must increase as well. Figure skaters should be tested at regular intervals to measure these strength gains. The easiest way to measure progress is through participation in the Standardized Testing of Athleticism to Recognize Skaters (S.T.A.R.S.) program run by U.S. Figure Skating. The S.T.A.R.S.
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Amber Glenn demonstrates oblique and core strength in the side plank assessment in Dallas, TX
program is a compilation of 15 valid and reliable off-ice tests, similar to combines that professional athletes in football, baseball, and hockey complete annually. The S.T.A.R.S. program measures agility, strength, power, and flexibility. It is important to note that performance on individual S.T.A.R.S. assessments depends on skating discipline. High level (junior and senior) singles, pair skaters, and ice dancers tend to perform best on agility assessments, including the hexagon jump, the t-test, and tuck jump assessments. Singles, pair skaters, and ice dancers also demonstrate higher vertical jumps compared to synchronized skaters. This indicates that agility and power development should be a staple in conditioning programs for singles skaters, pair skaters, and ice dancers. Not surprisingly, ice dancers and pair skaters also need more upper body strength, as evidenced by superior performance on push-up and hand press assessments. Therefore, along with agility and power, ice dancers and pair skaters must also incorporate upper body strengthening into off-ice training regimens. Increasing upper body strength often involves progressive overloading of the musculature, meaning that a gradual increase in the amount of weight your skaters are lifting
2016 PSA/U.S. FIGURE SKATING PIETER KOLLEN SPORT SCIENCE AWARD The Pieter Kollen Sport Science Coaching Award is presented to a coach who utilizes scientific techniques and/or equipment as an integral part of his/her coaching methods and/or is involved in research, publication, and education in the areas of sport science and medicine as it relates to figure skating and coaching. The 2016 nominees: • Erica Bateman • Lee Cabell • Lindsay Slater - Recipient
Aleksei Krasnozhon tests his agility with the hexagon jump
allows for continuous strength gains without causing serious muscle hypertrophy. Although all skating disciplines require flexibility, high level singles and pair skaters tend to perform best on the seated reach and the splits, while high level ice dancers and synchronized skaters tend to perform best on the stork pose with eyes closed. Singles and pair skaters may need increased flexibility for increasingly demanding spiral and spin positions while ice dancers and synchronized skaters likely require greater proprioception and body awareness when skating perfectly in sync with others. One of the most interesting differences on S.T.A.R.S. performance based on skating discipline is that senior level synchronized skaters perform very well on agility and endurance assessments. In fact, senior level synchronized skaters often outperform senior singles, pair skaters, and ice dancers. Synchronized skaters may need to be a jack-of-all-trades, considering the sport requires a level of expertise in aspects of all other skating disciplines. There is gap, however, between novice-junior synchronized skaters and senior synchronized skaters. This indicates that novice and junior synchronized skaters need to be participating in off-ice strength and conditioning programs that focus on developing agility and endurance so that these skaters are better prepared for the transition to senior synchronized skating programs. The bottom line is that all competitive skaters should be involved in off-ice strength and conditioning to supplement on-ice training. These strength and conditioning programs should be designed according to skating discipline, similar to any other sports that design training regimens based on position. Not all figure skaters are the same, and it is essential that training programs consider skating discipline to maximize performance.
Lindsay Slater started her journey in sport science as a student at Miami University studying exercise science while competing on the national championship collegiate synchronized skating team there. Upon completing her degree and thirsty to acquire more knowledge, she went on to complete internships at U.S. Figure Skating and the USOC. She became heavily involved with the U.S. Figure Skating S.T.A.R.S. program by anchoring combines around the country. Her most recent work includes a study titled, "The Difference in Agility, Strength, and Flexibility in Competitive Figure Skaters Based on Level of Expertise and Skating Discipline" recently published in the Journal of Strength and Conditioning Research. Currently, she is working with U.S. Figure Skating on future implementations of athlete screening and testing both with S.T.A.R.S. and International Selection Pool (ISP) athletes to help identify injury risks and imbalances. She is currently pursuing her doctorate in Sports Medicine at University of Virginia, where she is also the head coach of the collegiate figure skating team and coaching youth athletes in the DC area.
Past Recipients of the Pieter Kollen Sport Science Award Mitch Moyer 2004 Kathy Casey 2005 Kat Arbour 2006 Debbie Pitsos 2007 Christy Krall 2008 Heidi Thibert 2009 Heidi Thibert 2010
Christy Krall 2011 Kat Arbour 2012 Christy Krall 2013 Melissa Parker Vriner 2014 Diane Miller 2015
PS MAGAZINE
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EDUCATION Carol Rossignol, MD, MS, MG, MPD, MFF
To Be a Selfish Choreographer or Not:
That is the Question! by Phillip Mills, MC
T
hroughout the years, I have choreographed for almost every type of music there is and have tried to interpret the composer’s music in the style they intended. This is an artistic obligation most choreographers feel to all composers. When choreographing a specific ballet, the authenticity of the movement is pivotal in how the program is approached. If I am doing a Broadway show and have not seen it, I research the show to keep the movement authentic to the style of the choreography from the show. Choreography is an outward expression of an inner thought, idea, inspiration or replication of a past, present or future specific genre of movement. Movement can be set to music or presented in silence. The question remains: does the choreographer produce his or her work for the betterment of the skater, or for the betterment or enjoyment of themselves? There have been many programs done for so many successful skaters who have been through the choreographic process under both motivations. I tend to choreograph with the composer, skater, and audience in mind. Ultimately, the choreography is for the judges and the audience who partake in the experience. In the dance world, the choreographer is king. The choreography is strictly the interpretation of the choreographer’s vision. The dancers are not considered unless a specific dancer is used as the muse of a choreographer. In skating, however, the choreographer’s challenge is to keep the composer’s intent in mind while carving out a program that best suits that particular skater’s strengths. We have additional obligations to the rules governed by the International Skating Union, the technical panel, and the judges who will be giving the marks, which can make or break a skater’s result. Many things can inspire and evoke choreography from a choreographer. I am personally inspired by art, dance, color, music, children playing, leaves falling or blowing in the wind, or the mood and emotions of the skater I happen to be working with at that time. Every choreographer has had prior experience in their careers, which affects the choreographic expression they
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use. Having been a professional ballet dancer for over thirteen years, I find my center for movement in the classical genre. Sneaking off from American Ballet Theatre School to take a class at the Martha Graham School or Phil Blacks Dance Studio certainly helped me with contemporary and jazz movement. Dancing in the operas and operettas in Germany exposed me to many different styles of music and character movement. In choreographing a contemporary piece like the Jackson Pollock short program I created for Ashley Wagner, I used one of his paintings to motivate the line and design of the choreography. Like George Balanchine, the legendary choreographer for the New York City Ballet, neoclassic movement is simply movement motivated solely by the composer’s music with no specific character in mind. Mr. Balanchine was clear that if it’s a polka, make it a polka. If it’s a blues, make it a blues, and so on. I follow this advice to a tee. I always express to the skaters I am working with that there are selfish and unselfish performers as well. The selfish performer cares not what the audience and many times judges think; they just want to embark on the journey of their program and if you choose to observe and go along for the ride, then so be it. The unselfish performer loves skating first for the audience and second for the judges. You can see how they reach out to the audience judges and television cameras to bring you in to share their journey. The question is which path the skater will choose. Can you tell whether the choreographer’s work or the skater’s performance you are observing is delivered selfishly or unselfishly? Does it really matter what their motivation is? Or is there a bigger issue such as what are they trying to say to you? What ultimately matters is if the message, feeling and meaning of the program are clear and inspiring. Phillip Mills is a World and Olympic Figure Skating Choreographer. He has had skaters at 23 World Championships and five Olympic Games.
OBITUARY
Rita (Allan) Lowery | MFF, MS, MC, SP,
SD; Level VIII Ranking
November 9, 1927 – July 28, 2016
Rita Lowery passed away on July 28, 2016 in Mentor, Ohio at the age of 88. She was born in Scotland and became a talented figure skater and dancer. She performed dance at the Windmill Theater and throughout Europe, before her figure skating career took her all over North America. Rita's passion for figure skating touched and influenced many figure skaters over her lifetime. Her choreography and music was always inspirational and reflected the personality of each skater. Sharon Rogers, a former student of Rita’s said, “Rita made everything better. It didn't matter what had gone wrong, how difficult the situation or how painful the hurt. Rita saw the positives. No one surpassed her as a gracious hostess and few matched her in any endeavor she decided to tackle. While she recognized weaknesses in people, she preferred to celebrate their strengths. She didn't indulge in self-pity and ensured those she was mentoring saw its pointlessness. To this day I can still hear her say ‘Oh, shake yourself!’.” Rita's figure skating pair team (Jill Watson & Peter Oppegard) earned a bronze medal at the 1988 Olympic Games in Calgary, Canada. She was an honorary member of the PSA and served as a rating examiner for PSA. Rita is the beloved mother of Scott (Barbara), Kristan (Todd) Waggoner; loving grandmother of Kristopher and Nicholas Lowery, Eric, Kyle and Drew Waggoner; sister of Herbert and George Allan; loving aunt, great-aunt, great-great-aunt and friend to many. She was preceded in death by her husband, David, sister, Kathleen Price, and brother, Malcolm Allan. A graveside service was held August 4, 2016. Rita will be sorely missed by all who knew her. Information gathered from the Cleveland, Ohio newspaper “The Plain Dealer” July 31, 2016.
Nashville conference & trade show
May 24-27
2017
Angelo W. D’Agostino
February 26, 1963 – May 26, 2016
Angelo W. D’Agostino of Palm Springs CA, formerly of Glen Ellyn, IL, age 53, passed away in Palm Springs, California in May 2016. After winning the pewter medal at the 1986 U.S. Figure Skating Championships, he won the 1986 NHK Trophy. He was the 1985 Danubius Thermal Trophy champion, 1987 Grand Prix International de Paris silver medalist, and 1988 Skate Canada International bronze medalist. After retiring from competition, D’Agostino performed in ice shows, including Ice Capades, Nutcracker on Ice, and U.S. Open. He worked as a coach, choreographer, and Dartfish motion analysis specialist in the Chicago area. He also spent twenty weeks a year on cruise ships installing casts, directing, and choreographing for Willy Bietak Production’s ice shows.
Find your coaching rhythm
in music city www.skatepsa.com
PS MAGAZINE
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2016 PSA COACHES OF THE YEAR
Nadezhda (Nadia) Kanaeva, Rafael Arutyunyan, and Vera Arutyunyan at the 2015 PSA Awards Dinner
By Kent McDill
T
he first time he won the Professional Skaters Association Coach of the Year award on 2015, Rafael Arutyunyan was shocked that he had been selected. The second time, he was ready for it. And he had one demand, as perhaps befits a two-time and back-to-back PSA Coach of the Year award winner. “When they were nominating me as Coach of the Year, the biggest issue was, I said ‘I am not only by myself’,’’ said Arutyunyan, 59. “There is a team of people who work together. I told them I will not come (to the induction ceremony) until you put all of my coaches’ names on the award.” So, for 2016, the PSA Coach of the Year is actually a team of coaches: Arutyunyan, his wife Vera, and assistant coach Nadia Kanaeva, a former Russian national team skater. Arutyunyan becomes the fourth coach since 1990 to win the award multiple times; Frank Carroll and Igor Shipilband have won the award three times each. The Arutyunyan team (an unofficial title; Arutyunyan doesn’t have a name for them as a group) earned the
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award thanks to Ashley Wagner’s thrilling silver medal at Worlds and Adam Rippon’s U.S. national title this year. Arutyunyan’s desire to see his coaching mates honored as well is a result of the teamwork exhibited within the coaching framework they use. When it was suggested Kanaeva was the primary choreographer for their skaters, Arutyunyan denied it vigorously. “No! No! No!’’ he said in a telephone interview with PS Magazine. “She is not! That is wrong. “We are all together on the ice all day long,’’ he said. “There is no separation of duty. I do choreography as well. When I work, they contribute to my job as well.” Kanaeva, while expressing her thrill to receiving “my first big thing”, agreed with her former coach. “I think it is fair,’’ she said about the team being awarded rather than just Arutyunyan. “I do the same things as Rafael and Vera. We have known each other for a long time. “I think this is good for other teams, too,’’ she said. “It is very hard if you work by yourself. I am happy to work together with them. Many times, there is a team of
coaches working together.” Arutyunyan, in fact, described himself as much as an administrator for the team of coaches. “They are, separately, very, very good coaches,’’ Arutyunyan said. “They work on jumps and spins, everything. We are together and having success, and that is why I wanted them to be congratulated along with me.” Wagner, the three-time U.S. national champion and bronze medalist at the 2014 Olympic Games, pulled off a true victory at the Worlds by coming in second to Evgenia Medvedeva of Russia. After finishing third at Nationals in 2016 behind Gracie Gold and Polina Edmunds, and after landing in fourth place following the short programs at Worlds, Wagner had the highest free program score ever recorded by an American woman, 142.23, pulling herself up to second place overall and the silver medal. “Nobody expected her to do that well,’’ Arutyunyan said. “Nobody expected her to get gold. Whenever you are going to get gold, you must always be top three, for one or two years at least, and she never got to the podium before. Nobody was giving her credit she would get to the podium, and then she got silver. “If she trains like she did this last year and says ‘I want to win another medial, and another’, then there will be a
chance to expect gold,’’ he said. Adam Rippon finished sixth at Worlds. Nathan Chen, the 17-year-old U.S. National bronze medalist who landed four quadruple jumps in the free skate portion of that competition, did not compete at Worlds due to injury. Arutyunyan gave credit to Wagner’s maturity (she turned 25 years old in May) for her showing at Worlds. “Older skaters, who went through many many different things, now they are completely under my control and listen to me very well,’’ Arutyunyan said. “ I think that is why Ashley’s performance was so strong at nationals and at Worlds. She can be one of the best. Now she knows what she needs to do.” At the time Arutyunyan won his first Coach of the Year award, he was transitioning from the East West Ice Palace in Artesia, Calif., and did not have a home ice arena in which to work. That situation solved itself in late June when he announced he would be setting up shop at The Rinks in Lakewood, Calif., which is also the training facility of the Anaheim Ducks of the National Hockey League. “It is incredible,’’ Arutyunyan said. “I got what I want, something I work so hard for. It is a new responsibility, and I will try again to prove we have a good team and our skaters are good skaters.”
PS MAGAZINE
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National Skating Month BY TERRI MILNER TARQUINI
T
he first step on the road to a successful rink or club is getting potential skaters in the door and on the ice. The second step is for the fun factor to be very high. But how best to go about those two things is the question programs around the country ponder every year when they are looking ahead toward January and planning for National Skating Month. “Typically our NSM event has been two hours long with free open skating and an exhibition by six to 10 of our club skaters of varying ages and levels,” said Jessie Garavaglia, a coach who has helped with the NSM activities for the Valley Figure Skating Club in Wisconsin. “Club skaters, high school team members, and coaches volunteer to help during the open skate, and board members and other parents coordinate welcoming participants, providing them with their U.S. Figure Skating goodies, and getting rental
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skates. There are also parents in the lobby answering questions about Learn to Skate, our annual ice show, competition, and figure skating in general.” NSM can also be a great catalyst to extend the event’s reach beyond the confines of the ice arena. “We have free skating lessons throughout the month on our smaller rink,” said Jenny Gwyn, Skating School Director for Extreme Ice Center in North Carolina, and 2015 U.S. Figure Skating’s Outstanding Director national award recipient. “We also host an ice show in honor of skating month and each season a different charity is the benefactor. Last season, one of our skaters had been diagnosed with diabetes and she was raising money to get herself a service dog. We named the show “Madison’s Mission” and proceeds went to the Juvenile Diabetes Foundation. It also gave her an outlet to share her story, bring awareness and focus on the
disease. National Skating Month is a great opportunity to focus on needs in the community and how skating can be a part of it.” Whatever the size of the event being tackled, information dissemination is key. While the general logistics of, say, soccer seem to be somewhat well-known to the general public, what goes on inside the confines of an ice rink is often fairly mysterious to many potential consumers. “The biggest thing is getting the word out and convincing people to come into our facilities and give it a try,” said Jackie Ashley, coach at the Bremerton Figure Skating Club in Washington, who has been involved in her rink’s NSM planning and events. “And, once they’re there, the rink provides informational fliers and programming information. There’s a club table with all of the U.S. Figure Skating giveaways. We want to give them all sorts of information so
they can join.” U.S. Figure Skating provides posters, Basic Skills magazines, brochures, gloves, skill cards, stickers and other swag that can include such items as chapstick, balloons, skateshaped notepads, zipper pulls, and tissue to interested rinks and clubs. “Recently, what we offer for National Skating Month is a powerpacked promotional hour,” Ashley said. “There is one hour of public skating and we have helpers in club jackets to assist skaters and run classes that are being offered on forward skating, backward skating and a class on turns and spins. We’ve also incorporated higher level skaters demonstrating more advanced moves.” Often, however, the planners for a club’s NSM events must take into consideration what is available and what is doable. “Pulling this off partially depends on what the facility is willing to provide as far as amount of ice time or possibly even offering free ice time to pre-registered skaters,” Ashley said. “We’ve done tours of the rink, off-ice classes, and free private lessons with coaches.” Which, of course, means having all parties on the same page is not only beneficial, it is imperative. “Communication is essential— between the facility and the organizers, between the organizers and the helpers, and between the persons directly interacting with the target group and the group themselves,” Ashley said. “There should be a common goal and a clear succinct messaging.” Once the lines of communication are established, that’s when the real teamwork must begin.
“Having a lot of off-ice and on-ice helpers has been the most important thing for us, since they help the participants have an enjoyable experience and answer a lot of questions,” Garavaglia said. “This year our rink also helped promote the event, which resulted in a much bigger turnout than we've had in the past. The line for rental skates was out the front door of the rink! Promotion has been our biggest hurdle, so involving the rink management more and utilizing social media have been very helpful.” Drumming up interest has to be a central focus so skaters will come and check out what’s going on at their local rink. “We do coupons, social media, hand outs and, of course, word of mouth is always helpful too,” Gwyn said. “We have ‘Try Skating’ and ‘Try Hockey’ events and we go into the schools and do off-ice skating and hockey education. At the conclusion of the week, we hand out fliers with coupons and information, which brings the skater’s in to try out the skating or hockey opportunities.” Getting skating in front of the masses has gotten more challenging. “There was a time when skating was everywhere every time you turned on your television,” said Laurie Winkle, a Seattle coach. “Unfortunately, because of what the public finds to be a confusing judging system, we don’t have TV to be our advertising anymore so this is our only route. We have to give skaters that come in the rink a positive experience when they visit so they want to come back.” Winkle’s idea for coming back is immediate: she’d like interested new skaters to keep returning, not just for
future classes or lessons, but during the month of January itself. “I would love to see children coming together with more advanced skaters and possibly even working toward a small production of something like Lion King or Peter Pan during National Skating Month,” said Winkle, who skated with Holiday on Ice and Ice Capades. “It might sound a little idealistic, but it doesn’t have to be really involved. It can just be a few practices with a handful of coaches, but do you see what you’ve done then? You’ve already got them coming back once a week for a month and then they may just fall in love with the sport as many of us have. They’re drawn in by the motion and the music and the people.” Involving the more advanced skaters with NSM is an opportunity that could really have long-term, positive effects. “If some of those upper level competitors could come alongside the newbies when they first come onto the ice, and continue when they first join the club, it could be a real inspiration for a new skater and could even grow into a big sister and little sister kind of relationship,” Winkle said. “It can be very intimidating getting out there. If an older skater takes the time with those younger kids, those younger kids will go on and will do the same thing for the next young ones coming up. Whatever rink you’re at, there are older, more skilled skaters and there are younger, beginning skaters. There is a real mutual benefit in fostering a relationship between the two.” Rink friendships might even one-up love of the sport when it comes to drawing skaters back to the rink.
PS MAGAZINE
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“The take-away should be, ‘This childhoods—and they only have one. F-U-N. That small word is said a lot was a warm environment and Skating can be their outlet, it can be and it can sure mean big things for the I felt welcomed and I had fun so their happiness. We should give these future of skating. “The more fun the coaches and why wouldn’t I want to come back?’” kids a reason to come into the rink and Winkle said we need to give them a reason to keep helpers are having, the more fun Winkle sees NSM as a chance to coming back and we must continue to everyone will have,” Ashley said. “Be contagious, goofy, beautiful, original, actually put into action what the give them reasons to love the sport.” words of the coaching courses and tests While clubs and rinks run the gamut amazing. The more brightly you shine attempt to teach. as far as size and resources, NSM can the more people will be attracted to “We have background checks and be of great worth for all. the sport.” “It is important to be flexible,” Ashley education on verbal abuse and that stuff is critical, but there’s so much said. “Small club or large, contract ice LEARN MORE more that goes into a safe environ- or public sessions, there is always a way learntoskateusa.com ment,” Winkle said. “There needs to be to put something together that gets out warmth and inclusiveness. We have the the message that skating is for everyone. opportunity to give these children their The only thing it really has to be is fun.”
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Education isn't just for your students Go back to school with PSA and master your coaching knowledge for a winning grade. SEMINARS • ONLINE COURSES • BOOKS/MANUALS/DVDs • CONFERENCE
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PS MAGAZINE
19
What Does Piercyn Hunt Say? I
t has been said that a skater is an artist and the ice is the canvas. That artistry is what separates figure skating from other sports; it is what captivates an audience and makes them feel—really feel—a skater’s program. While the body is performing demanding jumps and difficult spins, the heart is being poured into the nuances of a program—the little things that define a program, that make a skater memorable, that carry observers away. Seven years ago, Piercyn Hunt realized that skating’s artistry is her passion. Thinking her time on the ice might be done when it came to freestyle skating, Hunt found her calling in the world of ProEvent Photo Theatre on Ice and showcase, competitive branches of skating that emphasize artistic creativity. Hunt, now 23, is a five-time National Showcase champion with program themes as diverse as “The Little Mermaid” and “Les Miserables.” She has skated on the Harmony Theatre Company Theatre on Ice senior team since its inception seven years ago. The team is two-time senior national champions and in 2013 and 2015 were senior international silver medalists, traveling to Spain and France, respectively. And, proving that there is weight in words, it was a judge who encouraged Hunt all those years ago to pursue what has since become a second act—one full of creativity, drama, imagination, beauty, style and, yes, artistry.
What drew you to skating initially? My mom was a skating director so I came to the rink every day. I had a tiny pair of skates I could just throw on whenever I wanted to. I’ve been a rink rat forever. What really drew you to the creative side of skating? I have an extremely strong connection with music. I’ve always had that, but I didn’t really know I was creative until I was probably 17. I knew I had all of these crazy thoughts that something would look cool in my program here or that some bizarre costume would really fit the music or the character, but I didn’t voice my thoughts then. What made you begin to speak up about the ideas you had? I think it just came with age and being more confident. My mom always encouraged me to tap into my creative side and to think outside the box. What do you value most as a Theatre on Ice and showcase skater? The opportunity to have that avenue.
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Theatre on Ice and showcase allows girls that are not necessarily going to the Olympics to be successful. I am super thankful for that.
Theatre on Ice is a team discipline of figure skating, in that it is more than two skaters. What is important with regards to that unique offering of Theatre on Ice? The team aspect is what makes Theatre on Ice what it is. Skating is such a solo undertaking. For the most part, you have to think on your own and it’s pretty much all about you. But having this incredible bond with 19 other skaters and having it be a huge collaborative effort—it’s amazing and it’s chaotic and it’s hard to put into words. What are some qualities important for a Theatre on Ice or showcase skater? You have to really be okay with yourself and who you are. You have to skate to what you want to skate to. If you love a song or if you love a Broadway play, then skate to it. You have to listen to that little voice inside of you that’s telling you to try something and you have to tap into a
By Terri Milner Tarquini
deep part of you that throws yourself 100 percent into a program.
You’re biography on Youtube says “music is my inspiration.” So what’s in a song? Everything! There’s emotion and depth and character—that’s 90 percent of your performance right there. What’s your process? Do you hear a song and create around it? Or do you come up with a concept and search for a song? It’s usually a song first. I have a long list of songs I want to skate to one day and I realize it will be impossible for me to skate to them all. But I have some incredibly talented skaters so I’m starting to hand off some of my songs and ideas to my students and in some ways it’s almost better to be able to watch them perform. I love being a part of their creative process and seeing them be successful. Put into words what it’s like performing for an audience and judges when your main goal isn’t to wow them with jumps, but rather to elicit some emotion out of them? It’s fun and it’s hard work and it’s pressure and it’s scary. It’s really like a roller coaster ride. First you’re waiting in line backstage and you know you’re about to do something crazy and you’re excited and nervous and then it’s your turn and you’re suddenly doing it and you’re whole body is into it and it feels amazing and exhilarating and, when it’s over, you want to do it again. What are your thoughts on the IJS system and the artistic aspect of s skater’s program? Honestly, I think skating has lost a little bit of its beauty. I think IJS is mostly good—it keeps kids on task and shooting for harder things - but kids are trying to do seven positions in a combo spin with their leg overhead. It’s good to know how much everything is worth and exactly where you need work as a skater, but I just miss a Michelle
ProEvent Photo
LEFT: Senior Harmony team at the 2016 National Theatre On Ice Competition and above with Richard Dwyer at the National Showcase Awards.
KR Photogs
Kwan layback—a simple, stunning layback that just goes on and on.
What is your favorite move to perform? A spiral. A basic spiral that goes perfectly with the music and is amazing in its simple beauty. When I listen to music, I always hear a spot for a spiral and a layback. If there was one thing you could change about skating what would it be? My skating world differs from other people’s skating world, but for my skating world, I wish to a large degree that I had Showcase Nationals when I was a little girl. It was there, but not like now. I see my 10-yearolds go out and rock a showcase program and it makes me wish that was me at their age—I might have really explored my creative side earlier. But I’m so happy it’s there for kids now. What words of wisdom have really stuck with you? My first Showcase Nationals was when I was 16. My parents weren’t with me; I’d gone with a friend and I had no idea what I was doing. The next thing you know, I was in the parade
of champions, which I didn’t know was a big deal, and then I got 3rd and, again, I didn’t know that was a big deal. I was in the parking lot about to leave and a judge came up and grabbed my arm and told me I was really good at this and to keep coming back because it was what I was meant to do. It was so inspirational. I have no idea who she was, just that she was a woman and she was a judge. It would be amazing if she read this and contacted me. I’d love to thank her. She played such a huge role in my life. She changed my world.
What is it like to be a part of the emergence of Theatre on Ice as a growing discipline of figure skating? It makes me incredibly happy. It deserves recognition. It takes a lot of hard work. Oftentimes it’s viewed as just being fun and easy, but it’s very competitive. And it’s only getting more competitive as more teams join and it’s growing as a sport.
teams, there’s really only one big competition. It’s a lot of work for only one performance.
How would you describe your journey in the skating world so far? I’d mostly describe it as short. I’ve been skating since I was two years old so, technically, 21 years, but it feels like it’s flown by. I’m just really thankful for everything I’ve gotten to do. When I was still just doing freestyle, I came to a point where I was sure I was done because I thought skating didn’t have a whole lot to offer me after that. I’m just so grateful I found my place so I could keep doing what I love to do.
Where would you like to see Theatre on Ice go in the future? I’d love for it to keep growing and I’d love to have larger competitions over the course of the year. For most
PS MAGAZINE
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REAL LIFE COACHING Bob Mock, MDFD, SG
Survival in the Real World F
inally! A column completely dedicated to figure skating coaches working in ice arenas across America. A column that addresses the everyday challenges of being a coach in today's quickly changing landscape. In an age of technology and an endless barrage of information that we face daily ...this is the column that gives you a chance to share your experience and knowledge, to hear about new, innovative ideas, and at times just let off steam about an issue you are facing. This is your opportunity to have a voice in coaching and becoming part of the solution. There will be times when the column sounds like the Coaching Complaint Department. Other times it will be a think tank for exciting ideas for everyone to implement. Through the process, we hope to learn, laugh, and improve as coaches. Don't expect heavy technical discussions on the elements of skating, or a debate on the proper way to do a level 4 combination spin. All of those topics are explored in-depth in other columns. In Real Life Coaching 101, we will be exploring the ways to survive in the real world of coaching, from dealing with rink management problems to simply making a living in our profession. We will be hitting all the issues from the funny, the absurd, to the brutal. At the end of each article we will be listing the topic for the next issue of PS Magazine. You have the opportunity to weigh in on the current topic or give your input on the upcoming topic listed at the end of the column. This month we investigate a topic that comes up in discussion with coaches regularly across the country.
The 21st Century Skater/Parent Profile So, what type of skater is coming through your rink door in 2016? Coaching the 21st century crop of skaters has really become a challenge. Even though there are exceptions, numerous coaches are having with skaters who are totally "If you find yourself as a issues over extended. They are in numerous coach, working harder than activities that fill every moment of the the skater, it is really time day. The skater arrives in the rink a few minutes before their lesson already to say goodbye." exhausted from school, a tennis lesson, -Barret Brown and Tom Lescinski and Irish Dancing. There is no warm ICE DANCING COACHES up and no practicing—just the lesson. At the end of the lesson it's right out the door and off to their guitar lesson! At the real life level of coaching, this type of skater is becoming the norm. The
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parents have high expectations and the pressure is on you to produce. Chances are that the parent is a helicopter parent involved in every aspect of their child’s life, down to even tying the child’s skates (at even 14, 15, 16 years old). Even though they probably skate once a week they have the Zuca bag, the latest skating outfits, and top of the line boots and blades. If they skate more than once a week they consider themselves hardcore athletes. The parent will make sure you are aware that their child is in advanced placement/honors classes and is accumulating endless college credits! This academic pressure also adds to a totally stressed out skater whose mind is maxed out. In reference to this characteristic, a coach was overheard saying "Please let me find some normal grade C students to train!" On lesson, the skater does what they are told to do, but not much more. Their eyes glaze over if you give them too much input on a lesson. You do your best, they do the minimum, and the parent and the skater expect a maximum return (instant gratification). One coach had a parent asking, “What is the return on investment from skating lessons?" and "What scholarships are available for my child if she skates?" Another parent said, "We would rather skip all of the low level competitions and start on the Grand Prix Circuit!" One coach commented recently:" If we had a drive through lane at our rink, cars would be lined up around our arena for a ‘take-out lesson’ and we could give them ‘Happy Lessons’ (aka Happy Meals)!" Another characteristic of this current crop of "skaters" is that they have a total lack of interest in having a role model. When asked who their favorite skater is the, answer is a blank stare and surprisingly some say themselves! If you ask "Who is the national ladies champion?" ....expect long silence because they don't have a clue. Finally, it is important to note that when they win their next competition or pass their next test, it was all about their wonderful talent and incredible natural ability. Gratitude is a rare commodity. If they don't win or pass, you are the problem because you did not work hard enough! You can expect to see your student with a new coach on Monday morning. WE NEED YOUR FEEDBACK! Now it's time for your feedback. Tell us about your experiences. So what is a coach supposed to do in this mine field? Are their success stories working with this type of skater? Have you had to deal with helicopter parents? Was it a failure or a success? This is your column and you are welcome to join the discussion! E-Mail me at MBobMock@aol.com
Entertainment and Sports Insurance eXperts (ESIX)
Technique Matters – In Risk Management Too
A
s a figure skating coach, you appreciate the importance of technique. Every day, you emphasize to your athletes the need for proper technique in order to achieve specific results. As professional risk managers, we share your commitment to technique. In the risk management world, proper technique is about mitigating and responding to risk to protect the bottom line. Here are some fundamental risk management techniques that will serve every PSA member well.
1. Understand what is at risk. Your livelihood is on the line. It only takes a single lawsuit or claim to bankrupt you. We live in a litigious society. You are a professional with specialized training and certification. Though you may not be ultimately responsible for an injury or damages, your role makes you a target. Even baseless claims require you to defend yourself. Legal defense can be costly. Here are examples of potential claims: • An athlete alleged that the fitness program designed for him by his coach/trainer was not appropriate for his fitness level, resulting in bodily injury • An athlete alleged that her coach did not properly instruct her on the use of a piece of fitness equipment. She suffered severe injuries when she fell trying to use the equipment. • An athlete alleged that his coach/ trainer selected a space that was too small for the exercise being performed, resulting in the client sustaining a head injury
2. Identify your risks. All businesses have risks. Inventory yours. They may include: • Athletes pushing themselves to—and
• • • • •
•
past – physical limits under your guidance Supervising athletes performing challenging athletic movements Use of specialized equipment Use of facilities owned/operated/ maintained by someone else Providing plans for athletes to perform in an unsupervised setting Opportunity for misunderstanding about the intent of physical contact with your client Client’s pre-existing and unreported medical condition that manifests during training
3. Be an educated insurance consumer. A little insurance knowledge can empower you as a consumer and give you peace of mind that you have solutions that respond to your risks. Here is a start: General liability insurance is designed to respond to claims brought by third parties (e.g., athlete clients, facility owners, etc.) alleging bodily injury, property damage, or personal or advertising injury in connection with covered activities (in your case, skating instruction, training, and coaching). Professional liability insurance is designed to protect professionals from claims arising from errors or omissions in the performance of their professional services (in your case, sports instruction services). Participant accident insurance is a no-fault coverage designed to provide accident medical insurance on an excess basis (the injured party’s primary medical insurance responds first) to individuals injured while participating in an athletic activity (in your case, an injury to you
as an instructor while performing your instruction services). An insurance limit is the total amount the insurance carrier will pay for a particular type of claim, usually expressed as “per occurrence” (e.g., per accident) or “in the aggregate” (e.g., all claims occurring during the insurance term). ESIX has partnered with PSA to offer a custom solution that represents a combination of general liability insurance, professional liability insurance, and participant accident insurance. The limits and coverage are designed to respond to the likely claims given the position you hold as a professional in your industry. To learn more, visit www.esixglobal.com/psa.
4. Don’t assume that your local retail broker has you covered. Many local retail insurance brokers (often affiliated with national brands using athletes and actors as spokespeople) sell insurance products for small businesses. Most are not versed in the nuances of protecting a sports-related business. We regularly see general liability policies that have been placed by a retail broker (often a friend or relative of the insured) and are intended for a sports business but include a “Participant Legal Liability exclusion” for athletic activities. This common exclusion means that the insurance carrier will deny claims that allege injury from participation in an athletic activity. This is inappropriate for a business like yours, in which participation in athletic activities is a core element. Another common weakness we see is an exclusion for sexual abuse and molestation claims. Whether the alleged abuse or molestation is ultimately substantiated or not, response to that allegation requires Continued on page 25 PS MAGAZINE
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LEGAL EASE David Shulman, MFF, MP
The Times, They Are a Changin'! I
t was a long time ago in another universe when men and women teaching skating were generally referred to by others as "pros" or "a club professional". People actually made a living teaching ice skating and instilling confidence and pride in the skills given to those taught. And then something changed. In fact, a number of things changed; the general public discovered television. Not for the laughs brought to us by comedy skits, rather through the presentation of sport "warfare" where the international ideologies of the world could battle for the medals, and eventually cash prizes. If a block of countries emerge as winner they now possessed the bragging rights to the world whose ideology was the superior, and clearly the one for the world to follow. Likewise, the period 1959-1966 marked a time during which many skaters made a career choice to teach skating (use of the word "coach" as descriptive of the "skating pro" was slow on acceptance). After all, REAL coaches generally had a teaching certificate, a college degree, and were members of organizations claiming dedication to the idea of sharing the best way to teach the student (athlete). And these are all ideas yet to become the bed rock to the Professional Skaters Association (PSA). “Contracts to teach in a facility A short look back in time were generally simple in to examine how things were done should aid in recogmeaning and direction: be on nizing the present hostility and time for lessons, be courteous, masking smiles, accompanied by comments such as, "...hey, no eating or drinking coffee no problem in signing...(your during group lessons, charge employment agreement), our lawyers looked it over and they what you wish for private said it was fine..." lessons, and 10–20% to be Prosperity was arriving paid to club or facility for the for rinks and skating clubs, and generally created a tight privilege of teaching during demand for ice. The privately their ice time. It seemed to owned rinks and ice facilities were generally facing a shortage work...until now." in available ice. This turn of events created a new group of teaching professionals and gave rise to 'traveling coaches'. These coaches were moving rink to rink with no set home club and no permanent home facility, picking up students wherever. Most coaches
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SEPTEMBER | OCTOBER 2016
got along. However, not so much with ice facilities. Facility mangers saw the number of skaters who would follow the coach from one rink to another. That meant the skater, and their money, was going elsewhere.
WHAT TO DO? Enter the new contract provision(s) and restrictive covenants, such as covenants to not compete. Stopping a person from doing their job would be tricky. Contracts to teach in a facility were generally simple in meaning and direction: be on time for lessons, be courteous, no eating or drinking coffee during group lessons, charge what you wish for private lessons, and 10–20% to be paid to club or facility for the privilege of teaching during their ice time. It seemed to work...until now. Now, if faced with an order to review and sign a contract describing you being refused entry to teach in facility A as a result of you going elsewhere so you can find ice, you should be hearing me shouting at you to consult YOUR lawyer prior to ever signing such a contract. A quick shot of legal research on how the court in your jurisdiction deals with such contracts may be of benefit to you. A legal analysis could show this contract is not enforceable in your state! Maybe the contract is overly broad and you can discuss changes (i.e. negotiate for a better deal). Enforcement of such contracts is not favored by the law. A court will look to fairness. Is it right for a coach to get names from a customer list and share with a competitive facility? How about if you leave your present facility for a better deal at a rink across town. Should you be prevented from taking students with you? If a court feels it has no control over what the skaters or parents want to do, however, the court might feel it can punish you if you start lessons. Think on it...with the assistance of YOUR lawyer. Check it out BEFORE YOU SIGN!
a legal defense. With this exclusion in the liability policy, the insurance carrier will deny the claim and the insured will pay out of pocket to defend him/herself. PSA partners with ESIX because we specialize in sports business risks. We have the expertise and relationships with insurance carriers to avoid the pitfalls noted above and design an effective solution for PSA members.
tion, actions of a facility employee) under the assumption that you won’t read or negotiate the contract. Push back. Demand that the facility take responsibility for those risks under its control. • Commit to documentation. Record details of your sessions with athletes and immediately document any incidents that you believe may result in a claim or lawsuit. Claims may arise years after an incident, when your memory of the details has faded. • Protect yourself from potential misunderstandings about physical contact. Ask athletes for permission to use tactile spotting or instruction techniques. Avoid one-on-one situations behind closed doors—work in a setting where others are present. • Conduct pre-screenings and thorough health histories. Consider requiring written medical clearance to participate in training from the client’s primary care doctor.
5. Don’t rely on insurance alone. There are a number of risk management techniques that can help prevent insurance claims before they occur. Here are a few examples: • Require clients to execute a waiver and release form that articulates the risk assumed by participating in skating/training activities and releases you from claims arising from your role as their coach/trainer • Read contracts that facilities ask you to execute. Many will allocate all risk to you, including for things out of your control (e.g., facility condi-
To learn more, visit
www.esixglobal.com/psa 6. Reevaluate periodically. Your business changes over time. Build into your business planning cycle, at least annually, a fresh look at your risks and risk management techniques. About ESIX
Entertainment and Sports Insurance eXperts (ESIX) is a global leader in risk management and insurance services for the sports and entertainment industries. ESIX serves more than 200 sports businesses and 1,000 individual athletes, and insures more than 100,000 events per year. Learn more at www.esixglobal.com. Disclaimer The risk management information appearing in this article is for informational purposes only and is not intended to provide legal advice. We urge you to consult with your own legal advisor before taking any action based on information appearing in this article.
PRO FESSI ONAL SKATERS ASSOC IATION
EXCELLENCE ON ICE Apex Center Ice Arena
Pines Ice Arena/Pines FSC
East Alton Skating Academy
Rochester FSC
Central Iowa Figure Skating Club
Stamford Twin Rinks
Arvada, CO
East Alton, IL
Urbandale, IA
Cincinnati Skating School Cincinnati, OH
Ice Den Chandler Chandler, AZ
Ice Den Scottsdale Scottsdale, AZ
Kendall Ice Arena Miami, FL
Marquette FSC Marquette, MI
Pembroke Pines, FL Rochester, MN Stamford, CT
Sprinker Recreation Center Tacoma, WA
World Arena Ice Hall Colorado Springs, CO
Wouldn’t you like to count your club or rink among the most progressive in the nation? BENEFITS Register now and receive national and international recognition as a progressive training facility dedicated to excellence in coaching both on and off-ice. As a registered facility you will receive an ‘Excellence On Ice’ shield to be displayed in the arena, international recognition in PS Magazine, and access to a resource coordinator in the PSA office—all at no cost! Remember to renew your EOI listing for the 2016-2017 membership year!
PS MAGAZINE
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New
MEMBERS NEW MEMBER SPONSOR Kerri Ahmet Emily Alacar Hyaat Aldahwi Delaney Anderson Sandy Atkielski Rachael Bachman Lauren Bacon Ashley Balch Brenna Bardo Sarah Bartoszyk Jamie Belden Charissa Bender Briana Bennett Michael Berg Kathleen Bird Jamie Bird Annette Blackwell Barbara Blada Miriam Blank Maggie Blunk Hayley Bortke Abigail Brainerd Molly Burmeister Kathleen Burrows Victoria Cahill Alyssa Cambria Dale Campbell Kelsey Cease Stephanie Chapman Kylie Chinen Rebecca Clark Gabrielle Clayton Megan Coleman Gwyneth Collins Hannah Cooney Sharron Corbin Sydney Cosentino Emilee Covers Justin Curran Lindsay Davis Caitlin Davis Amanda Davis Nicole Dean
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Holly Malewski Christina Hennessy Angelina Aldahwi Stefania Berton Carol Rossignol Kristen Izzie Katie Moose Shari Jude Jimmy Crockett Holly Malewski Sue Twitty Alexei Mantsorov Tina Buckingham Jessica Miller Andrew Stroukoff Allison Sowa Paul Salas Eric Millot Jennifer Knighton Carol Rossignol Rebecca Gallion Carol Rossignol Amy Williams Ray Laub Danielle David Haley Ruotolo Scott Cudmore Carol Timm Carol Rossignol Kahiapo Tavares Carol Rossignol Elizabeth Thornton Kimberly Brack Diane Chen Carol Rossignol Mel Chapman Carol Rossignol Carol Rossignol Robin DeFazio Tammy Gambill Ellie Nielsen Tina Buckingham John Cain
Welcome coac hes!
NEW MEMBER SPONSOR Patricia Defelice Sunshine Dela O Alea Delmastro Margaret Detwiler Samantha Dickey Tiesha Dimaggio Rebecca Dirocco Cody Dolkiewicz Isabelle Dost Kelly Drabik Maura Drew Jarred Druzynski Laura Edney Madison Every-Andrews Thobie Fauver Abigail Fisher Ashley Fitzpatrick Heather Flannery Mikayla Forbes Kaitlyn Gaither Madeleine Gallagher Angleina Giuliano Sarah Godwin Carly Gold Candice Goodson Max Gordichuk Joseph Gorecki Shannon Gorman Edward Gornik Katharine Greene Kris Grobins Ross Gudis Hannah Hamwi Lauren Hancock Kaitlin Hawayek Kayleigh Hayes Ashley Hellenbrand Kylie Hellenbrand Amanda Hofmann Michael Humen David Ings Emily Jerzabek Sara Kalupa
SEPTEMBER | OCTOBER 2016
Ashley Carlson Crystal Uribe-Schoelen Virgilie Aliu-Otokiti Jessica Chaffee Chad Goodwin Lisa Fedick Heather Piepenburg Rocky Marval Amanda Werner Christi Sturgeon Carol Rossignol Heather Cristobal Holly Malewski Stacey Mons Laura Sanders Rebecca Gallion Julianne Kos Amy Beiderwieden Shanyn Vallon Todd Eldridge Teri Haag Carol Rossignol Elizabeth Campbell Frank Carroll Paige Scott Doug Lynch Kent Johnson Megan O'Donnell Lloyd Eisler Melanie Faulkner-Bolhuis Jennifer Houghton Morris Alexei Kiliakov Carol Rossignol Debbie Stoery Rachel Bauld Lee Elizabeth Leamy Liz Uhler-Helvey Elizabeth Uhler-Helvey Darin Hosier Carmina Monaco Wendy Wilke Carol Rossignol Craig Bodoh
NEW MEMBER SPONSOR Elizabeth Kelly Jane Khin Brad Kleffman Hailey Koenig Caroline Kriner Jessica Kukal Jalen Kunkel Elizabeth Laignier Flora Lee Kerry Lees Hannah Lentz Kwun Hung Leung Jennifer Levin Patience Lindhardt Isaac Lindy Amy Lloyd Kendall Lownds Suzanne Luis Bonnie Lynch Chelsea Macintosh Raynise Mancha Sharon Maples Lauren Marines Madeline Martin Amanda May Elizabeth McCormick Amanda McGowan Brynne McIsaac Kiera McNeill John Merrill Samantha Mick Hannah Miller Ivan Mokhov Cassidy Moore Molly Moriak Emily Murdach Jennifer Myzia Kellie Nakamura Brittney Neal Caitlyn Nemastil Amanda Ng Kelly Nguyen Vlasia Niotis
Kelly Rossbach Laura Klinger Christopher Darling Cathryn Schwab Carol Rossignol Nicholas Kraft Rebecca Gallion Cathy O'Donnell Katie Hanneman Jennifer Gee Emily Roth Craig Heath Jon Sorkan Michelle Lauerman Regina Barr Bridget Roberts Carol Rossignol Kandis Eckloff Ashley Carlson Brooke Sloan Crystal Uribe Jolyn Hecht Susan Liss Ceci Picard Nick Kraft Ursula Wolfer Grant Huang Shirley Hughes Todd Eldredge Melissa Emerson Amanda Werner Megan O'Donnell Andrey Mokhov Rachel Funk Carol Rossignol Carol Rossignol Carol Rossignol Kahiapo Tavares Michelle Tepkasetkul Martineau Carol Heiss Jenkins Kathleen McMillan Kim Derickson Kayla Hinkle
NEW MEMBER SPONSOR Julie Nixon Rachel Oberman Amira Olingou Miranda Oltmanns Christopher Ord Grace Orpiano Jaylyn Orwig Lindsey Packer Claire Palmer Taylor Patten Shannon Patton Huffman Oliver Pekar Morgan Perrine Courtney Petersen Abigail Peterson Allison Pham Caitlin Pieroni Michaela Pieroni Meredith Pipkin Chelsea Plank Thomas Kevin Poit
Kay Faynor Kay Barsdell Carol Rossignol Jeff Marshall Evgeniya Chernyshova Sean Rabbitt Lenel van den Berg Elizabeth Thornton Debbie Cole Jennifer Houghton Morris Michael Murphy Lisa Kriley Mischa DeFlippo David Redlin Melissa Peterson Heather Cristobal Carol Rossignol Carol Rossignol Jill Maier-Collins Valerie Murray Susan Miller
NEW MEMBER SPONSOR Christina Powers Christina Probst Veronica Radloff Ana Ramirez Brooke Ramlo Isabel Reiches Danielle Renucci Caysie Reuter Adam Rippon Raina Roth Allyson Ruch Stanislav Samohin Joy Sandon Morgan Sewall Shayna Simonin Katelyn Smecko Kiana Stadler Holly Steckert Abbie Steelman Nicole Steffensen Jessica Steinberg
Teresa Yuengert Holly Malewski Stephanie Radloff Rodrigo Menendez Judy Ernhart Nikolay Belovol Carol Rossignol Carol Rossignol Derrick Delmore Jennifer Houghton Morris Editha Dotson-Bowser Igor Samohin Bj-Shue Chapman Deb Coppinger Jennifer Houghton Morris Tricia Offerdahl Abigail Thiel Kay Barsdell Susan Liss Carol Rossignol Tessa Mayer
NEW MEMBER SPONSOR Paige Strigel Julia Sudie Tara Tahil Gabrielle Talbot Kayla Tashjian Martha Torres Colleen Tremblay Taylor Walpole Margaret Wang Jessica Wasch Renee Wensel Riley Wharton Justin Williams Christian Wilson Amy Wise Jodi Wizauer Danielle Wolosek Nick Wramage Veronica Zancho Camilla Zhang
Mary Ament-Johnson Carol Rossignol Laura Klinger Alicia Carr Konstantin Kostin Carol Rossignol Lisa Coppola Mary Kate Dehm Diana Miro Kandis Eckloff Toni Miller Dorie Cascio Richard Callaghan Kevin Spada Shane Douglas Chris Gauthier Elena Rodrigues Douglas Lynch Carol Rossignol Andrey Kryukov
We've got a NEW CLIP OPTION! Sheila Thelen PRESIDENT – Champion Cords PRESIDENT – Champion Skating Harness EXECUTIVE DIRECTOR –
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PS MAGAZINE
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CALENDAR
OF
EVENTS
SEPTEMBER Date: Location: Event: Host: Contact: Credits:
Sunday, September 11 Area 5 Philadelphia Skating Club & Humane Society, 220 Holland Ave, Ardmore, PA 19003 Half-Day Nationwide Seminar - IJS & Turns 101 [10:00am-3:00pm] Regina Barr reginabarr@comcast.net PSA Office 507-281-5122 or byackel@skatepsa.com 6 PSA credits
Deadline:
August 11, 2016
Date: Location: Event: Host: Contact: Credits:
Sunday, September 11 Area 10 Bloomington Ice Garden, 3600 W 98th Street, Minneapolis, MN 55431 Full-Day Nationwide Seminar [8:00am-5:00pm] PSA Office - Barb Yackel byackel@skatepsa.com PSA Office 507-281-5122 or byackel@skatepsa.com 12 PSA credits
Deadline:
August 11, 2016
Date: Location: Event: Host: Contact: Credits:
Saturday, September 17 Area 10 Kern Center, 1245 N Broadway, Milwaukee, WI 53202 Half-Day Nationwide Seminar - Jumps & IJS [1:00-5:00pm] Craig Bodoh timeman@earthlink.net PSA Office 507-281-5122 or byackel@skatepsa.com 6 PSA credits
Deadline:
August 17, 2016
Date: Location: Event: Host: Contact Cost: Credits:
Sunday September 18, 2016 Area 12 Arctic Edge Ice Arena, 14613 N. Kelley Road, Oklahoma City, OK 73013 Foundations of Coaching Course (8am – 5pm) – attendees receive a Coaches Manual. This course is equivalent to a Basic Accreditation (BA) rating exam Jackie Brenner sk8jackie@aol.com Barb Yackel byackel@skatepsa.com or PSA Office 507-281-5122 $60 for PSA members and $75 for non-members (includes a basic membership) 12 PSA credits
Deadline:
August 29, 2016
Date: Location: Event: Hosts: Contact: Credits:
Sunday, September 18 Area 2 The Skating Club of Boston, 1240 Soldiers Field Road, Brighton, MA 02135 Full-day Nationwide Seminar [8:00am – 5:00pm] Becky Stump rlssk8@gmail.com & Linda Blount lmbskater@aol.com PSA Office 507-281-5122 or byackel@skatepsa.com 12 PSA credits
Deadline:
August 18, 2015
Please visit www.skatepsa.com for the complete Calendar of Events 28
SEPTEMBER | OCTOBER 2016
CLASSIFIEDS ADVERTISE WITH US! O C TO B E R Date: Sunday, October 9 Area 11 Location: Niles Park District Iceland Arena, 8435 W Ballard Ave, Niles IL 60714 Event: ISI District 8 Free Fall Seminar [8:10am-2:30pm] Host: Amy Forbes aforbes@niles-parks.org Presenters: Toni Cooper and Gerry Lane Credits: 6 PSA pre-approved credits
Date: Location: Event: Contact: Credits:
October 28-30 Area 11 Hilton Chicago O’Hare Airport, O’Hare International Airport, Chicago IL 1-800-445-8667 Room rate $109 + tax (cut off PSA rate October 14th) Master Oral Rating Site [Fri 8am-8pm] PSA Office 507-281-5122 or byackel@skatepsa.com 1 PSA credit per oral exam taken
Deadline:
Oral Rating Exams August 28, 2016
Do you know coaches who are new to the profession, or are there skaters (age 16 or older) in your rink who have the potential to be a great coach?
Let the skating community know about your upcoming event, product, service, or job opportunity by advertising with the PSA! We offer many different advertising options at affordable rates. For more information, go to our website at skatepsa.com and click on "Advertise With Us".
Coach Gear
Check out our NEW, FUN apparel unveiled at the 2016 ISI/PSA Joint Conference!
HOT TICKET ITEMS! New active apparel from Kristi Yamaguchi’s Tsu-ya line
Down Minne-skirt— warm and versatile for coaching on the ice
Super-soft rainbow tee — a staff favorite!
Help them get a head start on their coaching career, and encourage them to join PSA! As their sponsor, you can guide and encourage them to get educated and maintain professional membership with PSA. Visit www.skatepsa.com or contact Elizabeth at ethornton@skatepsa.com to learn more about PSA membership opportunities.
Our popular teal shell jacket is going fast!
www.skatepsa.com
PS MAGAZINE
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