Septoct2013 by Professional Skaters Association

September/October

2013

www.skatepsa.com

2013

COAC H OF THE YEAR Christy Krall

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COLUMNS 4 6 8 10 14 18 34

FEATURES

Over the Edge | Jimmie Santee

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

Sport Science | Heidi Thibert

The Evolution of the Figure Skate | by Bruce Poodles

Education | Carol Rossignol

Legal Ease | David Shulman

Susi Wehrli-McLaughlin of U.S. Figure Skating | Profile | by Terri Milner Tarquini

Ratings | Brandon Forsyth

IJS | Libby Scanlon

9 Ratings Exams Passed

2013 Coach of the Year: Christy Krall

9 Excellence On Ice

| by Kent McDill

SEPTEMBER | OCTOBER

2013 ~ No 5 #ISSN-574770

32 What Would Danelle Cole Do? | by Terri Milner Tarquini

Over the Edge

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

JIMMIE SANTEE

PSA BOARD OF GOVERNORS West Mid-West

Disclaimer: The opinions, beliefs and viewpoints expressed by the author do not necessarily reflect the opinions, beliefs and viewpoints of the Professional Skaters Association or official policies of the PSA.

n July, the IOC made this statement in regard to the recent anti-gay laws signed into Russian law by President Vladimir Putin: "The International Olympic Committee is clear that sport is a human right and should be available to all regardless of race, sex or sexual orientation. The Games themselves should be open to all, free of discrimination, and that applies to spectators, officials, media, and of course athletes.” The PSA in turn strongly endorsed this IOC statement in a press release on July 31. As an association, our press release was an appropriate response, but as an individual I wished I could say more. It really bothered me that an educated country like Russia would even pass a draconian “law” like this as it were. It’s hard to comprehend. The law as reported in a USA Today article, “… outlaws "homosexual propaganda" making public events that promote gay rights and public displays of affection by same-sex couples illegal.” Something as simple as wearing a rainbow pin could land someone in a Russian jail for up to two weeks. Even though the IOC was reassured from government officials that athletes and attendee’s would be exempt from their anti-gay statutes, Vitaly Milonov, co-sponsor of the “Gay propaganda” law was quoted as saying the law will remain in force during the Sochi Winter Olympic Games in 2014. Of course officially, the Russian government has made no statement. Ultimately, it is challenging for me to grasp this law. It goes way beyond sport. What is the endgame that this law seeks to accomplish? Does the law do anything but draw a line in the sand? While we Americans are not nearly as perfect as we ought to be, we at least have the opportunity to experience the pursuit of happiness. Actually, the words written in our Declaration of Independence are - “We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable rights that among these are life, liberty and the pursuit of happiness.” Interestingly, in 1948 the Universal Declaration of Human Rights was adopted by the General Assembly of the United Nations. Article III of the declaration reads, “Everyone has the right to life, liberty, and security of person.” The Declaration was adopted by a vote of 48 – 0, and eight abstentions. And who might the abstentions be you ask? Number 1 – the Soviet Union! In all fairness, after the collapse of the Soviet Union in 1993, a new constitution for the Russian Federation was written. Chapter 2, The Rights of Man and Citizen, is a very interesting read and two of the articles in particular. Article 17 - 1. In the Russian Federation recognition and guarantees shall be provided for the rights and freedoms of man and citizen according to the

SEPTEMBER | OCTOBER 2013

Doug Ladret Todd Sand Teri Klingworth Hooper Brandon Forsyth Denise Williamson Rebecca Stump Alex Chang Doug Mattis Tom Hickey Robbie Kaine Brandon Forsyth Doug Mattis Glyn Jones Karen Oppegard

PSA

Beyond Sport

East

Angela Riviello Christine Fowler-Binder Dorothi Cassini Rebecca Stump 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 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 ISU/ IJS Ethics and Legal Nominating Professional Standards PSA Rep to ISI Ranking Review Ratings Special Olympics U.S. Figure Skating Coaches

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

Jimmie Santee David Shulman

Denise Williamson Kelley Morris Adair Heidi Thibert Doug Mattis Tom Hickey Rebecca Stump Gloria 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 Todd Sand Brandon Forsyth Eleanor Fraser-Taylor Alex Chang

Amy Hanson-Kuleszka Anne Marie Filosa Lee Cabell Stacie Kuglin Gloria Leous Mary Lin Scott Cudmore Patrick O'Neil Lisa Bardonaro-Reibly Thomas Amon Brigitte Carlson-Roquet Sharon Brilliantine Tracey Seliga-O’Brien Lisa Mizonick Don Corbiel Josselyn Baumgartner open

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.

universally recognized principles and norms of international law and according to the present Constitution. Article 55 - 2. In the Russian Federation no laws shall be adopted cancelling or derogating human rights and freedoms. If I were a political science scholar I might question the legality of the “Gay propaganda” law. The ‘non-traditional relationships’ bill as it is officially called in Russia reveals that Soviet doctrine is still a major threat to rights and freedoms there. But…Article 19 - 2. The State shall guarantee the equality of rights and freedoms of man and citizen, regardless of sex, race, nationality, language, origin, property and official status, place of residence, religion, convictions, membership of public associations, and also of other circumstances. All forms of limitations of human rights on social, racial, national, linguistic or religious grounds shall be banned. Article 19 – 2 has everything except sexual orientation. Could it be argued that sexual orientation would fall under “other circumstances?” The jury is out on that one. So I guess we should not be surprised that this is happening in Russia where you may have a life with no liberty and the pursuit of happiness so long as you fit within the government mold.

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The Joy Of Coaching has arrived and

COACHES LOVE IT! Unveiled at the 2013 PSA International Conference, Trade Show & Reunion in May, The Joy of Coaching was met with great enthusiasm! Get your copy of The Joy of Coaching and enjoy the stories and memories of inspiring coaches who helped shape the PSA. Books are available at www.skatepsa.com.

PS MAGAZINE

President’s Message ANGIE RIVIELLO

Developmental Assets®

We can set the attitude! A

s a rink manager, each year I look for some new, different training that we can expose all of our staff members to that might make a difference. Each day we have an impact in many lives just walking in the doors of our facilities. Most coaches spend a great amount of time with their students and often have more of an impact on the attitudes and direction, far beyond the rink, that the lives of these young athletes can take. In searching for something new, we came across the Search Institute and the 40 Assets that should be focused on to help youths develop and strive to achieve greater things in life. Something as simple as how we talk to children and simple phrases that can make such a difference. Changing how we phrase things as simple as “don’t run” to “could you please walk” make a more positive impact on a child. We need to keep that in mind when we are working with young skaters, even at the Learn to Skate level. How you approach and say things can be the difference in a positive or negative experience for that child, it could be the difference of if they come back to skate again or chose another sport. Simply turning phrasing, even when you are trying to correct something, can make a huge impact on attitude. Example: let’s say a student continues to make an error on an Axel, instead of saying “you're not doing that right”, try pointing out a positive with a constructive correction, “I can see how hard you're trying and it’s getting better but remember you want to...” Offer a positive, not always a negative. Even if at times we don’t think our feedback could be negative, we need to chose our words and approach carefully.

Take note.. .

The Developmental Assets® are 40 research-based, positive qualities that influence young people’s development, helping them become caring, responsible, and productive adults. Based in youth development, resiliency, and prevention research, the Developmental Assets framework has proven to be effective and has become the most widely used approach to positive youth development in the United States and, increasingly, around the world. The framework has been adapted to be developmentally relevant from early childhood through adolescence. The main focuses of the External Assets are: • Support • Empowerment • Boundaries and Expectations • Constructive Use of Time The main focus of the Internal Assets are: • Commitment to Learning • Positive Values • Social Competencies • Positive Identity I would recommend you look at the website and all the great information that is on it. The main focus is school children and how to get them to produce more, but I feel this goes hand in hand with how we approach our skaters: http://www.search-institute.org

KEEP UP WITH THE PSA...

ProfSk8rsAssoc

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Professional Skaters Association(PSA)

New PSA e-newsletter

SEPTEMBER | OCTOBER 2013

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Ratings BRANDON FORSYTH

Fast-Tracking in the Rating System T

he PSA Board of Governors approved the following policy that took effect May 19, 2013: • A level V Ranked coach (International) may apply to be fast-tracked to take a master rating that has been expanded in scope and duration in the discipline of his/her ranking. This “hybrid” exam will include questions from the certified, senior and master exams and will be taken in two parts of one hour in length each.

Tammy along with her examiners: L to R Diana Ronayne, Denise Williamson, Tammy Gambill, Shirley Hughes, and Kris Shakarjian (Ratings Chair at the time)

The first candidate to take this hybrid exam in the Free Skating Instructor discipline was Tammy Gambill. Prior to conference she completed her certified, senior and master sport science and

In the TRENCHES by SCOTT BROWN

medicine exams and then took her oral exams at conference. Tammy successfully passed the fast-track master free skating instructor exam. Congratulations Tammy!

Make An Entrance:

At a competition, when your athlete’s name is called, this is a wonderful opportunity to truly “make master-rated coach & IJS an entrance!” The term “making an entrance” refers to the moment when an athlete steps on the ice Technical Specialist to skate their program. That moment should grab everyone’s attention, just like a famous celebrity walking down the red carpet. Right from the gate your athlete has a wonderful opportunity to display strong skating skills and show themselves to both the officials and the audience. No snowplow or hockey stops, please teach them a T-Stop or a Tango (Show) Stop. Have your athletes make eye contact with the judging panel just before they get into character and create the first picture in their program. This entrance should be practiced each time your athlete runs through his/her program. Pay attention to detail!

SEPTEMBER | OCTOBER 2013

Recently Passed

RATING EXAMS Congratulations to the following coaches who passed the Basic Accreditation (BA) and ELCC:

Congratulations to the following candidates who passed a rating exam at the National Synchro Coaches College:

BA | online

Prior Lake, MN | July 24, 2013

Sarah Aquilla Lila Asher Don Baldwin Kayla Blomquist Kayleah Crosby Aarin Dreyer Stephanie Duncan

Ann Harschutz SFS Patti Itzen CG Rebecca Johnson RM, RFS Karri Nachtigal RM, RFS

Brielle Francis Angie Lien Lindsay Mariage Cheri Neset Meagan Shafto Elizabeth Treu

Reminder to All Rating Examiners: Recertification requirements are effective January 1, 2014. Contact the PSA Ratings department for more details.

PROFESSIONAL SKATERS ASSOCIATION

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

REQUIREMENTS To participate in the EOI program all coaches of the club or rink must be PSA members and carry liability insurance. Member coaches receive a variety of benefits which include: seminars, workshops and conferences; eligibility for ratings and accreditation; group health insurance, liability insurance, retirement program; PS Magazine subscription and Job Placement services. 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 also receive a listing in the PSA Directory, a PSA Resource Directory with alphabetical and geographical listing, a oneyear subscription to The Professional Skater Magazine, 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!

2013-2014 Membership Year CENTRAL IOWA FSC Des Moines, IA COLONIAL SKATING CLUB AND FLYERS SKATE ZONE Philadelphia, PA ICE AND GOLF CENTER AT NORTHWOODS San Antonio, TX KENDALL ICE ARENA Miami, FL MEDIACOM ICE RINK Springfield, MO SHATTUCK-ST. MARY'S FSC Faribault, MN

Remember to renew your EOI listing for the 2013-2014 membership year! PS MAGAZINE

IJS Insights LIBBY SCANLAN

ISU Communication 1790:

Single & Pair Skating Scale of Values, Levels of Difficulty, and Guidelines for marking Grade of Execution

SU Communication 1790 was published in April, went into effect July 1, 2013, and replaces ISU Communication 1724. There are no changes in the Scale of Values, and very few changes in the Levels of Difficulty features. The features for Step Sequences and Spins are listed below and include additional information regarding criteria requirements and clarifications. All updated language for the 2013-2014 Season has been underlined. ISU COMMUNICATION 1790: Updated Levels of Difficulty, Singles Skating 2013-14 SPINS 1) Difficult variations (count as many times as performed with limitations specified below) A difficult variation (DV) is a movement of a body part, leg, arm, hand or head which requires more physical strength or flexibility and has an effect on the balance of the main body core. Any category of difficult spin variation in a basic position counts only once per program (first time it is attempted). A difficult variation in a non-basic position counts once per program in a spin combination only (first time it is attempted). CATEGORIES OF DIFFICULT VARIATIONS Sit Positions: Determined by position of free leg • Sit Forward (SF): Sit with free leg forward • Sit Side (SS): Sit with free leg sideways • Sit Back (SB): Sit with free leg behind Camel Positions: Determined by direction of the shoulder line • Camel Forward (CF): Camel with shoulder line parallel to the ice • Camel Side (CS): Camel with the shoulder line twisted to a vertical position • Camel Upward (CU): Camel with the shoulder line twisted more to a horizontal or almost horizontal position Upright Positions: Determined by position of torso • Upright Forward (UF): Upright with torso leaning forward

SEPTEMBER | OCTOBER 2013

• Upright Straight or Sideways (US): Upright with torso straight up or sideways • Upright Biellmann (UB): Upright Biellmann • Upright Layback (UL): Upright layback position Non-Basic Position (NBP): DV in any position that does not fulfill basic position definition For the short program and free skate, once a difficult variation has been attempted and a difficult variation of the same category is executed, the variation cannot be counted, but any additional features in this variation can still be counted. If in a spin combination the variation in a non-basic position is quite similar to the performed variation in a basic position, the last performed of these two variations will not count as a level feature 2) Change of foot executed by a jump The jump requires significant strength and skill and must be executed from any basic position directly into any basic position. The basic position must be achieved within the first two revolutions after the jump landing and held for at least two revolutions. The toe Arabian as change of foot is allowed is considered as a change of foot executed by jump and counts as a feature only in the free skate. If executed in the short program, such change of foot will be considered as an error, and the GOE will be reduced according to the ISU guidelines for touching the ice with the free foot. 3) Jump within a spin without changing foot A clear jump started and landed on the same foot is achieved if the skater has executed at least two revolutions in a basic position before and after the jump. The basic position must be achieved within the first two revolutions after the jump landing and held for at least two revolutions. 4) Difficult variation of flying entrance/landing on the same foot as take-off or changing foot on landing in a flying sit spin The basic position must be achieved on the landing within the first two revolutions and held for two revolutions.

Additionally, if an obvious “step over” (instead of a jump) is performed or the skater does not attain the flying position in the air, this entrance cannot be considered as a level feature in the free skate, and in the short program it is a maximum of Level 1. In the junior short program, the required flying spin is the FSSp. The sit position must be attained in the air. If the skater does not even attempt to reach the prescribed air position, (i.e. a death drop or butterfly) the call will have NO level. If there is an attempt to achieve the sit position in the air but it is just a hop, then the level can be no higher than a Level 1. In the free skate, if a difficult flying entry is attempted but not achieved, only the corresponding feature will not be awarded but other achieved features may still be applied. 5) Backward entrance This requires at least two revolutions on a backward outside edge in any position(s). A backward entrance can be done, but is not limited to a forward inside three-turn. 6) Clear change of edge in sit (only from backward inside to forward outside), camel, layback, and Biellmann position This counts only once per program, the first time it is attempted. This requires at least two full revolutions on one edge, followed by two full revolutions on the other edge while maintaining the same basic position. The short phase following a landing of a fly or a step-in (mostly from flat to edge, or executing a three-turn, etc.) is not considered as an attempt of a change of edge. 7) All 3 basic positions on both feet 8) Both directions immediately following each other in sit or camel spin The sit and/or camel basic position must be held for a minimum of three revolutions in each direction. 9) Clear increase of speed in camel, sit, layback, or Biellmann position This counts only after the above position has been held for two (2) revolutions, and must be a visible increase of speed. 10) At least eight revolutions without changes in position/ variation, foot or edge (camel, layback, difficult variation of any basic position or for combinations only non-basic position) This counts only once per program (in the first spin in which it is successfully performed; if in this spin eight revolutions are executed on both feet, any one of these executions can be taken in favor of the skater). For juvenile and intermediate, this feature may be awarded once per spin. If repeated in a second spin, it must be executed in a different basic position and/or different difficult variation.

Additional Features for the Layback Spin: 11) One clear change of position backwards-sideways or reverse, at least three revolutions in each position (counts also if the layback spin is a part of any other spin) This is awarded if the change of position is done while maintaining the layback or sideways position. 12) Biellmann position after layback spin (junior and senior short program – after eight revolutions in layback spin) The Biellmann position is awarded when the skater’s free leg is pulled from behind to a position higher than and toward the top of the head, close to the spinning axis of the skater. Features 2 through 9, 11, and 12 count only once per program (first time they are attempted). In any spin with change of foot, the maximum number of features attained on one foot is two. For spin combinations with change of foot, all three basic positions are mandatory for Levels 2-4 in both the short program and free skate. For spins with change of foot, at least one basic position on each foot is mandatory for Levels 1-4 in both the short program and free skate. Common spin errors: • an attempted difficult position does not fit the definition of being difficult • a position is not held for enough revolutions • a position is not in a defined basic position. • in the change of edge feature, a skater does not hold both edges for two revolutions in a basic position. • position is not attained in the air in a flying spin. • in any spin with a fly feature (Features 2, 3 and 4) a basic position is not achieved within two revolutions and held for two revolutions. In all of the cases above, the skater’s intent does not meet the requirements for a feature, so credit cannot be given. STEP SEQUENCE 1) Minimum variety (Level 1), Simple Variety (Level 2), Variety (Level 3) Complexity (Level 4) of turns and steps throughout (compulsory) Minimum Variety must include at least five turns and two steps, none of the types can be counted more than twice. If a skater does not execute Minimum Variety the Level cannot be higher than Base. If only Minimum Variety is achieved the Level cannot be higher than 1. Simple Variety must include at least seven turns and four steps, none of the types can be counted more than twice. If a skater executes Simple Variety the Level cannot be higher than 2.

PS MAGAZINE

Variety includes nine turns and four steps, none of the types can be counted more than twice. If an athlete executes Variety, the Level cannot be higher than 3. Complexity must include at least five different types of turns and three different types of steps all executed at least once in both directions and are required for a Level 4. None of the types of turns and steps can be counted more than twice. “Both directions” refers to rotational direction not only for turns, but also for steps, e.g. Mohawks, Choctaws, chassés, change of edge. Skating forward and skating backward is not a change of rotational direction. 2) Rotations in either direction (left and right) with full body rotation covering at least 1/3 of the pattern in total for each rotational direction A skater rotates with any listed and unlisted turns and steps continuously in one direction for at least 1/3 of the pattern and then continuously for at least 1/3 of the pattern in the opposite direction (clockwise and counter-clockwise) OR over the length of the pattern the skater rotates with any listed and unlisted steps and turns for at least 1/3 of the pattern in total (not continuous) in one rotational direction and at least 1/3 of the pattern in total (not continuous) in the opposite direction (clockwise and counter-clockwise). “Full body rotation” means one complete rotation. 3) Use of upper body movements for at least 1/3 of the pattern This feature requires the visible use for a combined total of at least 1/3 of the pattern of any movements of the arms, and/or head and/or torso that have an effect on the balance of the main body core. In features 2 and 3 “pattern” means the pattern actually executed by the skater. 4) Two different combinations of 3 difficult turns (rockers, counters, brackets, twizzles, or loops) executed with a clear rhythm within the sequence In the combinations: • three turns are not allowed (not difficult turns); • changes of edges are not allowed (listed as steps); • a jump/hop is not allowed (not a turn); • changes of feet are not allowed; • at least one turn in the combination must be of a different type than the others. The exit edge of a turn is the entry edge of the next turn. The combination must be executed with a clear rhythm within the sequence. PATTERN A step sequence and choreographic sequence must fully utilize the ice surface. It must be visible and identifiable and should be performed by using almost the full ice surface either in it length (e.g. straight line, serpentine or similar shape) or twice in its width (e.g. circle, oval or similar shape). Failure to achieve the above description will result in no value.

SEPTEMBER | OCTOBER 2013

CHOREOGRAPHIC SEQUENCE (Senior Ladies and Men Free Skate) The choreographic sequence consist of any kind of movements such as steps, turns, spirals, arabesques, spread eagles, Ina Bauers, hydroblading, transitional (unlisted) jumps, spinning movements etc. A Choreographic Sequence for Ladies must include at least one spiral (not a kick) of any length. The Sequence commences with the first move and is concluded with the last move of the skater. The pattern is not restricted, but the Sequence must fully utilize the ice surface. (See PATTERN description above) If this requirement is not fulfilled, the sequence will have no value. The Choreographic Sequence is included in Free Skating and has to be performed after the Step Sequence. The Choreographic Sequence has a base value and will be evaluated by the judges in GOE only. A Spiral is a position with one blade on the ice and the free leg (including knee and foot) higher than the hip level. Spiral positions must be on edge. A ‘kick’ is when the free leg goes up and down without any stop or fixed position in a spiral. If only one spiral position (of any length) is executed and nothing else is included in the Sequence, such a Sequence will not be confirmed by the Technical Panel as it consists of one movement only. However a long enough (2 fixed spiral positions) spiral with change of edge already fulfils the requirements of the Spiral Sequence definition as it consists of two movements (two spiral positions). Listed jumps can be included in the Choreographic Sequence, will be identified and occupy jumping boxes. JUMP ELEMENTS In the jump sequence AND jump combination, the final jump must be landed on an outside edge (i.e. on the right foot when jumping counterclockwise). If not, the TS will still call the element, but it will be a mandatory reduction by the judges The technical panel has the authority not to call a single jump which is more similar to a hop than a jump and is a result of a bad landing of the previous jump. The judges will reflect the mistake in the GOE. Along with ISU Communication 1790, it is important for coaches to consult 2013-14 ISU Technical Panel Handbook: Singles (7-14-2013) for detailed feature and element rules. 2012-13 USAid Technical Panel Handbook should be consulted for specific domestic rules concerning juvenile, intermediate and novice levels. This particular document will be updated soon with minor clarifications.

Are you thinking about starting the ratings process?

See what these coaches have to say about their experience! I had a very positive experience and commend my examiners for their constructive comments on opportunities for improvement. I am going to mentor with one of them. – Registered Group

I will be back for more education. Thank you for your inviting atmosphere! – Registered Group

I felt my examiners were more than fair and more so, kind and helpful. I truly feel that I know more from going through the process; their feedback has motivated me to do better. – Registered MIF

This was a really great experience and not as scary as everyone makes it seem. – Registered MIF

The examiners were very friendly and made me feel comfortable. It felt like we were having a conversation instead of an exam. They did a great job keeping the mood light but serious. – Registered MIF

Enjoyed the test – it was very good to know that the panel was interested in what I had to say and it made me relax. Thank you! –Registered Group

My experience was highly positive, motivating, and has made me a better overall coach! – Senior Pairs My testing experience was great because I was well prepared. The info required to know for the exams has richly enhanced my ability to be a better choreographer. Thanks for pushing me! – Master Choreography

Very helpful and positive atmosphere. I thought the examiners were all constructive as well as complimentary when necessary. – Certified Choreography

Examiners were very fair and their comments were very helpful for moving forward. I appreciate them donating their time for the process. – Certified MIF

Extremely helpful feedback.

– Master Program Director

This was my first oral exam. It was a good experience and will help me clarify my methods. – Registered Free Skating

The exam was awesome, per usual. Every exam was comfortable, fun, and cohesive between examiners and myself. It was a very fun experience from top to bottom! - Master Free Skating

Thank you for the opportunity to grow, learn, shape, and empower my coaching. It is an honor! – Master Free Skating

For upcoming Oral Rating sites see page 19.

PS MAGAZINE

Sport Science HEIDI THIBERT

Part 1

SafeSport for Coaches By Heidi DeLio Thibert and Susi Wehrli-McLaughlin

he new U.S. Figure Skating SafeSport Program was formally launched in May 2013, at the annual Governing Council meeting. Originally created by the United States Olympic Committee (USOC), U.S. Figure Skating has adapted the SafeSport Program to include policies that will apply to all U.S. Figure Skating clubs, programs, events and activities. The PSA wholeheartedly supports the continued effort of U.S. Figure Skating to provide a safe environment for its members and to protect the opportunity of its members to participate in the sport in an atmosphere that is free of harassment and abusive practices. The PSA Role By providing input from a coaching perspective, the PSA contributed to the creation of the program. This article will outline the specific sections of the handbook that apply directly to coaching practices. While it is true that everyone plays a role in preventing abuse and reducing misconduct in sport, coaches are in a unique position to recognize, report and prevent abuse and misconduct. All coaches should familiarize themselves with the SafeSport definitions of abuse and misconduct, and coaches should refrain from engaging in such misbehavior. Every single coach should download or print a copy of the handbook to read at: www.usfigureskating.org/safesport The Handbook Explained The U.S. Figure Skating SafeSport Program addresses the following types of abuse, harassment and misconduct: • Sexual abuse and misconduct • Physical abuse and misconduct • Emotional abuse and misconduct • Bullying, threats and harassment • Hazing • Willfully tolerating misconduct

SEPTEMBER | OCTOBER 2013

What Coaches Need to Know about Misconduct Sexual misconduct Sexual misconduct involves any touching or non-touching sexual interaction that is nonconsensual or forced, coerced or manipulated, or perpetrated in an aggressive, harassing, exploitative or threatening manner. It also includes any sexual interaction between an athlete and an individual with evaluative, direct or indirect authority which is considered an imbalance of power. Last, any act or conduct described as sexual abuse or misconduct under federal or state law (e.g., sexual abuse, sexual exploitation, rape) qualifies as sexual misconduct. • An imbalance of power is always assumed between an athlete, regardless of age, and an adult in a position of authority (such as a coach, official, director, employee, par¬ent or volunteer). • Minors cannot consent to sexual activity with an adult. All sexual interaction between an adult and a minor is strictly prohibited. Sexual abuse of a minor occurs when an adult coach, official, director, employee, parent or volunteer touches a mi¬nor for the purpose of sexual arousal or gratification of the minor or the coach, official, director, employee, parent or volunteer. Sexual abuse of a minor also occurs when a minor touches a coach, official, director, employee, parent or volunteer for the sexual arousal or sexual gratification of either the minor or coach, official, director, employee, parent, or volunteer, even if the touching occurs at the request or with the consent of the coach, official, director, employee, parent or volunteer. Authority and Trust Once the unique coach-athlete relationship is established, the authority and trust on the part of the coach over the athlete shall be assumed, regardless of age. However, in some circumstances in regard to adult skaters, this assump¬tion is rebuttable. Factors relevant to determining whether there is an imbalance of power include, but are not limited to: The nature and extent of the coach’s supervisory, evaluative or other authority over the athlete being

Christy Krall Receives Pieter Kollen Sport Science Award At the 2013 PSA Awards dinner, Christy Krall was named the winner of the 2013 Pieter Kollen Sport Science Coaching Award. In addition to being a dear friend of the late Pieter Kollen, she has been at the forefront of using video analysis and biomechanics technology to instruct athletes on how to efficiently modify their technique. Christy’s expertise, her famous humor and enthusiasm, combined with her leadership and dedication to the sport of figure skating, have established her role to be instrumental in giving athletes a competitive edge. Congratulations, Christy! Also nominated for the 2013 Pieter Kollen Sport Science Coaching Award: Tammy Gambill Debbie Stoery Bobby Martin Heidi Thibert The Pieter Kollen Sport Science Coaching Award: Recognition for this award is given to a figure skating coach who utilizes scientific techniques and/or equipment as a 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. Past recipients: 2004 Mitch Moyer 2005 Kathy Casey 2006 Kat Arbour 2007 Debbie Pitsos 2008 Christy Krall

2009 Heidi Thibert 2010 Heidi Thibert 2011 Christy Krall 2012 Kat Arbour 2013 Christy Krall

coached; the relationship between the parties; the parties’ respective roles; the nature and duration of the sexual relations or intimacies; the age of the coach; the age of the athlete or participant; and wheth¬er the coach has engaged in a pattern of sexual interaction with other athletes or participants. Physical Contact in Training and Instruction Physical contact in sport is inherent in instruction and training. Appropriate physical contact has three elements: 1. The physical contact takes place in public. 2. There is no potential for, or actual, physical or sexual inti¬macies during the physical contact. 3. The physical contact is for the benefit of the athlete, not to meet an emotional or other need of an adult. With these elements in place, physical contact with athletes for the safety and instruction, celebration or consolation may be appropriate. In particular, coaches improve skills and make the training environment safer through appropriate physical contact.

Emotional Abuse and Misconduct It is the policy of U.S. Figure Skating that there shall be no emotional abuse of any participant involved in any of its clubs, programs or activities by any coach, official, director, employee, parent or volunteer. Definition: Emotional abuse involves a pattern of deliberate, non-contact behavior that has the potential to cause emotional or psychological harm to a participant. These behaviors may include verbal acts, physical acts or acts that deny attention or support. Examples of emotional misconduct prohibited by this policy include, without limitation: • Verbal Acts: A pattern of verbal behaviors that attack a participant personally (e.g., calling them worthless, fat or disgusting) or repeatedly and excessively yelling at a particular participant or participants in a manner that serves no productive training or motivational purpose. • Physical Acts: A pattern of physically aggressive behaviors, such as throwing sport equipment, water bottles or chairs at, or in the presence of, participants; or punching walls, windows or other objects. • Acts that Deny Attention and Support: A pattern of ignoring a participant for extended periods of time or routinely or arbitrarily excluding participant from practice. Summary of what is planned for the club level To assist with the implementation of the program, each U.S. Figure Skating club is asked TO appoint a new SafeSport Compliance Chair to their board of directors to serve as the primary contact for U.S. Figure Skating; oversee the implementation of the SafeSport Program; assist in fostering a safe, healthy and positive environment for your members; verify coach compliance with U.S. Figure Skating rules and disseminate information on best practices. This means that our Coach Compliance status will be verified at the local level, through the local club. It is important that all coaches complete the requirements in a timely manner and work with the SafeSport Compliance Chair to prove their compliance with the rules. The SafeSport Compliance Chair should not be a coach. Each club is asked to adopt and implement the SafeSport policies found within the SafeSport Handbook that are applicable to the club and facility to reduce the risks of potential abuse: • Athlete Protection and Commitment to Safety • Two-Deep Leadership and Appropriate Supervision • Locker Room and Changing Room Policy • Social Media, Mobile and Electronic Communications Policy • SafeSport Travel Guidelines • Codes of Conduct continued on page 20

PS MAGAZINE

Susi Wehrli-McLaughlin Senior Director of Membership at U.S. Figure Skating By Terri Milner Tarquini

hen Susi Wehrli-McLaughlin kick-started Basic Skills programs at three rinks in the Madison, Wis., area in 1993, she couldn’t possibly have known that it would be the first steps to her goal of bringing the entry-level skating program to all rinks. “My dream is that anyone interested in learning to skate, regardless of their financial situation, has the opportunity and begins their journey with the Basic Skills Program,” Wehrli-McLaughlin, senior director of membership at U.S. Figure Skating, said. “Skaters can start in U.S. Figure Skating and then continue through all of the levels that we have laid out. They can pursue whatever skating they want to — recreational or competitive — while strengthening the clubs so they can be all they can be.” If the last two National Skating Month campaigns are indicators, she is well on her way to seeing that dream come true. In 2013, U.S. Figure Skating mailed 470 kits for Basic Skills programs, essentially a manual for how to run an open house on ice. That was 50 more kits than in 2012, which had been the most successful up until that point. “It’s so exciting that we had our best year in 2012, and then we topped it this year,” Wehrli-McLaughlin said. “I never want to turn anyone away. I want everyone, everywhere to get involved.” National Skating Month began in 2002 as U.S. Figure Skating’s primary membership recruitment program. With about 170,000 members, 600 figure skating clubs and more than 1,000 registered Basic Skills programs, the sport has enjoyed steady growth. “We needed a campaign to encourage everybody to open their doors to let everyone in,” she said. “These kits assist the clubs and programs with everything they need to run a successful open house. The goal is to invite the public, have instructors ready to go and teach free introductory lessons with games, demonstrations and exhibitions. There’s also a media kit with press releases, posters and fliers. It’s all about encouraging people to come to the rink for a fun-filled day and learning about how to get more involved.” Twenty-five years ago, Wehrli-McLaughlin attended the University of Wisconsin-Madison. A full-time student there, she also worked as a skating coach to pay the bills during the rink boom in that area, where four rinks ballooned to 14 rinks. “During that time, many communities surrounding Madison were building their own seasonal rinks,” she said. “I saw an opportunity, so I was involved in Basic Skills programs at three of the area rinks, which eventually led to the development of the Southern Wisconsin Figure Skating Club. I was also a volunteer on the Basic Skills Subcommittee when I saw a job posted for the director of Basic Skills for U.S. Figure Skating. I thought, ‘This is what I’ve been doing.’” She landed the job in 1999 and since then her duties have expanded. She now oversees all things pertaining to membership — from the hundreds of clubs to growing Basic Skills and devel-

SEPTEMBER | OCTOBER 2013

oping the Bridge Program. Erin Schopf is the new Basic Skills manager; her duty is to focus on the continued development and success of the Basic Skills Program. “It is huge, but it has been a lot of fun being in on all the growth and expansion,” Wehrli-McLaughlin said. “We still have a lot of work to do, but we need to keep expanding and promoting the many opportunities for people to get involved and stay involved in skating.” It’s this two-pronged approach — widening the base while also offering quality programs to its existing members — that keeps U.S. Figure Skating growing and Wehrli-McLaughlin and many others busy. “For instance, the Bridge Program is all about retention,” she said. “What is critical is that, at that point, they’ve fallen in love with Basic Skills and it’s all about making sure they have a seamless transition. I call it Figure Skating 101. The lessons are still in a group format and it’s still a package program to keep costs low, but now they’re coming in maybe twice a week instead of just once so they’re learning skills at a faster pace. They’re also still earning badges so they’re getting rewards and recognition. We offer parent education materials so the parents are getting educated along with the skater, which is a huge component.” Another example of an innovative approach to getting both parents and skaters acquainted with the ins and outs of skating is the Learn to Compete class. The cost of the three-week program includes the entry fee to a competition, six hours of teaching, learning a routine, two hours of instructor time at the competition, as well as meeting time with parents to answer questions. Plus, the skaters travel as a group to cheer on each other. “We look at how we can be smarter about keeping the kids involved,” said Wehrli-McLaughlin, noting the need to minimize the shock that often accompanies the cost of figure skating, especially in a difficult economy. “We need to keep costs low and excitement high.” And nothing gets potential skaters revved up like the Olympic

Susi strikes a pose at the U.S. Figure Skating booth at NARCE with Leslie Graham, Synchronized Skating Manager and Erin Schopf, Basic Skills Manager

Susi and Brenda Glidewell, Director of Skating Programs, at a 2012 NSDC competitors party

Winter Games, which is where the Destination Sochi campaign comes in. Through Destination Sochi, National Skating Month will be held in both January and February to take advantage of the pre-Games excitement. “Our membership will always fluctuate with a four-year cycle, so Destination Sochi is a huge opportunity for all of us,” WehrliMcLaughlin said. “I feel we have all the programs in place and it’s really just rolling them out and getting the word out. It’s all so exciting. There are so many tremendous opportunities.”

Getting the word out is not just up to U.S. Figure Skating. It can also benefit from a far more grassroots effort involving all coaches, clubs and facilities. “Marketing skating is all of our responsibility,” she said. “The best thing to do at your rink is to get together as a group with all of the coaches and support the various programs offered at the rink. Have a planning meeting and ask, ‘What can I add? What’s my individual expertise?’ Put goals in place. ‘We want to increase membership by 20, 50 or 100 skaters and put a plan in place to accomplish it.’” The mission to continue to grow membership is a big one, but for every rink that begins the Basic Skills Program, it is another step closer to Wehrli-McLaughlin’s dream to infuse every rink with what benefits U.S. Figure Skating has to offer for skaters of all ages, levels and interests. “It’s always been my passion,” she said. “We need to always have opportunities for people to fall in love and stay in love with the sport.” Information on the Destination Sochi campaign, as well as all of the programs offered by U.S. Figure Skating, can be found at www.usfigureskating.org.

PS MAGAZINE

Education CAROL ROSSIGNOL

The Walley By Robert S. Ogilvie

t may surprise readers that such an apparently unimportant jump as the Walley should be the subject of a moderately extensive article. Many skaters find it a frustratingly difficult jump. However, the jump has hidden qualities and uses, as you will see. For a skater moving clockwise, the Walley consists of a right back inside edge from which the skater jumps counterclockwise to the right back outside edge of the same foot, the whole movement forming a serpentine pattern over the ice. It is not a high jump and the turn in the air is very fast. Time in the air is normally about 0.40 seconds as against a maximum of approximately 0.70 seconds for a major jump. It can be seen that the Walley resembles a hop on one foot, which provides little time for a complex technique. A variation is the half Walley (landing on the back inside edge of the free foot) as in the half loop jump. Technique For learning purposes while on the ice, the entry to the Walley is best conceived as a back inside counter followed immediately by a forward inside three. This should be practiced until it becomes one fast movement. To make this movement, the center of gravity must remain over the skating foot. When the combination of the back inside counter and forward inside three as one fast combined movement has been mastered, the jump can be attempted. RBO edge

RBO landing

360°

BBI take-off

During the jump, a lean of the body is involved, which requires a short explanatory digression. When describing leans or tilts in a jump in which the skater is rotating, describing his (or her) position as leaning forward or backward is confusing. It is clearer to refer to the skater’s longitudinal axis (also known as the rotational axis) since it

SEPTEMBER | OCTOBER 2013

is independent of the direction in which the skater is facing. In the case of the Walley, before, during, and after the jump the lower section of the skater’s longitudinal axis leads the direction of travel while the upper section follows. This position must be held while the center of gravity stays over the skating foot. During the approach and during the jump itself the free foot leads the action either over or slightly inside the take-off edge---carrying the free foot outside the back inside take-off edge can causes problems as explained below; otherwise the position of the free leg is not really important as it plays little part in the jump itself. And here is the key to the best and effortless appearance of the jump---never, repeat never, jump toward the free foot, just jump vertically. Skaters are often told to “pull” the edge at the takeoff, but this takes the body and landing foot away from the point of takeoff and the time in the air is so short that it is difficult to bring the foot back under the body for the landing. The word “pull” has various forms and applications. Essentially it is a distortion of an edge while in motion in order to gain power---it can be made from any of the four edges, forward or backward. Here we are dealing with the back inside take-off edge of the Walley. The center of gravity is shifted away from its normal position under the body; in order to avoid a fall the skater rapidly brings the skating foot back under him by thrusting against the skating edge, which not only restores his balance but also creates a force that adds to his speed over the ice and hopefully makes the jump easier. However, it has the disadvantage that it causes the skater to jump away from the skating edge, which should be directly under the body, a position which is a necessity for an easy, flowing jump. A common error with beginners is jumping from the wrong edge, that is, the back outside instead of the back inside. This is usually caused when entering the jump by carrying the free foot outside instead of over or slightly inside the take-off curve thus causing him to change the jump into a loop jump which was often referred to derisively as a “lolly” or “woop” jump. In the best and most effortless Walleys the takeoff is from the center or rear of the blade. The evidence for

WALLEY

Landing this is a sequence of photos taken with a 35 mm camera (before digitals had been invented) of a top rank woman skater showing her doing a Walley. She was a double Gold medalist, ISU and USFSA at a time when figures were included, so she was very familiar with the technique of the back inside counter. The photo showed an excellent picture of the blade just as it was leaving the ice. It was clear that the weight had been shifted toward the rear of the blade as it would have been in the counter. The half Walley was sometimes used as a link between larger movements. A very elegant German professional, Helmut Rolle, teaching in London in the 1930s, would execute a beautiful back inside spiral extending over nearly half the rink; then at the midline would drop the free leg, rise with the body, and do a half Walley landing in another back inside spiral on the other foot. More recently I had a gifted pupil who used the half Walley as an entry into a double Salchow and similar combinations. In present day skating a short Walley could be mixed with complex footwork. It is also seen occasionally included in large scale changes of edge from back outside to back inside repeated down the rink. Other interesting combinations should spring to the mind of an imaginative skater. The possibility of the double Could the Walley be done as a double? A handful of skaters have achieved it but largely from their academic interest in the jump. I have, however, seen the double performed very creditably by Mr. Colin Van der Veen during his free skating program at the 1993 U.S. Nationals. Fortunately I was taping the event at the time so have been able to refer back to it for confirmation. I think it took everyone by surprise and the commentators received it in a rare moment of absolute silence, in fact they never referred to it either at the time or since. To the best of my knowledge this was the first time the double had been performed in a national or international competition. Inward and outward What makes the Walley and its double particularly difficult? Surprisingly ballet dancers have an answer. In their vocabulary they use the terms en dedans and en dehors meaning approximately “inward” and “outward,” frequently used when describing pirouettes. For example, if the dancer is standing on the left foot and wishes to rotate to the left (counterclockwise), he may rotate his right leg to the left—

Preparation he has moved it inward in relation to his body. If, however, he is standing on the right foot and still wishes to rotate counterclockwise, he will rotate his left leg away from his body—he has moved it outward. A similar situation applies to edge-to-edge skating jumps when using the free leg or parts of the free side to assist the rotation. Inward movements cause a tightening of the position early in the action, whereas outward movements take longer to take effect. The Axel and Salchow are inward actions whereas the loop jump, particularly the half loop, is outward. However, the outward action of the free leg and side is unsuited to the multi-rotational forms of the loop jump as the action takes too long to take effect. The free leg action, therefore, has to be restricted to an upward lift. The Walley requires a rapid outward movement mainly of the hips which is why the double is so unusually difficult. Origin of the name There is some rather natural difference of opinion as to whether this jump was invented by the American Nate Walley or the British skater Pat Low, an amazing skater who specialized before World War II in rather awkward and difficult single jumps never previously performed, one of which we now call the Walley but was previously called the Pat Low by the British. In the early 1930s the National Association of Great Britain (the equivalent at the time of the USFSA) sponsored a professional championship open to all nationalities. It was held at the Hammersmith rink in London and I was able to attend. I was quite young at the time but already an enthusiastic skater and knew what I was looking at. There were only three entries in the Men’s: the American Nate Walley, the Swiss champion Jack Gerschwiler (often incorrectly called Jacques), and the well-known American trainer Howard Nicholson. Nate Walley won. The point of the story is that during a very quiet public session held at a different rink, Nate Walley and Pat Low were skating on the same ice. With all due respect to Mr. Walley I cannot help feeling that he might have been influenced by watching Mr. Low doing his specialties one of which bore a marked similarity to the Walley. But then, my English background may have made me a little biased. Copyright © 2013

PS MAGAZINE

Continued from page 15

Summary of what business practices will be different for coaches • Athlete Protection and Commitment to Safety o If a coach observes inappropriate behaviors (i.e., policy violations), suspected physical or sexual abuse or misconduct, it is the personal responsibility of the coach to immediately report the observations and take the appropriate action stated in applicable U.S. Figure Skating Rules. (GR 1.03 Reporting Procedures) • Two-Deep Leadership and Appropriate Supervision (Two-deep leadership means that at least two adults are present at all times with individual minors when off the ice.) o Any meeting between a coach and one individual athlete is to take place in an open and observable environment or publicly visible and open area, such as the corner of the arena. o Any meeting between a coach and one individual athlete in an office or a locker room the door is to take place with the door unlocked and open. o If a closed-door meeting is absolutely necessary, the coach should inform another adult and ensure the door remains unlocked. • Social media, Mobile and Electronic Communications Policy o All electronic communication of any kind between coaches and minors, including use of social media, should be non-personal in nature and be for the purpose of communicating information about skating-related activities. o All content between coaches and minors should be readily available to share with the public or families of the minor member. o If the member is under the age of 18, any email, text, social media, or similar communication from a coach should also copy or include a parent. o Coaches are cautioned from having their skaters joined to their personal Facebook page or any other similar social media application. • Travel Guidelines o Coaches must agree to sign travel guidelines designated by the club. o Regardless of gender, a coach shall not share a hotel room or other sleeping arrangement with an athlete (unless the coach is the parent, guardian, sibling of that particular athlete). o When only one athlete and one coach travel to a competition, the athlete must have written permission from a parent or legal guardian in advance to travel alone with the coach.

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• Team Travel (i.e. - Synchronized and Theatre On Ice teams) o Coaches will not engage in team travel without the proper safety requirements in place, including valid drivers’ licenses, proper insurance, wellmaintained vehicles and compliance with all state laws. • Coaches Code of Conduct o Every new membership year, when renewing their Coach Registration, all coaches will be required to read and agree to the Coach Code of Conduct. o It is the individual responsibility of each coach to aspire to the highest possible standards of conduct. Above all, coaches of young people can have great influence on developing athletes who are reliant on these coaches for the basic instruction and guidance necessary to reach the top levels. Coaches can have tremendous power over these athletes in their quest to the top. This power must not be abused. Therefore, we have set forth codes of ethics and conduct to guide our coaches and protect our athletes for the mutual benefit of all concerned. The U.S. Figure Skating SafeSport Handbook is the culmination of sustained work on the part of a number of passionate individuals in U.S. Figure Skating and the PSA. The U.S. Figure Skating SafeSport Handbook contains more valuable information for coaches, and it is strongly encouraged that each and every coach takes the time to read and understand the contents.

As a coach

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PS MAGAZINE

OBITUARY SYLVIA J. MUCCIO It is with great sadness and a heavy heart that we announce the loss of a coach, Sylvia J. Muccio, of Tarrytown. Sylvia, who influenced the lives of countless skaters in a legendary career, passed away with her family by her side on Wednesday, August 7th, after a long battle with cancer. She was 55 years old. Sylvia was born on July 14, 1958 in Chicago to her beloved parents Eugene and Patricia (nee Zbikowski) Taglialavore. She arrived in New York in 1983 from Chicago and changed the skating community as we know it. She introduced synchronized skating to the New York Metro Area. She began her coaching career at the E.J. Murrays Skating Center, Yonkers, New York, where she collaborated with others to create elaborate skating shows which then began the introduction of the art of synchronized skating to young skaters and founded Team Image Synchronized Skating in 1987. Sylvia is survived by her loving husband, Stephen M. Muccio, of 29 years, and her children, Anthony and Nicole.

She is also survived by her beloved parents, and siblings Antoni and Joseph Taglialavore and Stella Carmasine, as well as many nieces and nephews. She was an amazing mother with strong family values and love for her family. She adored her children and frequently spoke of Nicole and Anthony’s achievements with great passion. The one thing Sylvia wanted to do before it was too late was to take her PSA master group instructor rating. She did that in May at the 2013 PSA Conference in Chicago and became master-rated. Sylvia had great talent and brought her passion for skating, coaching and creativity to all of her students from Team Image to EJ Murrays. She had strength and determination to “build a skater”. Her leadership and perseverance inspired and touched so many of us personally and professionally. Her passing is a tremendous loss for the skating community and all who knew her. Sylvia’s memory will live on, in our hearts. The Sylvia J. Muccio Scholarship Fund is to be established in the near future. Please check the Team Image’s website at www.teamimagesynchro.com for more information about the scholarship.

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WORLD RECREATIONAL TEAM CHAMPIONSHIPS July 28 - Aug. 2 New England Sports Center Marlborough, MA Entry & Test Deadline: May 1

PS MAGAZINE

the Evolution of the

Figure Skate=m The History of Boots and Ice Skates by Bruce Poodles

Photos courtesy of the World Figure Skating Museum & Hall of Fame

"The evolution of the skate was influenced by either need or material innovation."

Hattersley & Davidson, a substantial and extremely well-regarded engineering company was formed in 1894 and subsequently acquired John Wilson’s tool making company. Toolmaker John Wilson estab-

lished his company in 1696 that is still making skates 317 years later. Wilson, a Sheff ield engineer who

was famous throughout England, came to the atten-

tion of the British royal family, commissioned a pair of blades to be made by Wilson for King William

III. Continuing the Royal skating tradition, Queen

Victoria was said to have enjoyed many skating outings

with her future husband, Prince Albert, requested John

Wilson skates for herself and her husband.

Part One

The Pioneer Stage

The “figure” skate had its beginnings in the late 17th century in England during the period of Restoration, after King Charles II who, while exiled in Holland, fell in love with skating. Upon his return to England in 1658, the King brought back with him two unique innovations – a pair of iron skates and the Dutch roll. The Dutch roll was the first form of a gliding or skating motion made possible by the iron skate’s two edges. During the Pioneer stage, the English skate-makers at first copied the Dutch skate which was designed for long distance skating and as a means of transportation on the country’s canals. The Dutch invented the first iron blade which was attached to a wooden platform with the distinctive front “prow” (tip) arched upward to allow the skater to safely glide over rough and dangerous ice conditions. The blade itself was low to the ice for added balance and stability. It promoted straight ahead skating, with speed and virtually no allowance for deep outside or inside edges.

In contrast, the needs of the British skaters did not match the function of the Dutch design; the distinctive prow was unnecessary as skating took place on smaller ponds and the feature made it difficult to

climb up snow-packed embankments. English skaters wanted a skate that supported deep edges, quick turns and tight circles. After a period of trial and error, the English skate makers designed a shorter, higher skate that was curved on the bottom that today is known as the rocker.

“Only two inches of the blade touched the ice at any one time,” said Nigel Brown in “Ice Skating: A History”. He went on to claim that these revolutionary changes, “opened up to skating wide possibilities for the improvisation of intriguing exercises.” It is not certain when the rocker was added but as Brown wrote, “It may have been invented logically, for a flat blade causes considerable friction upon the ice.”

By 1770, “fluted skates” had also appeared. Fluted is an architectural term that refers to a shallow groove running vertically along a surface. In the present day it is referred to as a hollow. Interestingly, the fluted skates did not gain popularity in the beginning. While the blade's functional area had improved, the fastening of the skate to the boot was still awkward. The search for the best method continued to change for hundreds of years, and often created all sorts of unintended consequences. For one, while the skates were evolving, the

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English tool manufacturer made several different styles and qualities for export, including “rocking,” “club end,” and “figuring” skates, with a choice of fluted, hollow ground, or plain edges. While Boswell’s skate design improved function, it did little to deal with the continuing problem of attaching the skate to the boot securely.

Cast steel blades from 1860

shoes for skating were just shoes or boots made specifically for walking. Initially the skates were fastened to the shoe with straps. Of course after skating for a period of time, the straps would loosen, much like laces loosen today. Another unintended consequence was as the skate became more firmly attached to the sole of the shoe, the ankle joint became more susceptible to injury. From this the natural progression was higher boots to support the ankle.

As the 19th century came, England remained focused on the search for new turns and patterns in what was now called figure skating. It was estimated the English had over 1800 figures in their substantial repertoire. In Holland, speed remained king. The flat Dutch blade made it easy to understand why figure skating did not develop in Holland. In Germany, the Napoleonic wars were in full swing leaving little time for skating. France, on the other hand, would take skating in another direction. "The English had created a science,” said Nigel Brown, “the French were to develop it into an art."

Unfortunately, around the turn of the century, there were few advances in skates and none that were of substance until 1837, when Henry Boswell of Oxford, England made an attempt to develop the figure skate further by shortening the front of the blade and extending the blade to the full length of the boot. Until that point, skaters stopped by leaning well back on their heels with their toes pointed in the air. This was possible because the blade stopped under the middle of the heel. Boswell rounded off both the front and heel ends of the blades. The platforms on which the blades were mounted were made of various hardwoods such as oak, walnut and beech. The blades were constructed of “wrought iron with a quarter of an inch of hardened steel welded to the lower part.” Lighter, stronger, and better able to hold an edge, this skate was fastened to the foot by as many as four straps. By 1845, one

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It is believed that ice skating was introduced to North America just before the revolutionary war by British soldiers stationed in the colonies and Canada. The first skate company formed in the U. S. was Frederick Stevens Co. of New York in 1839. Throughout the eighteenth and nineteenth centuries, most skates were imported from Holland, Germany, and especially England. A few more American makers began to enter the ice-skate market shortly after and it did not take long for the North American skate companies to take the lead in skate development, soon devised an assortment of clamping devices for fastening the skates to boots. The most significant advance in America was the all-metal skate by E.V. Bushnell of Philadelphia (1848). Bushnell, a surgical instrument maker built a skate with both blade and foot-plate made out of the finest quality of steel. One pair of E. W. Bushnell skates cost $30. This led the first assumption by manufacturers that skates might be profitable.

“When a wave of enthusiasm for group sports swept America in the late 1850s,”says the Worcester Historical Museum, “ice skating became instantly popular. It was the first recreational activity for both men and women promoted commercially and civically.” To meet the growing demand for ice skates, many companies were founded; Union Hardware of Torrington, Connecticut (1854) which had a distinctive shamrock design cut into the foot plate. The Samuel Winslow Skate Company in Worcester, Massachusetts (1856) and Barney & Berry of Springfield, Massachusetts (1865) were popular as well. For instance, in 1858 William Morse patented a lower profile two-stanchion skate with firmer heel cups and an “over the foot” fastening device. Three years later, hardware store owner John Starr, created the Starr Manufacturing Company in Dartmouth, across the harbor from Halifax. Starr sold block skates to the thousands of skaters in the 1880 club skate

area. One of Starr’s clerks was a young Scottish immigrant named John Forbes. Being a clever mechanic and inventor, Forbes developed the first “spring skate” adjusted by means of a single lever, the need for screws and plates was eliminated. Starr MFG. Co. prospered selling over 11,000,000 skates worldwide until the Great Depression. By 1938, imports from Europe caused the shutting down of skate production.

Barney & Berry produced the very popular all-metal clamp-on skate, which was patented in 1864. During the Civil War Everett Barney was superintendent of a small arms factory. An avid skater, Barney disliked the burdensome way that skates had to be strapped on to shoes, so he devised an all-metal skate that clamped on in one simple step. By the end of the war, there were over 200 patterns of skates on the world market, and Barney had a factory which ultimately manufactured up to 600,000 pair per year, helping fuel recreational skating into the 20th century.

During the Pioneer stage, skating boots were mostly handmade riding boots or walking shoes which had high heels. The skates and shoes were usually bought separately and then clamped together. Cobblers and shoemakers often made “special” skating shoes. It was not a stretch as most were also making custom riding boots, walking shoes, ballet shoes and the like. Military and riding boots reached the mid-calf level for support which influenced the design of skating boots at the turn of the century. In fact, the Stanzione boots and Strauss skates worn by Sonia Henie in the 20s and 30s changed little until the late 1960’s. Old photographs of Sonja Henie show her wearing thin, supple boots reaching to mid-calf with a heel height of 1 ¼ inches. Made of soft leather, the boot only had a counter for support (Counter–A piece of material forming the back of a boot to give support and stiffen the material around the

heel through the arch). Skates and shoes were beginning to be sold together in “Skating Outfits.”

Union Hardware bought out Frederick Stevens Co and another Torrington, Connecticut skate manufacturer, the Sealand Company and prospered into the 1960s when it was bought out by Brunswick Co. Brunswick shut down its skating line in 1967. Other established manufacturers like the A. G. Spalding & Bros. and the Winchester Repeating Arms Company of New Haven, Connecticut, jumped into the market as well. By the mid-nineteenth century several American factories were turning out large numbers of skates. For example, by 1865 the Samuel Winslow Skate Company employed 15 men and two women making skates, and another three men and two women making skate straps, made 20,000 pairs that year. Improving on the 1948 Bushnell design, Jackson Haines in 1865 developed the two-plate all metal blade by forging the skate blade to the toe and heel plates. The blade was attached directly to Haines’ boots, which added stability and allowed him to do more athletic leaps and jumps. However, while the blade of Jackson had a seven foot rocker and two edges, the prow of the blade still had a gentle curl but now resembled the bow of a boat. The Swedish revolutionized the skate further with a modification to the prow by adding saw-tooth picks (1870) and Haines was credited to be the first to wear them. In the next issue of PS Magazine Part II - The Heroic Stage

EXTENSIVE COLLECTION: WORLD FIGURE SKATING MUSEUM & HALL OF FAME The World Figure Skating Museum & Hall of Fame’s collection includes nearly 1,500 pairs of skates that document the development of the blade and boot dating back to the 8th Century. It is unknown which country invented “ice skates,” as Scandinavian and northern European countries both lay claim to the feat. What is known is that the earliest renditions were made from the leg bones of large animals, such as horses, cows and deer. Holes were bored through the bones and leather straps attached in order to secure these “blades” to the users’ boot. The bones, filed flat at the bottom, were greased with hog lard to increase their sliding characteristics. Skaters used a long stick to help propel themselves across the frozen waterways. In 1250, the Dutch made wooden platforms and embedded an iron blade into them to allow for easier gliding. Many such skates in many forms have been unearthed by archaeologists across the world. The skate that most resembles today’s skate was built in 1848 by E.V. Bushnell of Philadelphia. He created a strapless skate with blades that clipped directly into the boot, allowing people to spin, twist and jump. Eventually, a sport was born and figure skating was contested for the first time in the 1908 Olympics held in London.

1887 wooden skate

SOURCES The Badminton Library, Heathcote, Tebutt & Witham • Skating, Douglas Adams • The Skaters Text Book, Frank Swift, Marvin Clark • The Art of Skating, International Style, E & M Syers • The Art of Skating, Irving Brokaw • A Handbook of Figure Skating, George H. Browne • Historical Dictionary of Figure Skating, James R. Hines • Antique Ice Skates for the Collector, Russell Herner • A System of Figure Skating, H. E. Vandervell & T. Maxwell Witham • Wonderful World of Skates, Arthur Goodfellow • Ice Skating, Nigel Brown • The Games Must Go on: Avery Brundage and the Olympic Movement, Allen Guttmann • Tie One On, Jeff Briley, Assistant Director, Oklahoma Museum of History • Starr Acme Spring skate, Starr Manufacturing, http://www.hockeyshome.ns.ca/starr.htm • *Patent 2096781 OLYMPIAD SKATE CO, William, Blochinger 1937 • http://www.myskatingblades.com/Parabolic-Blade-s/1838.htm

PS MAGAZINE

Photo by Vicki Luy

Christy Krall 2013 COACH OF THE YEAR by Kent McDill

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TIME-OUT ON THE ICE

Christy with her 2012 national senior athletes Angela Wang, Joshua Farris, Armin Mahbanoozadah, and Agnes Zawadzki. ON THE SIDELINE

Christy provides encouragement for skater Joshua Farris from the boards along wtih co-coach Damon Allen at the 2013 U.S. Figure Skating Championships.

There are two things Christy Krall wants you to know about her selection as the Professional Skaters Association Coach of the Year for 2013. 1) Her selection had little to do with anything she accomplished in the previous 12 months. 2) She would not be Coach of the Year if not for the fact that she has a great team of people working with her.

The PSA Coach of the Year honors are a recognition of someone who “serves as a role model, exemplifies the highest stands of ethical behavior, promotes integrity, has concern for the welfare of others, and has made a significant impact on athlete performances at the highest levels of competition in the Senior Division.” Among her many achievements as a coach, Krall, 65, coached Patrick Chan, the Canadian skater who is a three-time world champion. Chan won the world championship with Krall in 2011 and 2012, then Krall and Chan ended their association amicably. But Krall said it was her work in the science of skating that brought her the Coach of the Year award. It was her introduction to Dartfish technology that allowed her to perfect her coaching in the area of jump techniques. She is credited with coaching Chan to his successful quad jump. “It’s the most amazing major learning tool you can use,’’ Krall said of Dartfish. “It can measure everything; speed, air time, revolution rate, rotational speed. It was amazing for me; a great product, and every year I have found something different to measure with it.” Dartfish is a digital imaging product developed by a company in Switzerland. The video system allows for enriching video with graphics and data display, and coordinates between videos to allow skaters to see better what they have done and how to do it better. Krall said she was introduced to Dartfish in 2002 while she served as senior director of athlete programs for U.S. Figure Skating. “The fascinating part is that I can take an image of the very best athlete, overlay it with the image of my

skater, and they can see the difference and can think ‘I want to be that person. I want to model myself after that’,’’ she said. Christy Haigler (her maiden name) was the 1963 and 1965 U.S. silver medalist and 1964 bronze medalist as a skater herself, and finished seventh at the 1964 Winter Olympics. Born and raised in Colorado Springs, Colorado, she trained at the Broadmoor Skating Club, and worked with PSA Hall of Fame coach Carlo Fassi. “I grew up in a golden era of skating in the perfect place to skate,’’ Krall said. Known for her boundless energy, Krall worked diligently to help U.S. Figure Skating recover from the devastating plane crash in 1961 that killed the entire American World team. In 1996, she was asked to serve as senior director of athlete programs for U.S. Figure Skating, where she had an epiphany in terms of her coaching technique. “My role with U.S. Figure Skating was to try to educate the coaching world, and to exchange programs with the U.S. Olympic program,’’ Krall said. “We would conduct classes on strength and conditioning, cardiovascular training. “About the third year I was there, say 1998, I started understanding things, started realizing science had a huge impact on skating,’’ she said. “I figured out how important it is and felt coaches need to know that.” She admits she does not have a science background herself. She was urged by her father to come out of college with some sort of useful degree so she got a Christy with Patrick Chan humanities degree with an aim toward becoming a teacher. PS MAGAZINE

SPORT SCIENCE ACCOLADES

As a recipient of the 2008 Pieter Kollen Sport Science award, Christy accepted the Edi with her daughter Katie at the PSA annual awards dinner in Chicago.

2010 OLYMPIC TEAM EFFORT

Andy O'Brien, strength coach, Patrick Chan, Mark Lindsay, chiropractor, Christy, and Lori Nichol, choreographer, take a break during a 'fun game' during some downtime.

But she said her own coaches had their own ways of addressing the science of skating, which helped her when Dartfish came along. “There are more fascinating things than telling someone to move their arm in a certain manner,’’ Krall said. “I find it fascinating I can tell the kids the reason I want them to do something, that there is a scientific fact behind it. So when you get someone turning in the air and you can use a scientific principle to explain a better way to do it, they [kids] like that.” But with the Dartfish technology, she said “we can do it all instantaneously. They can be on the ice right away and get it immediately. See it, and do it.” Her enthusiasm for teaching with the Dartfish technology has earned Krall distinction among skating coaches. She was awarded the PSA Lifetime Achievement Award in 2001, and was the recipient of the Professional Skater’s Association Sport Science Award in 2008, 2011 and 2013. Also, in 2008 and 2011, Krall was awarded the US Olympic Committee Sports Science Award for Figure Skating. Upon receiving word that she was Coach of the Year, Krall wanted to make sure that everyone who helped her along the way was credited, from her beginings as a skater to her successful years as a coach. “Edi Scholdan was my first coach, and then Carlo Fassi, the only two coaches I ever had,’’ Krall said. Today I work with Janet Champion, Damon Allen, Erik Schulz, Ryan Jahnke, Tom and Cat Dickson, Becky Bradley and Eddie Shipstad. I also work daily with my coaching colleagues Tom Zakrajek and Becky Calvin.” Krall laughed at the idea of how Dartfish would have helped her as a skater, mainly because the answer is “somewhere beyond infinitely.” “The only time I ever saw myself skate was in video a

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month after I skated,’’ she said. “We never saw ourselves skate. In today’s world, it is all in the here and now, quick information “ Krall said she began working with Chan in December of 2009, “in the later stage” of Chan’s progression. Asked to define the effect a coach has on a skater, and how much of a skater’s success can be attributed to the coach, she deferred, giving credit to the totality of the coaching experience. “Our success is in the daily training,’’ Krall said. “In the habits he formed. He is the race horse, the animal. He has to run the race, and as a coach, you can’t control the outcome. That is for the athlete to do. They are a breed onto themselves. “We try to give them the resources, the tools to draw upon and integrate in their own lives,’’ she said. “We facilitate the journey for them, so they can be independent operators.” Along with all of the other aspects of skating in which Krall has been successful, she was also instrumental in the creation of the skating standard known as Moves in the Field, which replaced Compulsory Figures in 1990 as a skating tenet. Krall’s enthusiasm for the work of her life is a consistent factor in any description of her. It comes as no surprise, therefore, that enthusiasm comes into play when she describes the three things that must be included in any successful competitive skating performance: “You have to skate out of your mind,’’ she said. “The crowd has to go out of its mind, and the judges have to go out of their minds.”

KISS. CRY. SCREAM FOR JOY.

Christy reacts in the Kiss 'n Cry with student Agnes Zawadzki and David Santee at the 2012 U.S. Figure Skating Championships. DRAWING A CROWD

Christy presents her Dartfish session at the 2010 PSA conference in Colorado Springs.

"Krall laughed at the idea of how Dartfish would have helped her as a skater, mainly because the answer is ‘somewhere

beyond infinitely.’ ”

$ 27ing &

plus

shipp g lin hand

Celebrate Breast Cancer Awareness month this October with a PSA shirt benefiting the Pennies in Action® Fund! 100% of the proceeds will benefit Uschi Keszler’s charitable foundation for cancer research.

www.skatepsa.com PS MAGAZINE

What Would Danelle Cole Do? In 2000, most of the United States hadn’t heard of Theatre on Ice, the discipline of figure skating that encourages sets, props and costume changes to enhance elaborate acting-onice programs. But for the last decade, Danelle Cole, the creative mind behind Los Angeles Ice Theater, has been trying to change all of that. Known as “Ballet on Ice” in Europe, where it has long been a competitive event, Theatre on Ice has continued to gain in popularity since it made its American debut, sanctioned as a competitive discipline by U.S. Figure Skating in 2011. A big part of that increased popularity undoubtedly lies with Cole and her teams. Cole, a double gold medalist, as well as a 25-year coach and choreographer for Olympic, World and National competitors, has also choreographed for countless ice shows and exhibitions. In 2002, she was asked to bring Theatre on Ice to southern California by starting and directing the Los Angeles Ice Theater. What ensued was five Theatre on Ice National Championships gold medals, the 2011 World silver medal and a reputation for wildly energetic and creative programs. In a discipline where all levels and ages can still skate and compete, Cole passionately believes in getting the Theatre on Ice word out to all corners of the figure skating world, answering the question, “What Would Danelle Cole Do?”

What is the thing you value most as a Theater on Ice (TOI) coach? It’s free and open and artistically I’m not held back. Anything I can think of, I can do. As much as the discipline of TOI itself is a team sport, the coaching aspect is often a team undertaking. What coaches make up your team? Jennifer Brenson has been my assistant for forever (for the senior team). She’s the kind of person that I can give my ideas

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to and she goes for it. Bebe Liang helped with the novice team this whole season. They have great commitment to me and they just go for it. Past that, I’ll bring in anyone. For our robot program this year, I brought in an animated robotic technician. Acting coaches, singing coaches, casting directors, I’ve even brought in an artist from Disney - anybody I can think of that I think the skaters can grow from. They just soak it up like a sponge.

How do you ensure that the coaching team works together smoothly? We work together very naturally. I’m over-the-top and grumpy and loud and everyone knows that and respects it, so it all works out. Really, I’m just sort of insane. And Jennifer and Bebe are these wonderful, caring people, so there’s a great balance there. Are there any specific qualities you look for in a TOI skater? Skating-wise, it’d be boring if everyone was the same. I always strive to give value to each skater. One is not more important than another one. I have a skater who can only do a loop jump, but she is such an amazing actress that she brings such value to the team. Everybody is important and is respected and has a special place. Theater is really a sport that is meant for everyone. Personality-wise, I pick skaters that relate and respond well to each other. At try-outs, I have them do small group exercises and I look at who gets involved and how they interact with the other skaters. How much they have a willingness to jump in and participate is hugely important. It’s not about the skating skills or wanting the spotlight. I love the kids who get in there and fully bring it. In 2005, U.S. Figure Skating added the Choreographic Exercise (a shorter program with a dictated theme in which no sets, props or costumes are allowed and the skaters must dress in all black). Did you like the addition of the CE? I loved it. It’s a blank slate and it’s up to us what to do with it. Our strong suit is acting so for us to demonstrate an

By Terri Milner Tarquini

emotion, it is made for us. I love developing it and watching it. Next year the CE is “dream.” It’s limitless.

You have been credited with starting Los Angeles Ice Theater. Do you have any tips for starting a TOI team? Call me. Email me. I’m here to talk to anyone. Plus, the support system that is in place for theatre teams is amazing. Judy Edmunds (Theatre on Ice National Vice Chair) is such a resource and certainly helped us get where we are today. It’s not that hard and it’s a lot of fun. Skaters are quitting the sport because they’re not finding a place they belong. In theater, those skaters can stay on the ice. That’s crucial to keeping our members involved. Los Angeles Ice Theater has a resume of wildly successful programs - “Lion King,” “Forrest Gump,” “Haunted Mansion,” “Cats” and “Corteo,” to name a few. How long does it take to create one of these programs (senior programs are six minutes and 15 seconds long)? Basically, we finish the season and everybody waits. And then it hits me like a bolt of lightning. And then we get moving. We are always looking to create our own story. For us, it needs to be original and it needs to have special parts for each skater. Nothing is ever uniform for us—each costume is made especially for each skater, the makeup is designed especially for each skater—so I think about all of that. It’s always the longest process to find just the right idea, but then I take something like 24 hours to cut the music—which I usually do at the last minute (laughs)— and then we have about a month to get all of it done, but we do it. What is the creative and choreographic process? Essentially, I come up with these wacky ideas and nobody questions them. I get the idea and then I gather together the coaches and all the kids and we sit in a room. When we went into the room for our Native American program for this year, we were in there for something like six hours with every Native American video that I could find and—bam!—next thing you know we were taking notes and—bam!— then the ideas were everywhere. So, really,

How would you describe your journey through the inception of Los Angeles Ice Theater to today? I could have never imagined it all. I was such an ordinary skater, but I worked hard and got my tests. And I was a good coach, but I certainly would not classify myself as an elite coach. I would never have thought that an ordinary skater and ordinary coach could have such an impact, but I feel I’ve been able to change figure skating with what we’ve done. In 13 years we’ve had a lot of kids go through the program. With so many skaters, we as a team and I as a coach have had such a voice. Little old me. But my voice has been heard and I’ve been able to show people how good this is for the sport and the skaters. choreography-wise… it’s all of us. I always have to think outside the box. I spend a ton of time on the internet searching for an idea and cultivating it. It would be nice if I had the program idea for next year, but, honestly, I probably won’t have the program for next year for another six months. Basically, right before we need it.

What do you think TOI brings to the table that makes it a good addition to a skater’s career or background? In individual competition, you can spot the Theatre on Ice skaters. They have an ease on the ice… a beautiful, natural way of expressing themselves. They are so connected to the music and they show such confidence on the ice. Theatre just enhances their overall skating so much. What is your favorite skating move to watch when it is performed really well? Stroking. I love nothing better than beautiful edges and good ankle bend. In needing higher levels of intensity (in individual skating programs), everything is racing here and racing there and doing this and doing that. We’re so worried with needing to do this and this and this that we’ve lost the true beauty, the ease and gentleness that comes with edges and knee bend. If there was one thing you could change about the sport, what would it be? I don’t think anything needs to be changed,

I just want it promoted. Bringing attention to Theatre on Ice will build it and will keep it going in the future. I pray for figure skating that it keeps growing so that kids keep skating.

Where would you like to see Theatre on Ice go? I just want it to keep growing. In the long run, I would love to see it in arenas, even televised. It’s not really made for the Olympics, but it’s ready-made for television. It would be great if the media picked up on it more. And I’d really like to see more teams get involved. Here, in the United States, but also everywhere, so it’s more global. Do you have an overall coaching philosophy or mission statement? I want to touch as many lives as I possibly can. And I think it is extremely important that we as coaches know how our words affect our skaters. We have a responsibility as coaches and we have to be aware of what we say and how we guide these kids. Our words are so powerful. It needs to be about life skills, not just skating skills. I’ve been able to watch so many of my skaters grow and go off and do amazing things. How we touch their lives and what we say matters. I want to give everything I can. What are your plans for the future? Take a good break, have a really fun summer and come back and make some magic.

PS MAGAZINE

Legal Ease DAVID SHULMAN

Coaches on the Move

Real life moves in the field I

am still having flashbacks from the brilliant 75th Anniversary conference held in Chicago, May 2013. Members with whom I spoke at conference told me they like having information that is helpful in what goes on in the real world. One of the real world things turned out to be coaches on the move. Often. As the universe turns, I happened to read an article by Lindsay Gellman who writes for the Wall Street Journal, which publishes under Dow Jones & Co., a Sunday supplement for the Rochester, MN Post Bulletin. This information is stated to give full credit to the real author, Lindsay Gellman of a most timely and useful checklist for folks who move, sometimes several times a year. So, look over what I am outlining for skating coaches. I hope the checklist gives some direction and organization. Change your address by filing the change notice with the US Post Office. It is recommended to do the form and take to your local post office a week to ten days before the move. It is also recommended you notify your credit card companies. Some or all of this can be done on line...the point is, this is number one to do on the check list. If you are renting, timely notice to a landlord must be given, stating that you are leaving and the date you will be fully moved out. There may be a move out inspection required so plan for that time. This is when you show you are entitled to a full return of any damage or security deposit you made when first moving in your rental unit. Be sure you give a written notice to the party in charge of returning your deposit stating a new address where the deposit may be sent and what you believe is the amount to be returned. Keep a copy of this notice, indicating the date you gave the notice and to whom given. Trust me on this one...just do it, and note there may need to be multiple notices. One to the landlord and one to whomever is holding your security/damage deposit. Be sure to cancel all home services for heat, power,

internet, and on and on. These are the services you had provided to you, which you want provided at your next place. Some cable companies and provider of special services may transfer to any new place to which you are moving, at no charge...but you must ask. Review your bank accounts. Check if there is a same bank operating in you new location. Credit unions operate all over the map and ATM machines sprout like mushrooms. BE SURE you check, and take steps necessary to switch any auto pay accounts. Direct deposit is often used to pay mortgage and insurance. If you own (rent) a safe deposit box, go to the box and clean it out. You can open another box in your new location. List and prepare to change certain insurance companies. You may have to change coverages. Rates may be different. Coverage may be needing a change The point here is to have this as an item to review on the checklist. If you move to another state, be sure to check how long you have until you must get a new driver license. Additionally, the plates on your vehicle may need a change in 30-60 days. Go to dmv.org/relocation for each stateâ&#x20AC;&#x2122;s rules. Transfer medical records. When a move is made a change in doctors may be advisable. The medical provider is required to make sure you or you and your new doctor get all medical records. Only psychotherapy records are the exception. Electronic copies will be available soon. Sometimes you have to be persistent in getting recent x-rays. But you do have to follow up if delay occurs. If you work for a municipal rink and you are on some retirement plan, get the most recent copies of balances and check on rollover options. Check out your alternatives with a good banker with knowledge in such plans. Go slowly . But keep moving to obtain information which is accurate.

â&#x20AC;&#x153;The lease should have clear provisions in it as to the duties of the landlord.â&#x20AC;?

SEPTEMBER | OCTOBER 2013

Rockin Seminar Back To Home! Sheila Thelen PRESIDENT – Champion Cords EXECUTIVE DIRECTOR –

Grassroots To Champions

This little skater attended a Grassroots To Champions Seminar at Shattuck this summer (had a private lesson with Sheila). She went home to her coaches (Kelly Hobbs & Robert Mauti) talking about her “side of life & side of death” while spinning and jumping! She also showed off her new Champion Cords – and how much she could FEEL & organize her hands and feet! BIG IMPROVEMENTS! Congratulations Riley! Hope to see you at another G2C Seminar! Watch her video on our Facebook Page! (And make sure you LIKE our Facebook Page!) https://www.facebook.com/ChampionCords

»»CHAMPION CORDS ARE ENDORSED BY THE PSA Order yours at: www.ChampionCords.com OR www.SkatePSA.com

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NEW MEMBER SPONSOR Diane Potter Jacqueline Raftery Zack Repischak Kathleen Revard Carrie Rosen Dalia Saif Tracy Sandler Alexandra Savat Caitlyn Schaeffer Martin Schneider Adrian Schultheiss Paige Schurman Melinda Seable George Selimos Sara Sharp Richard Sharpe Alexandria Shaughnessy Jessica Sheplavy Emily Smith Cassandre Stratton Robyn Sudkamp Dana Tang Edward Tea Sarkis Tewanian Naomi Tinkelman Taylor Tran Kameryn Truman Sarah Varian Deanna Velez Ariana Veltre Danielle Viola Courtney Voss Utako Wakamatsu Antiga Walker Taylor Walker Natalie Wegenka Leslie Wehrs Ashleigh Welch Kathleen Westmoreland Mandy Whitacre Allison Wiggins Katherine Wilson Rachel Winer Shayna Wood Ashley Wyatt Bruni Yockey Shaylun Young Danielle Yurek Juan Pablo Zarazua Islas Kristiana Zuccarini Cordero Zuckerman

Sigrid Berge Jeanne Giblin Raftery Nicholas Kraft Teri Haag Elizabeth McShane-Beberdick Jimmy Crockett Brenda McConnell Bridget Harguth Alexa Evenson Nicole Gaboury Kent Johnson Mark Janoschak Kay Faynor Cindy Sullivan Angela Conley Suzy Semanick-Schurman Amanda Farkas Parker Pennington Jeff Marshall Micki Freier Cindy Sullivan Rebecca Hatch-Purnell Ikaika Young Anton Nimenko Jacques Gilson Sarah Gendreau-Billeck Ramona Peterson Barb Yackel Silvia Fontana Traci Veltre Lori Cervinka Lisa Darken Elizabeth Peschges Scott Cudmore Carla DeGirolamo Amy Torcasso Shannon Schwab-Totten Tiffany Thornton Andrea Larsson Pam Forster Andrew Foland Andrea Mohns-Brillaud Megan O'Donnell Bailie Hardin Doug Mattis Randall Branca Paul Paprocki Colleen Thomas Jennifer Pacheco-Lathe Matthew Thomas Lisa Kriley

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CALENDAR

EVENTS

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

Saturday, September 7 Area 4 Knickerbacker Arena, 191 – 103rd St, Troy, NY 12180 U.S. Figure Skating Basic Skills Workshop for Coaches, Skaters & Parents [8:30am – 5:30pm] 8 PSA pre-approved credits Karla Schallehn 413-388-4773 kschallehn@gmail.com Erin Schopf 719-635-5200 eschopf@usfigureskating.org

Date: Location: Event: Credits: To Register: Contact: Deadline:

Saturday, September 14 Area 11 Pleasant Prairie Ice Arena, 9900 Terwall Terrance, Pleasant Prairie, WI 53158 U.S. Figure Skating Basic Skills Instructor Workshops [8:30am – 1:00pm] 5 PSA pre-approved credits Jane Boundy 262 925-6755 jboundy@plprairiewi.com Erin Schopf 719-635-5200 eschopf@usfigureskating.org or Kerry Murphy 847-674-1500 ext. 2925 kmurphy@skokieparks.org September 6th, 2013

Date: Location: Event: Credits: To Register: Contact: Deadline:

Sunday, September 15 Area 11 Southwest Ice Arena 5505 W 127th St, Crestwood, IL 60445 U.S. Figure Skating Basic Skills Instructor Workshops [8:30am – 1:00pm] 5 PSA pre-approved credits Paula Bowsman 708-371-1344 paula@southwesticearena.com Erin Schopf 719-635-5200 eschopf@usfigureskating.org or Kerry Murphy 847-674-1500 ext. 2925 kmurphy@skokieparks.org September 6th, 2013

Date: Location: Event: Credits: To Register: Contact: Deadline:

Sunday, September 15 Area 11 The Leaf Centre, 801 Wesemann Dr, West Dundee, IL 60118 U.S. Figure Skating Basic Skills Instructor Workshops [2:00pm – 6:30pm] 5 PSA pre-approved credits Vicki Revere 847-844-8700 vrevere@leafsicecentre.com Erin Schopf 719-635-5200 eschopf@usfigureskating.org or Kerry Murphy 847-674-1500 ext. 2925 kmurphy@skokieparks.org September 6th, 2013

Date: Location: Event: Contact: Credits: Deadline:

Saturday, September 21 Area 9 Kettering Recreation Center, 2900 Glengarry Dr. Kettering, OH 45420 Oral Rating Site at ELCC PSA Office 507-281-5122 or byackel@skatepsa.com Register online at www.skatepsa.com 1 PSA credit per oral exam taken Rating Exams July 22, 2013

Date: Location: Event: Contact: Credits: Deadline:

Sunday, September 22 Area 9 Kettering Ice Arena, 2900 Glengarry Dr. Kettering, OH 45420 Entry Level Coaching Course PSA Office 507-281-5122 or byackel@skatepsa.com Register online at www.skatepsa.com 12 PSA credits September 3, 2013

SEPTEMBER | OCTOBER 2013

Please visit www.ska tepsa.com for the co mpl Calendar ete of Events

O C TO B E R Date: October 25-27 Area 6 Friday 10/25 - If needed exams will begin after 3:00 pm Saturday 10/26 – Exams 8:00 am to 8:00 pm Sunday 10/27 – 8:00 am to 2:00 pm Location: Wingate by Wyndham BIW Airport, 1510 Aero Drive, Linthicum Heights, MD 21090 Tel. 410-859-0003 (free shuttle from airport less than 3 miles) Room rate $89.00 + tax * For this rate please say “PSA Master Rating Site” Event: Baltimore Master Oral Rating Site Contact: PSA Office 507-281-5122 or byackel@skatepsa.com Register online at www.skatepsa.com Credits: 1 PSA credit per oral exam taken Deadline: August 23, 2013

NOVEMBER Wednesday, November 6 Area 5 Hatfield Ice, 350 County Line Rd, Colmar, PA 18915 Pennsylvania State Workshop [8:30am to 12:45pm – Registration 8:00am] Catherine Link at 215-997-9797 x 107 or katibird007@yahoo.com Register online at www.skatepsa.com 5 PSA credits October 25, 2013

Date: Location: Event: Contact: Credits: Deadline:

The list is out for the upcoming fall coaching seminars! 2013 Nationwide Seminars