Nov/Dec 2023 PS Magazine

NOVEMBER/ DECEMBER 2023

A valuable video library of information from past webinars, seminars, conferences, summits, and tips from master coaches. www.skatepsa.com

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Contents

NOVEMBER/ DECEMBER 2023

Departments 6

Recognition Ratings & Recognition

8

Education Sport Sciences—Nutrition

30 Team PSA

New Members

MELANIE HEANEY PHOTOGRAPHY

Calendar of Events

Featured

12 The Blink of an eye: Is the Rate of Rotation Exceeding What the Naked Eye Can See?

18 2023 PSA Membership Survey 24 Improving Performance in Figure Skating Using Ballet Principles and Techniques

Issue No 3 | WWW.SKATEPSA. COM

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PS MAGAZINE

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PSA OFFICERS President First Vice President Second Vice President Third Vice President Treasurer Past President PSA BOARD OF GOVERNORS West Mid-West East Members at Large

Russ Scott Phillip DiGuglielmo Andrea Kunz-Williamson Ashley Wyatt Cheryl Faust Jill Stewart Denise Viera Denise Williamson Peter Cain

Ratings Chair Education Chair Events Chair ISI Rep to PSA U.S. Figure Skating Rep to PSA PSA Rep to U.S. Figure Skating Summit Chair Diversity, Equity, &Inclusion Executive Director

Cheryl Faust Denise Williamson Danny Tate Jane Schaber Heather Paige Kelley Morris Adair Teri Klindworth Hooper Darlene Lewis Jimmie Santee

COMMITTEE CHAIRS Awards Coaches Hall of Fame Accelerated Coaching Partnerships Area Representatives Hockey Skating Sport Science Endorsements Executive Executive Nominating Finance Nominating Professional Standards PSA Rep to ISI Adaptive Skating

Andrea Kunz-Williamson Alex Chang Debbie Jones Gloria Leous Dianah Klatt Garrett Lucash Jimmie Santee Alex Chang Alex Chang Lisa Hernand Alex Chang Kelley Morris Adair Gerry Lane Mary Johanson

PSA AREA REPRESENTATIVES Area 1 Tracey Seliga-O'Brien Area 2 Kimberlie Wheeland Area 3 Andrea Kunz-Williamson Area 4 Jill Stewart Area 5 Angela Roesch-Davis Area 6 Maude White Area 7 Nicole Gaboury Area 8 Jackie Timm Area 9 Mary Anne Williamson

OVER the EDGE

Rebecca Stump Tim Covington Patrick O'Neil Kirsten Miller-Zisholz Lisa Hernand Alex Chang

Area 10 Francesca Supple Area 11 Charmin Savoy Area 12 Roxanne Tyler Area 13 Liz Egetoe Area 14 Marylill Elbe Area 15 Tiffany McNeil Area 16 Russ Scott Area 17 Martha Harding

Editor

Jimmie Santee Art Director

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

THE PROFESSIONAL SKATER Magazine Mission: To bring to our readers the best information from the most knowledgeable sources. To select and generate the information free from the influence of bias. And to provide needed information quickly, accurately and efficiently.

The views expressed in THE PROFESSIONAL SKATER Magazine and products are not necessarily those of the Professional Skaters Association.

The Professional Skater (USPS 574770) Issue 3, 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 Lane SW, Rochester, MN 55902. Tel 507.281.5122, Email: office@skatepsa.com © 2023 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.

Lead, Follow, or Get out of the Way! I

wrote the following for my very first editorial in PS Magazine back in 2006. It strikes me how relevant it is today, some 17 years later.

Now, as I sit and reflect on the new direction my life has recently taken and the path I would like to see the PSA follow, I keep coming back to one of my favorite sayings, ‘Lead, follow, or get out of the way.’ It reminds me of a recent article written by leadership author Brent Filson called, “The 20/60/20 Rule of Leadership. Don't Go Solving the Wrong Problems.” Not that there are problems but if the PSA has 6000 members and only 400 come to the conference…”

The 20/60/20 Rule of Leadership goes like this. About 20 percent of the people in a group won't do, or at least won't want to do, what is essential to get the job done. In comparison, these are the coaches that won't spend a dime to learn what they believe they already know; especially from those coaches they feel are inferior. These are the coaches that complain about the unfairness of ratings; ratings that they have never taken. (Did you know that examiners are all master rated, attend mandatory training and take an exam?) Another 20 percent will be your leaders in getting the work done; the tireless volunteers who work a thousand hours a year for little acknowledgement, who in many cases spend their own money to get the job done right. The final 60 percent will be sitting on the fence so to speak, waiting for strong leadership to push them in one direction or another. This majority makes up the bulk of our organization, goes to just enough seminars to get their credits and generally supports the association. The percentages, says the author,

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OVER the EDGE

are approximate.

In Filson's second topic, he wrote about solving the wrong problem. The author tells a story of a pilot and co-pilot who struggled to fix what they thought was a malfunctioning landing gear as they prepared for a landing at a Florida Airport. The landing-gear light was on, signaling that the gear was deployed; but both men did not hear it actually deploy. As the men sought to understand whether they had a defective landing-gear light or defective landing gear, the aircraft kept losing altitude.

Too late, the plane crashed, killing everyone aboard. That tragedy has subsequently saved many lives, for the pilot and co-pilot's actions have been used in flight simulation training programs to demonstrate how not to troubleshoot problems in the cockpit. The incident has become known as the Landing-gear Fix, a diligent attempt to solve the wrong problem.

How will the 20/60/20 rule help staff and the board focus on the right problem?

First and foremost, it will help them decipher where to put the PSA's time and limited resources. The lowest 20 percent I believe would be the wrong problem to solve.

Obviously, the coaches in the bottom 20 percent may never change and no matter how much pleading or prodding we do, they will most likely never participate. Calvin Coolidge (1872-1933) said, "Nothing is more common than unsuccessful people with talent" I guess we could ask them to follow or get out of the way. In contrast, leaders in the top 20 percent need very little in the way of management. They participate in almost every educational opportunity and volunteer often. I will follow those leaders and support them, as they need very little in the way of motivation if given just a small amount of direction and an ultimate goal.

This brings us to the 60 percent in the middle.

As many in this group love what they do, they need strong leadership to show them the way. It is this group that we shall lead. Putting this all together, Filson exclaims, “Don't get caught applying diligent solutions to the wrong problems.” Apply the 20/60/20 Rule and focus on getting the right results in the right way at the right time.

The PSA mission is simple; to educate and accredit professional coaches. Those who want to better themselves will do what they have to

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NOVEMBER/ DECEMBER 2023

do to succeed. In reality those who fall in the lower 20 percent probably think they are doing a lot more and believe they are members of the 60 percent group. I challenge everyone to take a look in the mirror and ask yourself if you are doing everything to make yourself the best. If we are going to ask our skaters to act that way, should we not practice what we preach?

Filson’s two ideas are still applicable today. The 20/60/20 Rule is much like triage; the preliminary assessment of patients or casualties in order to determine the urgency of their need for treatment and the nature of treatment required. The top 20 will always do the right thing and the bottom 20 will hate everything you do. That middle 60 are the coaches to fight for. Does it make sense?

As for the Landing-gear Fix, don’t try and fix the wrong problem. As the uncertainty of the PSA’s future is still in limbo, the reality of the situation is that coaches moving forward will have a stronger voice at U.S. Figure Skating. The Coaches Council will wield considerable influence to dictate the direction of U.S. Figure Skating. From a PSA perspective, this has been our fight for over 80 years. PSA existed because the former USFSA wanted little to do with coaches. Now that coaches have a stronger voice, it is important that we remain united and use that voice for the betterment of both our athletes' competitive success and the growth of our profession.

Jimmie Santee

EDITOR

ANNOUNCEMENT FROM THE BOARD:

Jimmie Santee has decided to begin a new position with Feld Entertainment. He will be back in show biz and surely thrive in this chosen role. A heartfelt Thank You to Jimmie for all of his dedication, guidance, and contributions to PSA. He made “Team Work Makes the Dream Work” more than a tag line. We at PSA wish Jimmie much success in his new adventure!

Consequently, the PSA Board of Governors is very excited to announce that Barb Yackel has been voted as the next PSA Executive Director. Barb will be officially stepping into this position on November 6th.

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RATINGS & RECOGNITION

Visit PSA TV for the November webinar by PSA staff that provides further information on credits!

Keeping Your Rating Active A

s U.S. Figure Skating Coach Membership is unveiled on July 1, 2024, for the 2024-2025 season, PSA coaches with an active rating are ensured that their PSA ratings will transfer to the U.S. Figure Skating Accreditation System. Active ratings will transfer at the level and in the discipline in which they were earned, however the rating must be active on or before June 30th, 2024. Once transferred, a U.S. Figure Skating Accreditation will be listed in the

U.S. Figure Skating Coach Directory. This directory will be searchable by all U.S. Figure Skating members, which will be a great way to market to fellow coaches, parents, athletes, and officials.

For more information on how to check your credits, visit our Resources section via Forms in the top right corner of our homepage.

HOW TO CHECK YOUR CREDITS

1

2

3

4

5

Login to membership account at skatepsa.com

Click Welcome, “Name” in top gray bar

Select Account + Settings

Select Professional Development tab on left

Review Credits column

To see Rating and Hockey credits, click My Profile in top blue bar, then select About tab next to Activity tab. Scroll down to Additional Information section for additional credit records.

Rating/Hockey Key Example

22SOH-12 Credits claimed State abbreviation (if in-person) Type of event Membership year (2nd year) An affidavit was recorded for the 2021-22 Seminar in Ohio and 12 credits were claimed

6

EXAMPLE: Calculating 3 Years

2021-22

2020-21

2019-20

As of July 1, 2023, any credits from the 2020-21 membership year will be outside of the previous three year window and not count.

2022 credits expire June 30, 2024

2021 credits expire June 30, 2023

2020 credits expire June 30, 2022

NOVEMBER/ DECEMBER 2023

Will you look at these names?

These are coaches who are pursuing continuing education.

We are so impressed by your drive and thankful our sport can count on you to hit the ice with your best boot forward.

Keep up the great work!

Scottsdale AZ

Chloe Terry

Mariel Davila Moreno

Janice Wallace

Jessica Kemper

Jessica Helsel

Natsuki Hirota

Meg Lemler

Lauralee Stanton

Noelle Kachinsky

Amy Maurice

Ian Hill

Nicole Rudolph

Phoebe Flynn RSS Amy Forbes CFS

Sacha Lalonde CSS Natalie Matthies RSS Natalie Thompson RFS Master Rating Achieved

Alexandra McCready Allison Schafer

Martha's Vineyard

Vineyard Haven MA

Coach Aimee Skating Academy Lake Hiwwatha NJ

ONYX Suburban Skating Academy

Lake Worth FL

Palm Beach Ice Works

West Palm Beach FL

Rochester Figure Skating Club Rochester, MN

Register now and be recognized as a progressive training facility dedicated to excellence in coaching both on and off-ice.

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Hockey Skating 2 Tracy Rushing Allye Ritt

Colorado Springs CO

Palm Beach Skate Zone

Hockey Skating 1 Tracy Rushing Alexis Cunningham-Capouellez

World Arena Ice Hall

Rochester MI

October 2023 | Ratings Sara Buck-Lalonde CSS

Chandler AZ

Ice Den Scottsdale

Basic Accreditation

Kelly Belin MPD

Ice Den Chandler

Alexis Cunningham-Capouellez Judith Sokol

Hockey Skating 3 Beth Brown Davis

Linnea Walli

Hockey Skating 4 Beth Brown Davis

Lauren Lumpkin

RANKINGS • Kathleen Carlson Level 4 Singles • Jessica Kemper Fundamentals - Showcase • Barbara Gahagen Level 6 Ice Damce • Robert Mock Level 6 Ice Damce

IMPORTANT Rated coaches with less than 28 credits will be noted as having an inactive rating signified by a hashtag # in front of the rating(s). This does not mean your membership is inactive. You cannot advertise your rating until 28 credits are accumulated and a reactivation request is submitted to the PSA office.

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EDUCATION

What is the Score Impact When Unexpected Problems Occur During the Program?

W

e as coaches function as the qualified authority to support our athletes in achieving personal success. Typically, we perform this role via teaching proper technique, patience, consistency, reliability, innovation, emotional support, and so on. Furthermore, we as coaches must be aware of—and prepare our athletes for—how to handle the problems or the unexpected that can occur during competition programs.

I realize that the U.S. Figure Skating Rulebook or the ISU Special Regulations and Technical Rules may not be on the top of everyone’s reading list, however, here are some highlights that I would like to bring to your attention. When an occassion arises that your athlete receives a deduction, you may find yourself reviewing the decisions and circumstances that cost them their points.

Rule 1071 C in the U.S. Figure Skating Rulebook is where many of the violations are listed for Singles and Pairs. Here are some of the scenarios that can occur: • What happens when the program duration is too long or short? -0.5 for every five seconds lacking or in excess for no-test, pre-pre, pre, pre-juvenile, juvenile, intermediate and all adult singles and pairs events. -1.0 for novice, junior and senior singles, and pairs events.

• My athlete wants to perform a backflip. Is this allowed? This is an illegal element and will receive a -2.0 deduction. If this is performed during an element, the element cannot be higher than basic (base) if basic level requirements are fulfilled.

• What if my athlete wants to use a prop during their short program or free skating program?

-1.0 per program (determined by the Judges Panel including the Referee by the majority of votes with no deduction in case of 50:50 split) • My athlete showed up to compete in an outfit I have not seen before that gives the effect of excessive nudity inappropriate for their discipline! -1.0 per program (Judges Panel including the Referee by the majority of votes with no deduction in case of 50:50 split)

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NOVEMBER/ DECEMBER 2023

• Oh no, my athlete’s hair ribbon fell onto the ice!

-1.0 per program • My singles skater fell in their program three times! › -0.25 for every fall in no-test, pre-pre, pre, pre-juvenile, juvenile and adult pre-bronze, bronze, and silver singles events. › -0.5 for each fall in juvenile, intermediate and novice and adult gold and higher. › -1.0 for every fall in junior singles events.

› In senior singles events, -1.0 each for the first and second falls, -2.0 each for the third and fourth falls, and -3.0 each for the fifth and any further falls. Ouch!

• The skate lace of my athlete becomes untied during their program, should they approach the referee? (Similar situation if the strap of the pants comes undone) Suggestion is no. Simply stop skating and tie the lace as quickly as possible (or adjust the strap) and continue. A program interruption is defined “as the period of time starting immediately when the competitor stops performing the program or is ordered to do so by the Referee, whichever is earlier, and ending when the competitor resumes his/her/their performance.” › 11-20 second interruption will be -1.0 for Junior and Senior, -0.5 for juvenile, intermediate, novice and adult bronze and higher, -.25 for no-test, through pre-juvenile and adult pre-bronze. › 21-30 second interruption will be -2.0 for Junior and Senior, -1.0 for juvenile, intermediate, novice and adult bronze and higher, -0.5 for no-test, through pre-juvenile and adult pre-bronze. › 31-40 second interruption will be -3.0 for Junior and Senior, -1.5 for juvenile, intermediate, novice and adult bronze and higher, -.75 for no-test, through pre-juvenile and adult pre-bronze. › After 40 seconds, if the skater/couple has not reported to the event Referee, the

the interruption occurred at the entrance to or during an element, at the point immediately preceding the element. If for any reason there is an interruption or stop in the music, the competitor must stop skating when they become aware of the problem or at the acoustic signal (the whistle) of the event Referee, whichever is earlier. Back-up music must be readily available at rink side. No deduction will be made by the event referee or judges.

ISI events

Very similar types of deductions are taken for Ice Sports Industry (ISI) competitions and can be found in the ISI Handbook. Something notable is the limitation on the number of maneuver attempts being three.

Among those three attempts, the best attempt will be judged. If the skater attempts the same maneuver a fourth time, it will not be judged but could count towards the extra content score. Additionally:

competitor(s) is (are) considered withdrawn. (if your athlete gets off the ice and comes to you, their coach, encourage them to quickly to report to the event Referee if the situation allows.) › For interruption of the program with allowance of up to three minutes to resume from the point of interruption, -3.0 for junior and senior (-5.0 in ISU events!), -1.5 for juvenile, intermediate, novice and adult bronze and higher, -.75 for no-test, through pre-juvenile and adult pre-bronze.

It is also important to advise the athlete regarding the “Call to Start” which is when the name of the competitor/team is called before each performance.

This is found in the U.S. Figure Skating Rulebook under Rule 1322. For IJS events, all competitors must take the starting position of each segment of the competition no later than 30 seconds after they have been announced. If the position is not taken by 30 seconds, the Referee will deduct 1.0. If the competitor/team has not taken their starting position within 60 seconds, they will be considered withdrawn.

Music problems? A valuable piece of information for a coach to give to their athlete(s) is what to do if the tempo or quality of the music is deficient. This is located under rule 1403. Competitors may restart the program from the beginning if they notify the event Referee of the music issue within 20 seconds after the start. If the competitor(s) reports to the Referee more than 20 seconds after the start, the competitor(s) will resume the program at the point of interruption or, if

• Props are not allowed during ISI Freestyle events. A costume becomes a prop when it is detached or when it is detached and then used by the hands. The penalty for using a handheld prop in the freestyle event is the score of 2.0 under Extra Content.

• If the wrong music is played and the skater stops and notifies the Referee within 20 seconds, the skater may re-skate the program. If the skater forgets their program and then stops and notifies the Referee within 20 seconds, the Referee may allow the skater to start again from the beginning or to pick up where the skater left off.

• Laces coming untied falls under the jurisdiction of the Referee for a decision in ISI competitions.

• Skating duration in ISI events does not take a penalty for skating under the prescribed time.

There is a penalty for skating beyond the 10 second leeway. These penalties vary based on the length of time they are over duration and whether they are skating “against the book” or in a group of two or more. It is advisable to read these deductions in the ISI Handbook.

We coaches spend an enormous amount of time with our athletes learning new skills and strategies for a competitive advantage. It is critical to know the violation rules of our sport so that we don’t negatively impact our efforts with unnecessary deductions.

Consult the U.S. Figure Skating Rulebook, the ISU Special Regulations and Technical Rules, or ISI Handbook whichever is applicable to your athlete’s competition. Good luck!

Denise Williamson (MFS, MM, SFF, CC) is the chair of PSA's Education Committee.

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You put in the time to get rated.

Be sure to take advantage of your efforts!

Attention: Coaches with Ratings A

s U.S. Figure Skating Coach Membership is unveiled on July 1, 2024, for the 2024-2025 season, PSA coaches with an active rating are ensured that their PSA ratings will transfer to the U.S. Figure Skating Accreditation System. Active ratings will transfer at the level and in the discipline in which they were earned, however the rating must be active on

or before June 30th, 2024. Once transferred, a U.S. Figure Skating Accreditation will be listed in the U.S. Figure Skating Coach Directory. This directory will be searchable by all U.S. Figure Skating members, which will be a great way to market to fellow coaches, parents, athletes, and officials.

How do you know your credit status?

A peek at your profile in the PSA membership account will help you determine your standing. Watch our recent Understanding Credits webinar in PSA TV to see where credits live in your member account.

Oh my, need more credits?! Don't fret, there are a multiple ways to obtain more PSA educational credits.

Remember: Rated coaches must obtain 28 education credits within three years to maintain an active rating.

• PSA membership year is July 1 to June 30 • Credits expire June 30th of each year. On July 1st, only previous three years count.

• Includes those who have passed the Basic Accreditation (BA) exam. st

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PS MAGAZINE

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The

Blink of anEye Is the Rate of Rotation Exceeding What the Naked Eye Can See?

by Kent McDill

W

hen Nathan Chen began landing quad jumps, and when Ilia Malinin landed the first quad axel in competition in the U.S. Classic in Lake Placid in 2022, the figure skating world collectively existed in awe of what had been accomplished by the human body in motion.

The physical effort involved in making that many rotations in a single jump is difficult to fully comprehend. Such jumps are also incredibly challenging to actually see and measure— in detail!—via the human eye. And now?

Skaters are working on quint jumps.

“The quadruple jump was previously considered as an unrealistic thing for human beings, but the fact that so many skaters hit it almost naturally means somebody will land a quintuple someday,’’ said Olympic medalist Shoma Umo back in 2019.

And what do judges think about that possi-

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NOVEMBER/ DECEMBER 2023

bility—from a technical standpoint?

“Can the human eye actually decipher the five rotations?’’ asked Professional Skaters Association Hall of Fame technical judge Gale Tanger. “We have reached the human capacity to evaluate that.”

A solution to the problem lies in the use of video replay to assist in judging. Video replay technology has been adopted by most professional sports around the world. But the speed involved in figure skating jump rotations is unique in its visual complexity, and there are even limitations to what video replay can offer in determining just what has happened in that less than a second the skater is in the air.

This problem has no simple resolution and there is no consensus on which available solution is the best for the needs of technical panels or judges.

“The bottom line is the equipment they are using is not sufficient to make that call.”

Technical Difficulties

At the turn of the century, following the judging scandal that occurred at the 2002 Winter Olympics, the International Skating Union added video review to the process of scoring major events. It was first employed internationally at the 2006 Winter Olympics.

There are three advantages to video review.

The first is the ability of judges to view a jump for a second time just to be certain of their scoring on technical elements. The second is the ability to view a jump in slow motion. The third is the ability to pause a video for specific moments in the performance.

However, skating competitions today are using relatively basic video equipment, similar to what exists on current smartphones. For the purposes of judging jumps that include 4-4.5 rotations, such video equipment is not sufficient. Also, many competitions today employ just one camera, and one video viewpoint is not considered adequate for the needs of technical judges who wish to determine the quality of specific elements within the jump.

“I think they miss quite a bit if they use a regular video camera and use only one,’’ said Lee Cabell, the renowned figure skating coach with an educational background in biomechanics.

“When identifying an element, it comes

back to reviewing that element and coming up with conclusions,’’ said Mitch Moyer, the senior advisor for U.S. Figure Skating who previously served as Senior Director of Athletic High Performance. “The bottom line is the equipment they are using is not sufficient to make that call.”

Unfortunately, the answer is not necessarily investing in higher-speed cameras.

Beyond the cost factor involved, higherspeed cameras capture more frames of reference per second but lose resolution when used in slow motion replays.

Add to that the concern over the amount of time it takes to review more frames per second than what is currently offered (ask Major League Baseball about its issues related to video review timing), and you have a conundrum.

There is another solution, which will be introduced later, after we consider the mathematics of video review versus human eye consumption.

“I Was Told There Would Be No Math”

Today’s mathematics lesson regards the ability of the human eye to compute what is being seen.

So it becomes a biomechanical lesson as well.

Cabell explains that the visual presentation of a quad axle, which actually includes 4.5 rotations from takeoff to landing, offers 5 hertz, a hertz being a unit of measurement equivalent to one event per second. Anatomy books will tell you the human eye can see 60 hertz of light, and 75 hertz of motion. As Cabell explains, “The

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human eye will not see a quad axle as a blurred motion, and the human brain would have no problem perceiving that jump.”

But perception is not the same as grading. The problem that exists is the ability of technical judges to identify the elements required in a properly performed jump.

Let’s compare the human eye to current video equipment being used.

The video cameras being employed in current competitions record 30 frames per second. As Cabell explains, there are 1,800 degrees of rotation per second in a quadruple axle. That means each frame of video being reviewed is “seeing” 600 degrees of rotation.

‘I don't know how judges can do this,’’ Cabell said.

“It is impossible to do what they are doing with what they have,’’ Moyer said.

As Cabell explains, when looking at a performance frame by frame with the equipment currently being used, the foot is in one position in an initial frame and then moved 60 degrees further in the second frame. Much is lost in between frames 1 and 2.

“With video review, we are basically taking frame by frame, and you still have gaps,’’ Moyer said.

Obviously, the answer then is to acquire video equipment that operates at a higher speed, offering more frames per second, similar to the VAR (Video Assistant Referee) cameras used in soccer matches.

The cameras used in soccer measure 50 frames per second, and are often used to judge

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NOVEMBER/ DECEMBER 2023

whether the ball has crossed the end line sufficiently to be scored as a goal.

Being able to freeze a frame in soccer review is essential.

But determining whether a soccer ball has crossed the goal line via video replay is not nearly as optically challenging as seeing all of the technical aspects of a high-speed figure skating jump.

For figure skating technical review, when judges are trying to determine whether a jump is over- or under-rotated, high speed video would be preferred.

Rotation is one aspect of a technical judge’s job. Another is footwork, and Moyer points out that judging footwork via video review takes time, and time is of the essence in announcing competition results.

“Judging with high speed camera review will slow down the event,’’ Moyer said. “I don’t want to be judging footwork at 240 frames per second.”

That’s a lot of frames. Reviewing lots of frames of video takes time, and time is a matter of concern when it comes to the execution of judging in major competitions.

"It’s got to be a good experience for the fans and the athlete,’’ Moyer said. “When you are getting to the point where the human eye can’t see it and you are using a video, that is slowing down the process.

We have drastically reduced the time it has taken, however. It used to be a lot worse. It would go on forever.”

“There are 1,800 degrees of rotation per second in a quadruple axle.”

An Easier Solution

Intriguing facts about eyes and vision • The image projected onto the back of our eyes is upside down and our brain decodes it so that we perceive it the right way up.

• Experiments by MIT scientists show that the human brain can process and correctly identify images seen for as little as 13 milliseconds.

• When it comes to vision, eyesight is only part of the equation — visual information is captured by our eyes but processed by more than 30 areas of the brain.

• The muscles that control your eyes are the most active muscles in your body.

• Concentrated at the outer edges of the retina, rod cells are involved in peripheral vision. They are far more sensitive to light than cone cells, which is why you can sometimes see stars out of the corner of your eye at night, but when you look straight at them they seem to disappear.

• The 'red eye' effect in photos occurs when light from the flash bounces off the back of the eye, where there are many blood vessels.

Moving over to the other most popular winter sport, skiing, we find that skiing coaches are using wearable sensors to measure body positions for ski jumpers in motion. A similar technology could be used with figure skaters to allow for an accurate measure of where, how and when a skater’s skate touches down.

Sensors could be placed on the skate blade, for example. The possibilities for sensor measurements in figure skating scoring are vast.

Figure skating coaches are now using sensors to measure training loads. They can be used to create a 3D model of a skater’s rotation for study.

A great idea, right? There is a concern, however, with the use of sensors for use in judging. A sensor could be programmed to provide very specific information about a jump, which could, in unpopular theory, replace the technical panel altogether.

Anyone with an active fear of artificial intelligence taking over all of our jobs can understand the concern.

“From an AI perspective, sensors could be useful for a technical specialist to identify what is and what isn’t,’’ Moyer said. “Let’s call it ‘helping them’.”

Quantitative vs. Qualitative

The issue of judging 4- to 4.5-rotation jumps for technical execution does not impact the judging of the qualitative, artistic aspect of figure skating judging. For someone who has lived through the evolution of figure skating from double jumps to triples to quads, what champion skaters are doing now is almost beyond the ken.

“The sport continues to evolve,’’ Tanger said. “It is really fun to see that kind of evolution. That is what is exciting about an active sport—that evolution. If evolution did not occur, it would just become theater.”

Nathan Chen photo courtesy of U.S. Figure Skating.

Intriguing eye facts from www.nhm.ac.uk.

PS MAGAZINE

15

STATEMENT OF OWNERSHIP, MANAGEMENT & CIRCULATION (Required by 39 U.S.C. 3685) TITLE OF PUBLICATION DATE OF FILING

FREQUENCY OF ISSUE

OFFICE OF PUBLICATION AND GENERAL BUSINESS OF THE PUBLISHER EDITOR

OWNER

The Professional Skater – PS Magazine #574-770 October 2023 Bi-monthly, 6 issues annually, $19.95 annual subscription 3006 Allegro Park Lane SW, Rochester, MN 55902 Jimmie Santee The Professional Skaters Association

15 Extent and Nature of Circulation A. Total number of copies

Average No. copies preceding 12 months

No. copies of Sept/Oct 2023

3898

3489

3820

3440

B. Paid circulation 1. Outside county subscriptions

Join the talented Disney On Ice team and find infinite opportunities to reach your potential as a performer.

Start your journey at DisneyOnIceAuditions.com

2. In-county subscriptions

0

0

3. Sales through other carriers

0

0

4. Other classes mailed through USPS

0

0

3820

3440

0

0

C. Total paid distribution Free distribution—samples, complimentary D. & other E. Total free or nominal rate distribution F. Total distribution

0

0

3820

3440

G. Copies not distributed

39

20

H. Total

3859

3460

I. Percent paid

100%

100%

Ratings feel intimidating? Join a Study Group!

Study Groups are designed to provide in-depth guidance on how to take a rating exam.

Coaches will enjoy small groups that explore how to answer questions in a concise manner, practice verbalizing methods via organized walk-throughs, and, most importantly, they will gain valuable confidence for the exam and rink.

For upcoming study group dates and registration, please visit the PSA Events page.

16

NOVEMBER/ DECEMBER 2023

Study groups are led by PSA master-rated examiners and meet via Zoom once a week for five weeks.

FAIRFAX ICE ARENA 3779 Pickett Road, Fairfax, VA 22031

703-323-1132 www.fairfaxicearena.com

JOIN OUR COACHING STAFF

• Guaranteed a base salary of $70,000 –$95,000 • Relocation allotment offer • Paid Vacation Days

ABOUT US For more than 50 years, Fairfax Ice Arena has offered year-round indoor public ice skating, and recreational and competitive figure skating programs, a Pro Shop and a cafe. The rink continues to have first-rate, world and nationally renowned coaches and competitive skaters. We are proud to be the home ice rink of the Skating Club of Northern Virginia.

Fairfax Ice Arena is located only 12 miles from Washington D.C., in Fairfax County, Virginia, one of the wealthiest county in the United States.

OUR PROGRAMS • More than 58 figure skating sessions each week during fall, winter, and spring

• A 10-week Summer Training School • Ballet and Off-Ice Training Studio • Jump harness on- and off-ice • Our program has developed Olympic,

World, National, Sectional, and Regional ranked skaters

REQUIREMENTS • A minimum of 3 –5 years coaching competitive figure skaters and/or

• A National or International competitor as a singles senior level skater and/or

• A principal show skater at a reputable show production

Email your resume and skating video reel links to General Manager Todd Martin at tmartin@fairfaxicearena.com.

9th

2023 What is your age range?

3.5+13.5+18222616t Over 65

Under 25

25–35

36–45

56–65

46–55

18

NOVEMBER/ DECEMBER 2023

W

hen the concept of a membership survey was formed back in 2006, skating coaches did not have much insight into our industry outside of their own rinks and experience. Who pays a commission and how much? What are group and private lesson rates across the country? What do we charge for test sessions and competitions?

O

ver the nine surveys that spanned nearly 18 years, many trends were revealed. In 2011, just 35% of coaches used a smartphone in their lesson. Fast-forward two years later and that figure jumped to 75%. Zip another two years ahead and it reached 82% where it remained through 2017. Another figure of interest? In 2009, 16% of our coaches had a college degree compared to over 40% in 2023. Current members with

Tod mem ay's typ ical P be SA cont r is an in racto depe r n dent w ith a degr colle recre ee who ge coac ation h a e l s , c and testi ompetiti focu ng s ve, sing on F katers ree S at ov katin er 15 g a we hours ek.

a postgraduate degree come in at 30%. Another statistic that caught our attention was private lesson fees. While coaches took on second jobs in fairly large numbers, their lesson fees remained steady.

Specifically, Midwest coaches generally charge a dollar per minute.

Post-COVID has seen an uptick in fees.

What is your hourly rate for private lessons?

What is your annual income from coaching?

20% Less that $5,000 9$ 6 –10 5

8$ 6 –95

7$ 6 –85

6$ 6 –75

5$ 6 –65

4$ 6 –55

3$ 6 –45

Under $ 25

2$ 5 –35

10% Over 105

$

5,001–9,999

$

Do not teach

10,000–14,999

$

PRIVATE LESSONS From 2009 to 2021, the median range of private lesson fees was between $56 to $65 per hour. The number of coaches reporting fees in this range dropped 5% from 2021. In comparison, those charging between $66–$75 increased 3%, and $76–$85 up 2%. The new median range of $66–$75. The next pay range actually decreased by a percentage point while the $95–$105 range increased 2.5%.

15,000–19,999

$

20,000–24,999

$

25,000–29,999

$

30,000–34,999

$

What is your hourly rate for group lessons?

35,000–39,999

$

20%

40,000–49,999

$

10%

50,000–59,999

$

$

r de Un

15

$

0 –2 15

$

5 –2 21

$

0 –3 26

$

5 –3 31

ch $ 35 tea er t v O no Do

GROUP RATES Group lesson instructors that reported earning less than $15 per hour fell 5% of respondents.

In Comparison, the highest percentage of respondents reported that they earn over $35 per hour. Adding those in the $31-$35 pay range brings the total to 35%.

60,000–69,999

$

70,000–99,000

$

100,000 or greater

$

10%

20%

PS MAGAZINE

19

100% Our gratitude

How many hours a week do you usually coach?

As noted on the cover of this issue, we are so thankful for the members of our association. We are grateful for your time and energy; for the hours you've spent registering, renewing, studying, completing CERs, and attending educational events both in person and virtually. Furthermore, for participating in surveys like this and reading our materials; for sharing your knowledge and time with each other; for our tireless rating examiners and volunteers and presenters... thank you.

50%

The median income for professionals is

15+ 11-15 6-10 0-5

$

Coaches whose primary source of income is coaching

60%

40-49k

Coaches who have a job in addition to coaching

Which of the following do you charge for at competitions? Check all that apply.

70% 60% 50% 40% 30% Test Session Charges

20% 10% Travel 20

Hotel

NOVEMBER/ DECEMBER 2023

Meals

Flat Fee

Hourly Fee

Missed Lessons

Do Not Attend

How often do you pay your commission?

34+56+10p

Check all that apply.

Do you pay commission on your earnings?

20%

11%

Varies

Yes

Session

No

Sampling of Responses $20/hour on freestyles as a guest coach 10% of lesson fee $14 per session $13 for freestyles, $5 for public (session cost). Other rink offers no fee for at least 8 hours of community service. $10 per 30min $300/annual $360 soon to be $400/month $5/hour of private lessons $20 per half hour $5 per session $4.50/30 minutes $5/hour $600 per month $17/hour $7200/year + $400 education course = $7600/year $15/hour $2700/year $9/day in advance; $10/day-of (guest coaches pay $20) $5 per session, $5000 per year $30/test or event $10 per client each month $3.25 per 30 minutes or $50 monthly $16/hour – coaches pay same ice rate as skaters $10 per day $3 per lesson Fee covers event and anything that day $2.75 per freestyle and exchange for class coaching $110 per week

2%

7%

6%

Daily

Weekly

Do you pay your commission as a fee or percentage?

Check all that apply.

Monthly

Annual

67+33

10-15% most common

Percentage

Fee

COMMISSIONS Nationally, 41% of coaches pay a commission with over 67% of those coaches paying a flat fee. Just over 20% stated they pay their commission as a monthly fee and those that paid either daily or weekly were each about 6.5% of the votes. Just over 11% paid per session.

Of the coaches that pay their commission as a percentage, the vast majority pay between 10 to 20%. The highest commission percentage in the country is 50% which was reported by one participating member.

The commissions paid by coaches are: • Many pay for the cost of the session— whether a freestyle or public session—an hourly or per session fee of $5 to $20 per • Daily fees range from $4–$90 • Monthly fees $20–$650 • Annual fees from $75–$7,600

Looking at the data from a sectional perspective, Pacific coast coaches reported the highest percentage paying a commission at 59% followed by Easterns at 36%. Only 25% of Midwestern coaches pay a commision.

PS MAGAZINE

21

Which of the following describes you?

Check all that apply.

10%

Contracted Employee Independent Contractor Learn to Skate Director Synchronized Skating Director Ice Show Director Skating Director Hockey Skating/Private Lesson Coach Rink Manager Technical Panel Official Club or Arena Staff

Which of the following describes your current focus as a coach?

You may choose more than one.

30%

50%

70%

90%

58%

CO

Recreational

How many years have you been coaching?

Test

Less than 10 years 10–20 years 21–30 years 31–40 years

Competitive

of respondents are rated

Over 40 years 10%

20%

Which region do you reside?

Secondary/Supplemental

NQS Sectional National International

Other

22

NOVEMBER/ DECEMBER 2023

30%

Outside USA

I❤

AC

HIN

G

g n i k L BACK Smartphone use in lessons.

100%

75%

50%

2017

2015

2013

25%

2011

Contributor Profile

KENT MCDILL has been contributing to PS Magazine since 2006 however his connection to skating started back in 1999 when his daughter, Haley, took up figure skating. Seeing as Kent was responsible for getting her to the rink at 6am, he was bound to strike up a friendship with her coaches— Jimmie, Jamie, and David Santee. Prior to the frosty rink environment, Kent was a professional sportswriter who covered all six Chicago Bulls championship teams in the 1990s as well as the Chicago Bears and Chicago Fire.

In addition to being a sports columnist, Kent has authored six books, five of them sports-related and one a travel guide of Chicago.

Through his PSA assignments, his responsibilities have included telling the stories of our Hall of Fame inductees and the Coach of the Year EDI recipients.

Kent has enjoyed celebrating coaching accomplishments with us and finds himself writing about personal finance most often these days. His work is seen on a number of websites, most often for The Penny Hoarder (thepennyhoarder.com).

In his own words, Kent can "barely stand on ice skates" but feels this perfectly embodies his contribution to the sport: "those that can't do, write about it."

Kent lives in suburban Chicago and can be reached at kmcdill@aol.com.

More to read from kent: • Bill Wennington's Tales from the Bulls Hardwood

We are thankful for the legitimacy you lend to the sport, for encouraging skaters of all ages and backgrounds, and for the fact that we've been with you on this ever-evolving journey.

• If These Walls Could Talk: Chicago Bulls • Wonderdads Chicago: The Best Dad/Child Activities, Restaurants, Sporting Events & Unique Adventures for Chicago Dads • 100 Things Bulls Fans Should Know & Do Before They Die • 100 Things Bears Fans Should Know & Do Before They Die • Tales from the Chicago Bulls Locker Room: A Collection of the Greatest Bulls Stories Ever Told

PS MAGAZINE

23

Improving Performance in Figure Skating

Using Ballet Principles and Techniques

BY ALINA PONOMOROVA

IN THIS ARTICLE I will focus on the performance aspect of figure skating in an effort to connect the technical and artistic parts of our sport. I want to discuss a controversial topic in skating: "Which is more important, artistry or technicality?” Most importantly, I will explore the subject "how to improve and develop" the technical and artistic performance of skaters of different ages and levels using ballet principles and techniques.

24

NOVEMBER/ DECEMBER 2023

F

irst and foremost, let's start by understanding the word "performance".

Definitions of the word related to skating from the Merriam-Webster dictionary include: 1. The execution of an action.

This is an example of how well and efficiently a skater performs a program, an element, or a sequence of steps.

2. A public presentation or exhibition. Meaning an ice show or a competition.

3. The ability to perform. This means the aptitude of a skater in performing a skill, routine, etc.

I believe that the essence of the word “performance” has both technical and artistic meanings.

Performing the best program means to execute elements and choreography of the highest level.

A skater needs both technical and artistic qualities to win, but the fact is that some days a competition is won by the best “dancer” and some days by the best “jumper”. Both technical and artistic parts complement each other. Ultimately, it’s the best performer that wins the competition. Although there is no absolute perfection, we are always seeking perfection in our journey in the sport, and the goal of a coach is to develop a wellrounded skater. Consequently, as coaches we should try to cultivate both qualities in a skater and eventually, they both will complement one another.

To make a parallel with ballet, Agrippina Vaganova states in Basic

Principles of Classical Ballet that, “The study of any pas in classical ballet is approached gradually from its rough, schematic form to the expressive dance.” Ballet is an art form that connects artistry and athleticism. “Is the world’s greatest athlete a dancer?” was a question asked by “Life” magazine with a picture of Rudolph Nureyev on their cover. It is a fact that athletic qualities like strength, speed and agility help a dancer or a skater to deliver their best performance.

But there is also something more that makes a dancer’s or skater’s performance memorable. The goal of a dancer is to reveal, increase and expand their movement possibilities. Through a daily training routine focused on technique, discipline and creativity, dancers strive to achieve the highest levels of self-expression.

Skaters and coaches can use dance to find motivation for self-improvement.

Over the years learning and observing skating and ballet I have constantly evolved my coaching methods to try to find new techniques to improve my students’ performance. I’ll share my personal concepts based on my experience and expertise.

One of the most important concepts in ballet training is performing with

quality of movement. How does one utilize the full possibilities of movement to improve performance? One of the methods is to work on the ability to first isolate and then coordinate all parts of

“I don’t want people who want to dance, I want people who have to dance.”

- George Balanchine

Ice Dance International skating company rehearsal in Dover, NH

Photo by David J. Murray ClearEyePhoto.com

PS MAGAZINE

25

“Ballet dancers are a singular combination of artist and athlete;... the connection between a dancer and their body is a powerful one. Carefully sculpted through years of disciplined training, a dancer’s body is their instrument.”

“Much of dance involves traveling through space, both horizontally and vertically.”

Kenneth Laws, Physics and the Art of Dance

– Mary Helen Bowers, Ballet for Life

the body. Work off the ice on simple exercises where you can separately work on different parts of the body: head, shoulders, arms, etc. Start from learning the full amplitude of their movement. For instance, rotate arms making a full circle controlling it and moving them smoothly with consistent tempo. This will teach skaters awareness of their body parts and the ability to move them in a full range. Both ballet and figure skating seek effortlessness and subtlety in their performance.

In order to achieve it, continue to explore movement’s kinetics further. Now, instead of moving parts of the body evenly, move them with different dynamic qualities like suspension or a swinging motion. For instance, to continue further the rotational arm movement exercise, rotate the arms, letting them freely fly up, suspend them at the top, and then let them fall, completing a full circle. After that, coordinate these exercises with movement on the ice, such as swizzles, lunges, stroking, etc. Skating exercises have a constant rise and fall motion and it is difficult to add arm and upper body moments to them. However, exercises such as these are the bridge to connecting the upper body to the lower body to work on full

26

NOVEMBER/ DECEMBER 2023

scale motion. Simple exercises performed with awareness will help to unlock a wider range of movement possibilities. On a side note, constant work on flexibility will also increase range of motion and improve performance.

Continuing with a sense of awareness, skaters can add breathing techniques to their movement.

When performing upper body exercises with premeditated inhalation and exhalation, movement gains a different quality. Here are again techniques and methods from ballet. Using correct breathing techniques is the first step in learning correct posture for young dancers. While they are building correct posture with a tight abdomen, a long spine and shoulders pushed down from the shoulder blades allows young dancers to breath using the upper diaphragm. They inhale by expanding the rib cage and exhale by releasing air out and flattening the diaphragm. Later this will help them perform their dancing routine. We can employ such techniques by teaching and reminding skaters to inhale and exhale with their movement.

Another quality that we can observe in performance is a sense of space. With full aware-

ness one can move their body through space at high speed. A ballet dancer has no skates nor ice to create speed, yet they create a dynamic movement and flow through the stage floor. Dancers project ideas by creating shapes and movements in space. Skaters can also learn how to recognize their space and use it to deliver the ideas of the choreography of their program. During their skating session they should skate using the whole ice, learning to move with confidence and commitment. Filling out the arena means more than filling out the actual ice surface. It means filling out the space around us, above us and below us. It is to have the ability to feel “beyond” the literal space of the building.

Championship stroking is a good exercise to explore this sense.

When a skater feels comfortable using the arena, they can also use different levels, lowering themselves down towards the ice and opening their body up to the ceiling. Interesting exercises can be found using specific goals. A skater can be focused on outward movement, extending the space projected to the audience, and visa-versa inward into themselves, diminishing the space around them by making the primary focus small details of movement.

“Learn to feel your technique, and your technique will become your feelings.”

– Eugene Louis Facciuto

Multidirectional movement also plays a big part in using space.

Like dancers who practice all ballet combinations in both directions, starting from either leg, skaters should also practice multidirectional exercises in their daily routine and in their skating programs. A versatile skater will utilize these skills to optimize their program.

Musicality is also an important part of the performance, and ballet dancers count all their steps to-a beat. For a skater, learning to hear the beat of music, musical nuances, style and mood will strengthen their ability to make a connection with the music and to interpret the choreographic idea.

Hearing the beat and phrasing in the music will improve their ability to pace themselves through their program. Moving fast or slow during the program will give them a sense of sureness and confidence in executing their elements.

Furthermore, an ability to feel the rhythm can help coordination in most elements.

Last, but not least, pure athleticism for dancers comes from their daily routine exercises.

Ballet barre, Centre, Allegro and Adagio were specifically created to improve different qualities like strength, power, agility, flexibility, coordination as well as smoothness, sharpness, extension, fluidity, etc. The ballet method is structured to mold, sculpt, and tune bodies and their ability to jump higher, to strike the most expressive pose and perform without injuries.

To conclude, I can say with confidence that we can improve both technical and artistic qualities using proper ballet school techniques. Although the best time to start learning ballet is at a young age, with the first steps on ice, there is no age or skating level that it is too late to learn. I hope that this article motivates coaches to work on developing their own knowledge and understanding of their profession, employing techniques from different disciplines and art forms

like dance and ballet. Learning starts from watching dance performances, taking dance classes themselves and simply observing the art of movement, which develops into a passion and love for the craft.

Alina Ponomarova was born in Odessa, Ukraine.

She started skating at the age of 5 and competed in freestyle as a child. While studying ballet she changed her focus to ice dance. Upon graduation she pursued her coaching career in Kiev, Ukraine.

She was an assistant coach to the Ukrainian National Figure Skating Team while receiving her college education. To connect her worlds of figure skating and dance, she received a Masters Degree in Choreography of Contemporary and Classical dance and a Performance Arts and Masters Degree in Olympic and Professional Sports. She moved to the United States in 2007 and has worked with national and international competitors for the United States, Great Britain, Hungary, the Czech Republic, Japan, and China. Her specialty is coaching ice dance, skating skills, ballet and choreography. She currently is a member of the Team Fox coaching staff at Fox Valley Ice Arena in Geneva, IL.

PS MAGAZINE

27

A Community that Cares

It's easy to donate via PayPal!

For the coaches.

The Professional Skaters Foundation was founded to expand the educational opportunities of PSA members through a non-profit, charitable foundation.

Visit skatepsa.com for more information.

All contributions are tax-deductible.

EDUCATION

SPORT SCIENCES —NUTRITION

What did you have for breakfast?

How about your skaters?

By Julianne Pondelli, SSS, CFS, RG

T

he first meal of the day breaks the overnight fast that occurs while an athlete is sleeping and recovering from the previous day of training. Their body is still burning fuel as energy for organ and brain function, as well as repairing muscles while they are sleeping, so it is important to refuel within the hour of waking up. Research shows that people who eat breakfast tend to eat 30% less overall in their day.

This is especially important for any athlete looking for weight management.

Athletes may skip breakfast for numerous reasons, such as a decrease in appetite, an early morning practice, a dislike for breakfast foods, or a lack of time in the mornings. Skipping breakfast can cause either underfueling for the athlete, due to a shortened window of eating, or overfueling if the athlete is then starving later in the day and binges at night.

Even if an athlete feels they “aren’t a breakfast person”, they can train themselves to be one. Starting with small meals can help them get accustomed to fueling in the morning. It is often easier to drink than eat if the athlete doesn't feel like they have an appetite. Here are some liquid breakfast ideas: • Protein shake • Glass of chocolate milk If the athlete has more time to prepare a breakfast, this meal should be a combination of high fiber carbohydrates, protein, and healthy fats.

Carbohydrates are the main source of energy for athletes; those higher in fiber help to keep the athlete feeling full and satisfied, as well as support a healthy gut. Protein is important for muscle building and recovery, and will also help with satiety. Healthy fats are necessary for nutrient absorption (vitamins A,D, E and K) and are more calorie dense, therefore more filling. Here are some balanced breakfast ideas:

• Oatmeal with nuts and fruit • Whole wheat toast with nut butter and banana • High protein waffles with PB and natural jelly • Avocado toast with an egg If the athlete doesn’t like traditional breakfast foods, they can still have some source of fuel in the morning. Any food item can fit in as a healthy breakfast, as long as it pairs carbs, protein, and healthy fats.

Leftovers, cold pizza, or even a quesadilla, are foods that will fuel the athlete appropriately. The foods to avoid include refined carbohydrates (sugary cereals, donuts or muffins) and foods high in saturated fat (bacon or sausage).

While early morning practices are common, especially in figure skating, it is better to have something versus nothing. If the athlete is short on time, it is best to get some fuel in their system and have a more substantial recovery meal after practice.

Here are some quick, on-the-go, breakfast ideas: • Banana • Spoonful of peanut butter • Squeezable applesauce • Yogurt • Piece of toast with 1TB of peanut butter • Protein bar By incorporating breakfast daily, the athlete will not only increase their energy levels to optimize their daily training, but will also help manage their caloric intake throughout the day.

"Any food item can fit in as a healthy breakfast, as long as it pairs carbs, protein, and healthy fats."

PS MAGAZINE

29

to appreciate 23 e m ti g in k ta in s u n Joi captured by our 20s. ts en om m ce -i on e es th est participant nt co r ea Y e th of to Pho Melanie Heaney

ade up of: Team PSA is m oaches • grassroots c iners • rating exam aches • full-time co • learners ntatives • Area Represe • creatives ectors • program dir • you! ing our Thanks for makl. team so specia

30

NOVEMBER/ DECEMBER 2023

PHOTO COURTESY OF LEXI ROHNER

jacob marsh

Michael Martineau

New Members my name is

NEW MEMBER

SPONSOR

NEW MEMBER

SPONSOR

Daria Afanasseva

Jimmie Santee

Kate Naughton

Jimmie Santee

Lillian Baumhardt

Jennifer McMahon

Graham Newberry

Christian Newberry

Abigail Blank

Lisa Olson

Jillian North

Emily Ryder

Amelia Boerner

Robbie Kaine

Hayley Nunnally

Jimmie Santee

Brianna Botcher

Jacki Sadowski

Nimet Ozkan

Jimmie Santee

Laura Bretscher

Jimmie Santee

Natchuda Padmasuta

Jimmie Santee

Mycala Brown

Summer LeBel

Emily Papa

Jimmie Santee

Violette Browner

Jimmie Santee

Shelbi Paulson

Jimmie Santee

Laura Chavez

Jimmie Santee

Michelle Phoenix

Kristy Hemstreet

Michelle Clark-Forsting

Jimmie Santee

Katherine Potts

Barbara Pelkey

Jessica Coffin

Crystalrose Sanders

Suzanne Quigg

Elena Rodrigues

Emma Cook

Courtney Kirschke

Makayla Robitaille

Craig Horowitz

Colleen Corba

Karri Nachtigal

Mia Rocco

Jimmie Santee

Yasmine Dawud

Kelly Clark

Danielle Rochin

Jimmie Santee

Sophia Dentino

Jimmie Santee

Tabitha Sandberg

Katie Holmes

Kimberly Dodson

Jimmie Santee

Emily Scott

Jessica Ott

Chloe Edwards

Antonina Berekhovskaia

Megan Slemp

Michelle Hunt

Sydney Ehrlich

Kirsten Vike

Kristen Snow

Victoria Nason

Mackenzie Erickson

Savannah Winkler

Josie Tamaro

Elva Traxler Nowak

Jeffrey Feng

Jimmie Santee

Anna Volk

Karen Volk

Cheymen-Li Foot

Jimmie Santee

Lauren Voyer

Barb Yackel

Casandra Ford

Wendy David

Megan Weber

Heidi Parker

Lauren Grow

Jacqueline Pusztay

Jada Whitfield Briggs

Jimmie Santee

Noah Hausman

Annette Schaefer

Kendall Whitfield Briggs

Kennedy Briggs

Brooke Jewell

Jimmie Santee

Benjamin Wiener

Rose Lynch

Lynsy Kellner

Nadege Dollonne-Rohrbacher

Taiya Knight

Jimmie Santee

Julia Kowalski

Kimberly Reehoff Johnson

Cecilia Kusturin

Katherine Kusturin

Emma Leither

Lacey Merrell

Cathryn Limketkai

Suna Murray

Michelle Madejski

Julia Inge

jacob marsh mark walentiny

deborah hickey

PS MAGAZINE

31

calendar JANUARY 2024 Event

RATINGS STUDY GROUP

Event

RATINGS STUDY GROUP

Date Credits

Registered and Certified Skating Skills discipline Mondays—January 8, 15, 22, 29, and February 5 5 PSA Educational Credits

Date Credits

Registered and Certified Free Skating discipline Thursdays—January 11, 18, 25, February 1, 8 5 PSA Educational Credits

Event Date Credits

Virtual Foundations of Coaching Course January 9, 16, 23, 30, and February 6 10 PSA Educational Credits

Event

RATINGS STUDY GROUP

Date Credits

Registered and Certified Group discipline Thursdays—January 11, 18, 25, February 1, 8 5 PSA Educational Credits

Event

RATINGS STUDY GROUP

Date Credits

Senior and Master Skating Skills discipline Wednesdays—January 10, 17, 24, 31, February 7 5 PSA Educational Credits

Janua

Study ry regist Group deadl ration in Januar et is y5 h

FEBRUARY 2024 Event Date Credits

Virtual Ratings Exams – all disciplines and levels *Exception is Synchronized Skating February 9-11 1 PSA Educational Credit *Registration opens November 1, 2023

MARCH 2024 Event

RATINGS STUDY GROUP

Event

RATINGS STUDY GROUP

Date Credits

Senior and Master Skating Skills discipline Mondays—March 4, 11, 18, 25, and April 1 5 PSA Educational Credits

Date Credits

Registered and Certified Group discipline Wednesdays—March 6, 13, 20, 27, and April 3 5 PSA Educational Credits

Event

RATINGS STUDY GROUP

Event

RATINGS STUDY GROUP

Date Credits

Registered and Certified Skating Skills discipline Mondays—March 4, 11, 18, 25, and April 1 5 PSA Educational Credits

Date Credits

Senior and Master Free Skating discipline Thursdays—March 7, 14, 21, 28, and April 4 5 PSA Educational Credits

Event

RATINGS STUDY GROUP

Date Credits

Registered and Certified Free Skating discipline Tuesdays—March 5, 12, 19, 26, and April 2 5 PSA Educational Credits

APRIL 2024 Event Date Credits

32

Virtual Ratings Exams – all disciplines and levels *Exception is Synchronized Skating April 12-14, 2024 1 PA Educational Credit *Registration open January 15, 2024

NOVEMBER/ DECEMBER 2023

For the most up-to-date Calendar of Events, visit www.skatepsa.com

AVAILABLE IN THE PSA ONLINE STORE

A PUBLICATION OF THE PROFESSIONAL SKATERS ASSOCIATION

3006 Allegro Park Lane SW Rochester, MN 55902

2023 Photo of the Year Finalist THE LOOK by Mark Walentiny Madison Hubbell & Zachary Donohue