September/October 2011 PS Magazine

SEPTEMBER/OCTOBER

2011

www.skatepsa.com

2011

Coaches of the Year

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Success: The good fortune th at comes from aspiratio n, desperation, perspi ration, and inspiration.

COLUMNS 4 6 8 10 14 18 28 34

Over the Edge | Jimmie Santee

~JACOB BRAUDE

President’s Message | David Kirby Ratings | Kris Shakarjian

FEATURES

IJS Insights | Libby Scanlon Sport Science | Heidi Thibert

20

2011 PSA Hall of Fame | by Kent McDill

Education | Carol Rossignol Best Practicies | PSA Survey

24

2011 Coaches of the Year

20

| by Kent McDill Legal Ease | David Shulman

5 9 30 33 36 38

31

Ratings Exams Passed

It Figures: Life Lessons of Figure Skating

Great Tips

| by Terri Milner Tarquini

Excellence On Ice

Meet Your Area Representative New Members PSA Calendar of Events

Jimmie Santee | Editor Lee Green | Managing Editor Carol Rossignol | Contributing Editor Amanda Taylor | Art Director Ann Miksch | Editorial Assistant SEPTEMBER | OCTOBER

2011 ~ No 5 #ISSN-574770

24

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

“T

o laugh often and love much; to win the respect of intelligent persons and the affection of children; to earn the approbation of honest citizens and endure the betrayal of false friends; to appreciate beauty; to find the best in others; to give of one’s self; to leave the world a bit better, whether by a healthy child, a garden patch or a redeemed social condition; to have played and laughed with enthusiasm and sung with exultation; to know even one life has breathed easier because you have lived—this is to have succeeded.”

While often attributed to Ralph Waldo Emerson or Robert Louis Stevenson or Hallmark, it was actually written by Bessie Stanley in 1904…I think. I have the Reader's Digest version painted on walls all over my house, “live well, laugh often, love much.” I’ve even used it as the toast at six different marriages. While I would like to know who really wrote it in order to give credit where credit is due, the important part is the words themselves. They have a deep meaning for me, one that brings tears to my eyes every time I read it…it is that powerful.

I think we all struggle from time to time to find meaning in our lives. What is our purpose here? Five years ago I took on the position of executive director here at PSA…I wanted to make a profound difference on a larger scale for both myself and the sport I love. What I found is that many of you feel the same way… just looking for an opportunity to make a difference, either large or small.

The words to live by written above are beautiful, but as we all know I like to do, I need to tweak it just a little bit. In the magazine industry we call it editorial license…

“To laugh often and love much; to win the respect of coaching peers and the affection of my students; to earn the approbation of honest officials and endure the betrayal of solicitation; to appreciate the beauty of skating; to find the best in others; to give of one’s self; to leave the world a bit better, whether by a better person, a better skater or both; to have skated and laughed with enthusiasm and performed with exultation; to know even one life has breathed easier because you have transferred the love of skating to others—this is to have succeeded.”

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SEPTEMBER | OCTOBER 2011

Doug Ladret Todd Sand Dorothy Cassini Patrick O’Neil Denise Williamson Rebecca Stump Alex Chang Paul Wylie Jackie Brenner Glyn Jones Brittany Bottoms

PSA

Words to live by

East

David Kirby Angela Riviello Christine Fowler-Binder Dorothi Cassini Carol Murphy Kelley Morris Adair

Members at Large

ISI Rep to PSA U.S. Figure Skating Rep to PSA Executive Director Legal Counsel

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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.

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PS MAGAZINE

5

President’s Message DAVID KIRBY

Motivating the unmotivated T

here is a familiar saying I often hear coaches quote in various forms that goes something like this, “You can lead a horse to water, but you can’t make it drink.”

Ever since I first heard that expression, I thought, “Wait a minute, if I take that horse and run it a hard 20 miles and then take it to water, I know it will drink the water.”

Actually, I think we understand that saying to mean in skating terms as the coach feeling their student can’t be forced to want to skate and work hard, but must have that internal drive and commitment to really want to skate and be their best. However once we label a student in the first example from above, we as coaches no longer have to be responsible for their skating fate. I think the real question here is “How can the coach best handle this situation?”

This is a coaching dilemma and the right motivation could be the answer. A coach accepting payment for teaching has a responsibility to motivate their student or teams and this includes the students we all have taught and are quickly placed in the un-motivated type or the ‘one with talent/potential but never works hard.’

How can you motivate a student who is only at the rink because of road blocks such as, “My mom/dad said I had to take skating lessons,” or “Why do I have to do that?” or maybe something real like they are participating in ten other sports and their parents want instant success, sponsors, and a cover photo on Sports Illustrated.

Sometimes expectations exceed the abilities of the student, and vice versa. Either way, the coach has a much harder job trying to motivate the unmotivated.

I have taught lessons and felt guilty taking the money because I had so much fun and the student was such a delightful, respectful person with the ideal balance of expectations and work preparations to meet those expectations. Then the next 30 minute lesson felt like 30 days and I was pulling teeth every step of the way and, by the way, the money I made for that lesson was way under my pay scale expectations. So maybe it balances itself out?

Audrey Weisiger, PSA Master Rated coach and PSA Coach of the Year gave a great example of motivational judgment in an on-ice PSA conference presentation she taught on Axels. Audrey had a few elite athletes as demonstrators and one young man had a little trouble with the

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SEPTEMBER | OCTOBER 2011

techniques Audrey was showing us, and then suddenly she took a few dollars out of her pocket and asked the young man if he could try the technique again, but this time if he succeeds, he gets the few bucks. He did it, and in my opinion money well spent by Audrey. Now I’m not advising you to ‘bribe’ your students and neither was Audrey, but I use this example as a creative way to use different motivational techniques to achieve results.

The challenging student can be motivated. Our responsibility here is to make sure the balance of expectations meets the preparation ability of the student.

This is not an easy task but every student deserves our best efforts as an educator and motivator. So the next person who tells you that you can lead a horse to water but you can’t make it drink, try responding with, “If I motivate that horse to run for 20 miles, trust me, it will drink the water.”

“...every student deserves our best efforts as an educator and motivator.”

Created by David Lipetz, Off-Ice Specialist and Physical Therapist

Ratings KRIS SHAKARJIAN

Moves Reminders

by Kelley Morris Adair

W

e are almost one year into the new moves patterns and the new PSA MIF rating exams were implemented at the 2011 Conference in Dallas. PSA has received significant feedback from coaches, rating examiners, rating candidates, judges and test chairs. As with all new skating information, clarifications are needed along the way. Below is a short list of frequently asked questions about the new moves. PSA is committed to the educational process with the MIF structure and we will continue to work with coaches and judges for a consistent understanding of the test standards and expectations throughout the United States. Please refer to the PSA Moves in the Field booklet for the current test standards and expectations.

MOVES MOST MENTIONED… Preliminary Pattern 1—Forward & Backward Crossovers Question: Do all transitions in this pattern have to involve a swing?

Answer: No. Only the transition from forward to backward is a forward swing with a change edge to an open inside mohawk.

Example – If the last crossover is traveling clockwise (left over right), the transition step is a RFO swing to a RFI Mohawk. There is a slight change of edge from outside to inside for the mohawk. The skater stays balanced on the right foot after the swing for the mohawk. The skater will exit the mohawk on a LBI edge and continue the back crossovers.

Any one foot transition may be used in between the two forward crossover circles. And any one foot transition may be used in between the two backward crossover circles. A swing is not mandatory between the two forward circles and the two backward circles. Mandatory steps are only required from the forward crossovers to the backward crossovers.

Preliminary Pattern 5 – Forward Circle Eight Question: Are any introductory steps allowed on the circle eights?

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SEPTEMBER | OCTOBER 2011

Answer: No introductory steps are permitted. This pattern must begin from a standing start.

Question: Must this size of the circle be exactly three times the skater’s height? Does this have the same expectation as a figure?

Answer: Circle size is approximately three times the skater’s height. The circles will be directly related to the skater’s height and may appear smaller than a “figure” eight. A smaller circle is acceptable as long as it does not compromise the edge quality and continuous flow.

Juvenile Pattern 3 – Eight Step Mohawk Sequence Question: Is the figure eight pattern repeated twice since it says “eight steps repeated twice on two circles”?

Answer: No. The pattern is one circle counter-clockwise and one circle clockwise. The eight steps do repeat twice to make the one circle in each direction. Simpler said: sixteen steps counter-clockwise then sixteen steps clockwise with one transitional step in the middle.

Novice Pattern 4 - Forward Loops Question: Do the shape of the loops have to be exactly like figure loops?

Answer: No. General adherence to the shape of the loop is the standard and expectation for this pattern and level.

Webster 1913 Dictionary definition of general: Not restrained or limited to a precise import; not specific; vague; indefinite; lax in signification; as, a loose and general expression. Common to many, or the greatest number; widely spread; prevalent; extensive, though not universal; as, a general opinion; a general custom.

Skaters are not using boots with figure blades and it is unrealistic to expect the same quality previously seen in figure tests. You may see some snow with a free skating blade. A continuous smooth motion with good timing and skill organization will produce a novice level loop – generally speaking! continued on page 13

Recently Passed

RATING EXAMS Congratulations to the following coaches who passed the Basic Accreditation (BA) written exam at the specified site:

Congratulations to the following coaches who successfully completed the requirements for a Rating Certificate:

E-Learning Management | BA Exams

Jacksonville, FL | June 24–25, 2011

Rochelle Adey Jeremy Barrett Emily Benedict Jeanne Governale-Cousineau Melissa Hampson Chris Houston Lauren Hunt Elizabeth Leamy Alexis Mante Janice Marchewka Delsie McCoy Angela Messina Christine Miller Ashlyn Nadeau Shanley Pascal Michelle Pennington Katherine Porter Scott Powell Emily Reed Greta Riebe Deborah Riley Hillary Rubin Elena Tobiash Igor Velikanov Aerin Williams

MASTER RATING Special congratulations to Leslie Graham who passed her Master Synchronized Skating rating. The Board of Governors recently passed a motion to allow master synchro exams at the U.S. Figure Skating Synchro Coaches College in place of the November rating site.

Hansel Baxter RG, RM Curtis Chornopyski CFS Aubrey Clifford RG, RFS Marcia Hart CM, RFS Mesha Hart RM Kelly Hobbs RM, RFS Kaysi Kitsell CFS, RM Yulia Malitskaia RG Vicky Morgan RG Julie Mulvey RM, CFS Michelle Pennington RG Andrea Waddell RG, RFS Aston, PA | July 11-12, 2011 Anna Baram RM, CFS Melissa Beck RM Andrea Cooper CG Tim Covington RM, RFS Trisha Hessinger RM Trisha Hessinger CM Susan Jackson Wagner SM, CC Linda Kardos CG Kathleen Kelly RG Andrea Maruschak RG Doulas Mattis RC, CC Danielle Niblick RG Kristin Shipstad RM, RFS Strongsville, OH | July 27–28, 2011 Sabrina Clauss-Prevost RG, RFS Kendra Flanagan RS Leslie Graham MS Dena Grissman RS Gail King SG Fiona Loftus CM, CFS Leticia Moreno Enos RS Jody Russon CS Patricia Shears RM Becky Spillar CG Sophie Taylor SM, CS Lindsey Wolkin SM, CS Lisa Yelle RG PS MAGAZINE

9

IJS Insights LIBBY SCANLAN

Updated Technical Clarifications: ISU Communication 1672

Preparing Skaters for the 2011-2012 Competitive Season A

t the end of July the ISU published the 2011-2012 Technical Panel Handbook. This document includes rules and recent feature clarifications for the upcoming season. It is important to understand these rules and updates while preparing your skaters for competition.

This article summarizes the most recent information available for each element, and also includes technical element reminders which, while not new this season, seem to be often misunderstood.

STEP SEQUENCES Half a pattern on one foot (Feature 3) requires that the skater stay on one foot for at least half the total pattern skated), and allows hops and unlisted jumps started and landed on this foot. Remember that retrogression is taken into account when evaluating the total length of the pattern.

In an effort to make Feature 5 of the step sequence more recognizable for the technical panel and more accessible for the skater, the feature criteria has been updated.

Feature 5: Two different combinations of three difficult turns (rockers, counters, brackets, twizzles, loops) quickly executed within the sequence The requirements for the turn combinations are the following: • Three turns are not allowed.

• Changes of edge are not allowed.

• A jump or hop is not allowed.

• Changes of feet are not allowed.

• At least one turn in the combination must be a different type than the others.

When executing the combination of difficult turns, the exit edge of one turn becomes the entry edge for the next turn. There must be two different combinations within the sequence, and they must be executed quickly. To be considered a different combination it must not include the same turns, in the same order, and on the same edges.

SPINS In any spin with a change of foot the maximum number of features on one foot is two. A spin may not be awarded

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SEPTEMBER | OCTOBER 2011

more than two difficult variations. If the spin changes feet the two variations must be on a different foot. In a combination spin the variation must be in a different position than the first. (Features 1 and 2) While these rules have been in place for a few seasons, they are not always followed.

When the ‘jump on the same foot within spin’ difficult variation is executed from a basic position to the same basic position, the variation will relate to that position. If it is done from one basic position into another basic position, the variation will relate to an intermediate position.

In a spin combination if the skater does a variation in an intermediate position which is quite similar to the variation in the basic position, the intermediate variation may not be awarded if the two are not considered significantly different.

If the same difficult spin variation is repeated, any additional features will not be awarded. For example, a difficult variation in a sit forward for eight revolutions will not be awarded if the same sit forward variation was already performed in an earlier spin.

In a combination spin a different difficult variation is not counted because it is performed in the same position as the first difficult variation, the additional features in this variation can still be counted.

Examples: CCoSp—If a difficult variation is done in a sit forward on the first foot, and the difficult variation on the other foot is done in a sit side with eight revolutions, the skater will achieve the sit front variation, the eight revolution feature, but will not be awarded the sit side difficult variation.

CoSp—If the first difficult variation is done in a camel forward, and then a camel side difficult variation is done for eight revolutions. The skater will achieve the camel forward feature, and also the eight revolution feature, but not awarded the camel side difficult variation.

The change of foot executed by a jump (Feature 3) must be executed from a sit or camel basic position into any basic position. Remember that an illusion is considered an intermediate position difficult variation.

The flying entry feature (Feature 4) is considered one time per program, in the first fly attempt. The feature for a flying entry spin can only be awarded if there is no previous rotation on the ice before the take off, and if the skater reaches the basic position within the first two revolutions after the landing. If this should error in the short program, the spin will receive a Level 1.

The change of edge (Feature 5) must be done in a basic position and requires two full revolutions on one edge followed by two revolutions on the other edge in the same basic position. It counts in the sit position (if it is done from the back inside to the forward outside edge), and the camel, layback and Biellmann positions. It is considered only once in a program in the first spin, on the first foot, and in the first position it is attempted.

The Eight revolution feature (Feature 8) can be awarded in the camel, difficult sit, layback and difficult upright once per spin. If the skater attempts or achieves this more than once in the spin, any one of the attempts is considered in favor of the skater.

For any spin with a change of foot at least one basic position for two revolutions must be done on each foot.

If this requirement is not met the spin will receive a Level 1 in the free skate, and No Value in the short program.

For spin combinations with a change of foot, all three basic positions must be achieved. If this requirement is not met the spin will receive a Level 1.

To ensure that your skaters attain the levels they have planned, it is important to avoid skating in gray areas. A skater who attempts the change of edge feature and barely makes two revolutions on one of the edges; the fly that barely achieves the sit position in the air; the eight revolution feature that almost makes eight; a difficult variation without enough core involvement are all examples of skating in the gray areas. When this happens your element will not always receive the features you had hoped to achieve. Make features recognizable!

Emphasize the importance of using correct turn edges in the step sequence. If turns are flat, jumped or skidded they will not be counted. Turns must be done on one foot to be counted. Take the time to check the planned turns and steps to make sure they are still the same turns and steps you had originally planned.

Remember, the take off edges on the flip and lutz must not be be wrong or unclear. Cleaning up the fuzzy execution of element features and completing the rotation on jumps will assure the skater of receiving the call he or she is hoping to receive.

Any questions can be emailed to crossignol@skatepsa.com.

More detailed element information can be found in previous IJS Insights articles from November/December 2010 through July/August 2011.

PS MAGAZINE

11

P R O F E S S I O N A L S K AT E R S A S S O C I AT I O N

2011 Nationwide Seminars presented by

Area Host Name 1

Kathy Knauer

2

Christine O’Riordan

3

Jacqueline Kulik Palawasta

4

Genesee FSC

5

Angela Roesch Davis

Facility

Location

Dates

Leddy Park Arena

Burlington, VT

September 17

Charles Moore Arena

Orleans, MA

September 17

William G. Mennen Sports Arena

Morristown, NJ

September 11

Frank Ritter Arena

Rochester, NY

August 28

The Steel Ice Center

Bethlehem, PA

August 28

6&7

Scott Cudmore

Polar Ice House @ the Factory

Raleigh, NC

October 8

7

Nancy Mariani

Saveology Iceplex

Coral Springs, FL

September 25

8

Sergey Petrovskiy

Troy Sports Center

Troy, MI

September 18

9

Lynn Rimmer

Cleveland Skating Club

Shaker Heights, OH

August 27

10

Thomas Amon

Bloomington Ice Garden

Minneapolis, MN

September 25

11

Melissa Haars

Cedar Rapids Ice Arena

Cedar Rapids, IA

November 6

12

Stacey Burnett & Lindsey Stucks-Vivona

Arctic Edge Arena

Oklahoma City, OK

September 25

13

Tracey O’Brien & Jamie Lane

South Suburban Family Sports Center

Denver, CO

September 11

14

Patti Brinkley

Olympicview Arena

Seattle, WA

September 10

15

Paige Scott

Yerba Buena Ice Center

San Francisco CA

October 9

16

Russ Scott

Glacial Gardens

Lakewood, CA

August 28

visit www.skatepsa.com for more information and an online registration form

RATINGS continued from page 8

Novice Pattern 6 – Back Twizzles Question: How long can a skater glide on two feet before the back outside twizzle?

Answer: The skater cannot “glide” (balance) on two feet before the back outside twizzle. The PSA MIF booklet shows a two-foot push on the pattern but the skater should not balance on two feet prior to the back outside twizzle. This push is similar to the juvenile back power three turns.

Question: What is the expectation for the exit of the back inside twizzle and the last edge on the lobe?

Answer: The test standard and expectation is to demonstrate controlled extensions on exit of twizzles. Extension includes the entire body (arms, spine, torso, neck) and not just the free leg. A strong balanced position on the exit of twizzle should be expected at this level.

The last edge on the lobe is a forward inside edge and should be executed as an open stroke with full extension.

The transition from the exit of the twizzle, backward inside edge to the forward inside edge is a back mohawk and should be controlled, balanced and fully extended.

This back mohawk is similar to the last two steps in the eight step mohawk sequence. (BI to FI) Junior Pattern 5 – Back Loop Pattern Question: How long does the skater need to hold after the change of edge exiting the loop?

Answer: The skater should pull across the axis in a balanced position to create a lobe on the other side of the axis. The skater should not step to the next edge roll immediately after the change of edge.

power in edges, so the better the edge quality the stronger the move.

Question: Is regression allowed on the change of edge?

Answer: Small regression is acceptable. Due to the connecting edge rolls creating some power and the loop being placed on the ¼ of the circle instead of the half (as in figures), the edge may pull beyond perpendicular to the axis preparing for the loop. If there is too much regressing, the skater will not be able to maintain continuous flow throughout the pattern which is a focus point of this move.

This pattern is skated gently with finesse—slow and controlled.

No introductory steps are allowed on this pattern.

GENERAL REMINDERS: • All moves may start in either direction or on either foot.

• Unless specified, the number of steps on an end pattern is not mandated. End patterns do not have a seven step rule like the introductory steps.

• The * shown in the PSA MIF workbook denotes a two-foot power push not a glide on two feet. At no time should a skater be gliding and balancing on two feet.

• Arm and free leg positions are optional as long as turn or pattern is not affected in a negative way.

Senior Pattern 5a – Serpentine Step Sequence Question: What tempo is expected for this pattern? Is quickness still expected?

Answer: The focus points for this move are edge quality and continuous flow. The tempo should be demonstrated in the continuous rise and fall of the knee and ankle action. Quickness is not a focus for this pattern. However, there are turns in the pattern that should be executed with quickness, precision and accuracy. Remember, there is

NEW MOVES IN THE FIELD RATING EXAMS • Registered exam covers pre preliminary and preliminary MIF • Certified exam covers pre-juvenile and juvenile MIF • Senior exam covers intermediate and novice MIF • Master exam covers junior and senior MIF MIF Study Guides have been revised for the new MIF exams. Good luck and keep movin’!!

PS MAGAZINE

13

Sport Science HEIDI THIBERT

Ready and Steady N

ot long ago while coaching at a competition, I experienced the necessity of digging out a small cosmetic bag packed with emergency items and to take rink side for “crisis control” at competitions. Watching intently as I sewed my skater into her dress due to a broken zipper, when the event was finished, another coach asked to see what all I had in that little bag. Soon a group of coaches were examining the contents and commenting that I should write about it in the next sports science column for PS Magazine. This list is not exhaustive but it provides the foundation of a well-stocked figure skating emergency kit: • Sharpening stone (Only use this if you know how to since incorrect stoning of a blade can make matters worse by “rounding” the edge.)

• Extra laces (the long size because extra length can be cut off but not added) • Comb (Sanitized in the dishwasher) • Hairspray (non-aerosol travel size) • Pocket mirror (folding type to avoid breakage) • Sewing Kit (the kind often provided in hotel rooms.

The pre-threaded needle ones are best.)

• Small scissors (The smallest ones with fairly sharp points.)

• Safety pins (assorted sizes and lots of them) • Hair pins, clips, pony tail elastics (assorted sizes and lots of these too) • Antiseptic towelettes or alcohol wipes (these dry out over time, so replenish regularly) • Band-Aids (assorted sizes and shapes) • Gauze (sterile packets) • Anti-bacterial ointment (single use packets are best) • 2”x2” Moleskin square (for blister care) • Non-powdered Latex gloves ( 1-2 pairs—replenish regularly) • Feminine hygiene supplies (a small assortment)

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SEPTEMBER | OCTOBER 2011

• Screwdriver (Flathead and Phillips) • Screws • Hockey tape (white and black, if you teach boys) • First aid adhesive tape • Micro shield resuscitation mask/face shield • Tissue pocket packets • Ziploc bags (using Zamboni slush for ice packs) • Aleve, Tylenol and Advil, Pepto-Bismol or Tums tablets, decongestant (such as oxymetazoline) nasal spray (to treat a nosebleed that doesn’t respond to simple pressure) *See the paragraph on administering medicines below.)

I have never needed to administer medicine to a skater since at figure skating competitions, one or both parents are usually close by. Parents of skaters with specific health conditions, such as diabetes or asthma, need to have emergency supplies on hand for coaches to call on them to administer to their skater. Parents, not coaches, should administer any medication a skater may need. On international competitions, the coach, the team leader and/or doctor will be given information on the health of each skater and releases will be signed as part of the trip preparation regardless whether a parent is in attendance.

Here is a list of other supplies to have on hand at a competition or test session: • Cell phone (on silent or vibrate) • Stopwatch (to time the warm-up especially if your skater is first to skate) • Copy of the competition announcement (for looking up details) • Extra copy of skaters’ schedule of practices and events • Extra program music CDs • Information such as parent phone numbers (if a parent cannot be reached, call 9-1-1) • Paper and pen

“Always behave like a duck — keep calm and unruffled on the surface, but paddle like the devil underneath." JACOB BRAUDE THE THREE-MINUTE RULE

SPORT SAFETY TRAINING

In addition to familiarity with each skater’s health status, it is also key to have these emergency supplies available. Kits must be prepared before each competition in order to be of reliable use. Having the correct supplies could be the difference in delivering essential care to an injured athlete appropriately or just sewing up the skater’s dress inside the time limit allowed by the U.S. Figure Skating Official Rulebook.

“If there is an interruption or stop in the music, or if circumstances arise which jeopardize the safety of the competitor on account of unexpected damage to their clothing or equipment that impedes their skating, the competitor must stop skating at the signal of the referee.

1. If the referee signals for the competitor to stop, the music must stop and the judges must cease marking. The music should be recued in preparation to resume from the point of interruption.

2. The competitor then shall continue immediately from the point of interruption, if the circumstances that caused the competitor to stop skating can be rectified without delay.

If that is not possible, a period of up to three minutes will be allowed before the continuation. The three minute time period commences immediately after the referee’s decision.”

(See Rule 2103 Section A in the 2010-2011 Rulebook; see Rule 1403 Section A in the 2011-2012 Rulebook)

While we are on the subject of sport safety at events, in U.S. Figure Skating and PSA’s CER SS 101 Sport Safety Course, author Charlene Boudreau discusses Emergency Action Plans. The following is an excerpt from the chapter on Emergency Action Plans: An Emergency Action Plan is a written plan that every program and facility should have to prepare for potential emergencies. Certain types of emergencies, such as natural disasters, are more likely in some locations than in others.

Emergencies, however, can occur anywhere. In addition to injuries, emergencies may include illnesses, such as heart attack, seizure or stroke. Emergencies can result from a specific problem, such as fire, power failure, chemical spills, violent winds, tornadoes, lightning, earthquake, mudslides or sudden flooding.

The facility’s Emergency Action Plan should address all relevant categories of emergencies. It should be practiced and reviewed on a regular basis to ensure the effectiveness of the plan. Such plans should define the responsibility of everyone who may be involved. continued on page 17

COMPONENTS OF AN EMERGENCY ACTION PLAN Facility Layout Facility access for emergency medical services (EMS) personnel.

Location of rescue and first aid equipment.

Exits and evacuation routes.

Location of telephones and emergency numbers.

Facility management office.

Support Personnel Roles and Responsibilities Facility personnel Coaches.

Athletic trainers.

Competition director.

Officials and referees.

Clerical personnel.

Maintenance personnel.

Communication When and how to call 9-1-1 or the local emergency number (and how to access an outside phone line).

Chain of command.

Person to contact—family members/parent or guardian of the victim.

Designated person to deal with media if necessary.

Equipment Rescue equipment (ex. flat board).

Personal protective equipment (gloves, mask).

First aid supplies.

Emergency equipment (ex. flashlights, Automated External Defibrillator-AED, fire extinguisher).

Communication (radios, whistles, telephones and air horns).

External Personnel Roles and Responsibilities EMS personnel.

Police.

Firefighters.

Hazardous materials (HAZMAT) response team.

Power and gas companies.

Chemical suppliers.

Follow-Up Complete appropriate documentation (incident report, accident report, U.S. Figure Skating form, etc).

Checking and replacing equipment and supplies.

EAP evaluation.

Staff debriefing.

Check on condition of athlete.

PS MAGAZINE

15

O OO O Figure

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Karen Courtland Kelly

PSA Endorses New DVD

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PSA TO CELEBRATE 75TH ANNIVERSARY WITH BOOK ABOUT COACHES 16

SEPTEMBER | OCTOBER 2011

continued from page 15

THE COACH’S ROLE Despite adequate training, planning, instructing and supervising, emergencies still can and do occur. Accidental injuries in sports often result in high dollar litigation, paying attention to safety is especially important. An emergency action plan and appropriate emergency responses are crucial.

Since the coach is often the first one on the scene in an emergency, coaches should participate in the risk management and emergency action planning. Actively acknowledging the possibility of injury and safety hazard encourages awareness and prevention, thereby decreasing everyone’s risk, including our own. A coach’s involvement in developing a plan to minimize risk projects an attitude that says: • I am a knowledgeable professional.

• I am concerned about safety.

• I will do what is necessary to provide a safe environment.

Nothing is better in a crisis situation (whether a major or minor) than a steady coach to model for skaters a calm response. Many rinks and clubs already require coaches to be CPR, AED and First Aid certified. By being prepared ourselves as coaches, we can maintain our own composure, settle down an agitated skater or parent and do what is best for the skater.

BE PREPARED No youth sports team or competition should be without a first aid kit designed to treat the most common injuries and illnesses that might be encountered. The National Center for Sports Safety has compiled a list of items that should be included in every coach’s first aid kit at http:// www.sportssafety.org/articles/coach-first-aid-kit/.

Match the contents to the sport: The type of first aid that may be required varies by sport. Because bruises, abrasions, and sprained ankles are more common in baseball, a baseball team’s first aid kit, for instance, needs to be stocked with cold packs, elastic bandages, and Band-Aids, while a track team’s kit needs to have plenty of supplies to treat blisters, abrasions, pulled muscles, and sprains. If your team is going to be in the sun, carry sunscreen; the cross-country coach needs to carry an allergy kit to manage bee stings.

Stock a realistic quantity: Be prepared to treat more than one child at an event. For younger children, remember to stock pediatric doses (in liquid form, if necessary).

Ensure ready access: First aid supplies should be placed where they are readily accessible, and marked clearly to allow rapid identification.

Use Ziploc-type bags within the kit for extra materials and to sort your supplies. For instance, it is helpful to partition supplies into modules “for wound care,” “for an allergic reaction,” and so forth.

Protect against damage: Carry supplies in a watertight container designed to withstand years of rough handling and extremes in temperature, such as a plastic (Pelican case or Otter Box) or metal container equipped with a rubber O-ring gasket for a tight, waterproof seal.

Do you remember your first skating lesson?

Writ to use NOW !

Who taught you an Axel?

How did your coach change your skating and your life?

The Professional Skaters Association wants to hear your stories about your coaches. The PSA is inviting skaters to contribute their personal stories for a book celebrating the group’s 75th anniversary. The book, to be published in 2013, will tell the story of the PSA and how it grew from a small group of committed coaches into a a 6,400-member education and certification organization.

The Joy of Coaching will be produced by the PSA headquarters staff and a team of researchers and writers led by Patricia Hagen, an Indianabased coach, author and journalist. It will include essays, memories, anecdotes and photos submitted by skaters and coaches. If you would like to submit a story for consideration by the book’s editors, or if you have a question about the book, send an e-mail to psa75years@yahoo.com.

PS MAGAZINE

17

Education CAROL ROSSIGNOL

Always learning Some people hate school; they've either had unfortunate and traumatizing experiences or never felt good about themselves in the process of learning. Some people love school; they are the ones who couldn't wait for the first day of class, and became life-long learners full of curiosity and awe.

In either case, the fact is that we are always learning. We are always in the process of growing as men and women.

No matter how young or old we are, as long as we are breathing, we are in the process of evolving, learning, and growing psychologically and spiritually.

Our life lessons continue every single day. We can always refuse to learn them, but that only means that life will present the same lessons over and over again, each time in a louder volume and with a bigger bang.

We might as well undertake to learn them joyfully.

A

quote from the ancient Talmud says that “Every blade of grass has its angel that bends over it and whispers, “Grow, grow.” Imagine if a single blade of grass has an angel prompting it to grow, we must each have a whole army of angels whose only job is to lovingly help us learn, grow and evolve as men and women.

Earth is a school. When challenges present themselves be assured that “school is in session” and there is a lesson to be learned. As long as we are breathing on this Earth, our opportunities for personal and spiritual growth will continue to present themselves.

In a slightly louder volume each time, the loving Universe will continue to present us with the lessons we need for our soul’s evolution. It is our refusal to learn the lessons presented to us early on that stack the size and volume of the next opportunity for growth. Choosing to actively engage our growth opportunities as they are presented is the difference between learning through pain and hardship versus learning through ease and grace.

Personal growth can be exciting, freeing, and life changing. It can also be frightening and painful, thus the term “growing pains.” When we push ourselves to grow past outmoded limiting beliefs and patterns that keep us bound, we inevitably experience the rupture of our old ways of thinking and sensing the world. This rupture is a wonderful and needed step in discovering the world through new eyes, and in allowing growth, awareness, and opportunity to enter your life.

Do not shy away from your personal and spiritual growth in fear of the discomfort it may cause. Push gently forward, and with self-compassion and love, open yourself to the wonderful possibilities that await you.

CALL TO ACTION 1. Adopt a learning orientation to life. When challenges present themselves assume that there is a lesson to be learned. You do not have to go looking for your lessons; they will continually present themselves as part of being alive and being human.

“You can’t punish yourself into change.

You can’t whip yourself into shape.

But you can love yourself into well-being.”

- Susan Skye 18

SEPTEMBER | OCTOBER 2011

2. Be wiling to ask yourself, “What is my lesson here?” Always be on the lookout for the opportunity that life is presenting you to evolve psychologically and spiritually, to become a wiser, happier and more loving man or woman.

“I can be changed by what happens to me, but I refuse to be reduced by it.”

- Maya Angelou

3. Assume that your life lessons are always positive. They are not admonishments against other people, or promptings to cower, hide, or shrink. On the contrary, true life lessons are always about expanding in our ability to love, to forgive, and to be happy with ourselves and with others.

4. Undertake to learn the lessons presented to you joyfully, through ease and grace. It is only in our avoidance of them that we experience hardship and pain.

“We seek not rest but transformation.

We are dancing through each other as doorways.”

- Marge Piercy

© Frankie Waldo Perez, MindGym, LLC

Frankie Waldo Pérez, LMFT, is the founder of MindGym, LLC, a psycho-educational service offering counseling and/or coaching to individuals, couples, and groups. He is a writer, psychotherapist and Franklin Covey Certified Personal Life Coach. His approach is eclectic, blending cinema therapy, psycho-spiritual, cognitive, Imago, and Emotionally Focused approaches.

FRANK AND EVAN LYSACEK FRANKCARROLL, CARROLL,OTHER OTHERWORLD WORLDTEAM TEAMCOACHES COACHES ANDOLYMPIC WORLD CHAMPION CHAMPION E VAN L YSACEK KNOW LEGAL CONCERNS. DO YOU? EGAL ISSUES ISSUES AND AND C ONCERNS. D O YOU ?

KNOW WHO WHO TO TO CALL CALL WITH WITH L

619.232.2424 or 619.572.9984

Jonathan Geen Attorney at Law Partner, Borton Petrini, LLP Over 20 years of legal experience National Judge in Singles / Pairs Former Skater http://bortonpetrini.com/bio/geen_se.pdf Coaching Agreements Rink / Coach Agreements Dispute Resolution / Grievance Counseling

Agent Agreements Show / Entertainment Contracts General Business Law and Trademark / Copyright

PS MAGAZINE

19

2011

HALL of FAME

By Kent McDill

T

he Professional Skaters Association Coaches Hall of Fame

Class of 2011 harkens back to the beginnings of organized skating in the United States, then returns to the very immediate present.

Theresa Weld Blanchard, Lori Nichol and Igor Shpilband were selected for the PSA Coaches Hall of Fame for 2011 in a selection by the PSA Hall of Fame Committee which consists of all past PSA presidents and Hall of Fame members.

T H ER ESA W EL D BL A N C HAR D

B

lanchard was the first United States Ladies Champion, back in 1914. She later won that title five consecutive times, beginning in 1920. She won the first North American Ladies Championship in 1923. In 1920, when the United States fielded its first formal Olympic team, Blanchard won the first U.S. Olympic medal, a bronze.

Meanwhile, she was a nine-time U.S. Pair champion with Nathaniel Niles, and a three-time Waltz Champion of the United States. In 1934, she was a member of the U.S. Fours Champions.

But those are all of her skating accomplishments, and those don’t get you into the Coaches Hall of Fame. Her influence on coaching came as a result of her part in founding Skating Magazine in 1923.

Skating Magazine was an informational publication for the United States Figure Skating Association designed to disseminate news about figure skating in the United States and to help instill proper rules and aims for American skaters. From her home in Brookline, MA, Blanchard and Niles worked through the magazine to assist skaters who wanted to grow from amateur to professional skater.

20

SEPTEMBER | OCTOBER 2011

Theresa Weld Blanchard Photo courtesy World Figure Skating Museum & Hall of Fame

Blanchard worked as the editor of the magazine until 1963. She printed the magazine in her home until her personal hand-cranked printing press broke.

In 1938, Blanchard organized the first meeting of North American coaches. The meeting was held in Lake Placid with 13 coaches in attendance, and the American Skaters Guild (the predecessor to the Professional Skaters Association) was founded at that meeting.

So although Blanchard was not a coach, she did promote the cause of North American coaches in a way that allowed them to become organized, creating an atmosphere in which the sport could be advanced in the way coaches wanted it to be.

Photos courtesy World Figure Skating Museum & Hall of Fame

Theresa Weld Blanchard with partner Nathaniel Niles

N

LOR I N ICH O L

ichol skated for the John Curry Company in Canada during the mid-1980s and won the silver medal at the World Professional Championships in 1983. Her reaction to selection into the Coaches Hall of Fame was a surprise.

“I was very surprised and honored,’’ Nichol said. “To be among so many of the greats in our sport is both inspiring and motivating. I feel it comes with a responsibility to work hard each day, to be committed to the progression of the sport for all, and represent the award well always.”

Nichol’s list of students is incredible. It includes Sasha Cohen, Timothy Goebel, Michelle Kwan, Evan Lysacek, and Tatiana Totmianina and Maxim Marinin.

Nichol pointed to several events as her greatest success as coach and choreographer.

“Of course there are the Vancouver Olympics with both Evan Lysacek and Shen (Xue) and Zhao (Hongbo) winning gold,’’ Nichol said. “But what about all the years with Michelle Kwan?

What about the times where ending the season with a best performance no matter the level of the skater?

“My first coolest, most rewarding moment was when Wendy Lopez landed her first double Salchow,’’ she said. “It was a big accomplishment for her and her pure joy made me cry.”

Nichol said choreographing Michelle Kwan’s Flamenco and Salome “also made me cry because she finally had her dream, but also for the first time I felt maybe I was pretty good at this.”

Nichol said she also cried when Carolina Kostner skated her short and long programs at the World Championships in 2010 “for many reasons, but mostly to have witnessed such beauty on the ice.”

Nichol said she sort of fell into coaching when a friend from the John Curry Company asked her to cover a few of his lessons in Toronto. Starting with the very youngest skaters, Nichol

Lori Nichol

PS MAGAZINE

21

learned that she enjoyed the work and a career was born.

“I have a huge passion for skating,’’ Nichol said. “I love to learn.

I respect the personal journey of each of the skaters, and put the skater and sport far ahead of my journey.”

T

I G O R S H PIL BA N D

wenty years of coaching in the United States culminated for Igor Shpilband in the thrilling success of the ice dance teams of Olympic gold medallists Tessa Virtue and Scott Moir of Canada and Silver medallists Meryl Davis and Charlie White of the United States. Both teams finished in the same spot and order in the 2010 Worlds, for which Shpilband and his coaching partner Marina Zoueva received the PSA Coach of the Year award for 2011.

Davis and White then pulled off the previously unthinkable, winning the world title in ice dancing at the 2011 World Championships in Moscow last April.

Shpilband defers praise for his Hall of Fame career to others who provided assistance and friendship along the way.

“Not under any circumstances can I say this is just because of my achievements,’’ Shpilband said. “I learn from so many people.

I don’t honestly feel I am the only one who deserves this. It does not just belong to me.”

Shpilband defected along with several other Russian skaters in 1990 while skating with a touring group. He found a job coaching skating in Detroit and worked tirelessly to improve the status of ice dance in the United States.

Shpilband’s first team of note was Elizabeth Punsalan and Jerod Swallow, who moved to Detroit to work with him. Their decision was rewarded when they won the 1994 U.S. ice dance title and reached the 1994 Olympic Games, finishing seventh.

With Shpilband’s hard work, ice dance in the United States continued to grow. In 2005, his team of Tanith Belbin and Ben Agosto earned a silver at the World Championships, an event which occurred in Shpilband’s native Moscow.

At the 2011 World Championships, Shpilband and Zoueva coached all three medallist teams: Davis and White, Virtue and Moir and bronze medallists Maia and Alex Shibutani.

Upon receiving word of his selection to the PSA Coaches Hall of Fame, Shpilband said his partner, Zoueva, deserved the honor as well.

“I will not be able to do it without her,’’ Shpilband said. “I owe it to her for this award. It would do more justice if Marina would be in the Hall of Fame as well. I think she deserves it no less than I do. I am so happy to work side-by-side with her and learning with her every day.”

22

I feel it comes with a responsibility to work hard each day, to be committed to the progression of the sport for all, and represent the award well always.” LORI NICHOL

SEPTEMBER | OCTOBER 2011

Igor Shpilband with wife Adrienne

Igor Shpilband receives his award at the PSA Awards Dinner, May 2011

Photo by David Carmichael

2011

COACHES of the YEAR

By Kent McDill

Igor Sphilband & Marina Zoueva

"Every year you have some victory and some failure, and you keep working day to day.” IGOR SPHILBAND

G

uess what happens when your skaters win gold and silver in one event at the 2010 Olympics in Vancouver?

You get named Professional Skaters Association Coach of the Year.

That’s what happened for Igor Shpilband and Marina Zoueva, the Russian natives who began coaching together in 2001 and last year worked with gold medallists Tessa Virtue and Scott Moir of Canada as well as silver medallists Meryl Davis and Charlie White from the United States. Virtue and Moir became the first North American skaters to win Olympic gold in ice dancing, while Davis and White, the two-time United States champions, gave the U.S. back-to-back silvers.

The first and second place results were the same for the 2010 World Championships in Torino.

Because they all work with Shpilband and Zoueva at the Arctic Figure Skating Club in Canton, MI., the two pairs teams are very good friends and often train together.

Shpilband was also named to the 2011 PSA Hall of Fame. In addition, Shipilband and Zoueva were named 2011 Choreographers of the Year.

The Coach of the Year award culminates two decades of work by the two coaches, who defected to North America in 1990, Shpilband to the United States and Zoueva to Canada.

“It is really overwhelming to get that kind of recognition,’’ said Shpilband, 47. “I have been teaching for 20 yeas, and when you are working 20 years, it is not as if you are feeling you finally achieved some success and are supposed to receive recognition.

I never felt like that. Every year you have some victory and some failure, and you keep working day to day.”

“I am very proud getting all of these things,’’ Zoueva said. “I am a very lucky coach. All of my students are absolutely great. And I do my best for them, my heart, my soul and my good knowledge.”

Shpilband and Zoueva got together because Zoueva was leaving her club in Ottawa.

“She was looking for a new place to relocate,’’ Shpilband said. “We know each other from back in Russia; we skated for the same club. She was working in Canada for ten years when I was working in the United States at the same time. We met at many competitions, and when I find out she is looking for a place to relocate, I was happy she was considering to come to Detroit and start working with me.”

Shpilband was an ice dancer, and won the 1983 World Junior Figure Skating Championship with partner Tatiana Gladkova. In 1990, when he was in the United States as part of a figure skating tour several Russian skaters decided to defect, including Shpilband. He found work as a coach in Detroit soon thereafter, and became a naturalized citizen in 2000.

Zoueva competed in ice dancing with partner Andrei Vitman, and finished fifth in the 1977 World Championships. She retired after the 1978 Worlds, and went to college.

“I go to the university to study art, and I started to teach (skating) at the same time I went to university. It was the answer to my prayers.”

As partner coaches working with partner skaters, Shpilband and Zoueva had to figure out who was going to offer what to the students.

“She can really see what music suits for each team, and she sees the structure for the program,’’ Shpilband said.

PS MAGAZINE

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26

SEPTEMBER | OCTOBER 2011

Photo by David Carmichael

“She is genius in that way. She can see how the program can work and how it can affect the audience. For my part, I’m coming up with the steps and combinations of the steps to express the music. When we put it together, she makes suggestions about where steps should come from. I’m creating material and she is putting it all together.”

“It takes time between me and Igor to see what is the best for each skater, and it takes time before we understand what Igor can do the best and what I can be the best,’’ Zoueva said.

“Now we both do our best and that is why we are here. We have no conflicts about what Igor can do better and what part of the job I can do better.”

The Olympic results indicate a new level of success for American ice dancers, something both coaches take great pride in.

“We have a good group of very good coaches in the United States,’’ Shpilband said. “And we have a lot of officials who have a passion for ice dance. There are so many people in figure skating who love ice dancing.

All of these people put their heart and passion to it.

“For so many years, European judges looked skeptical at North Americans,’’ he said. “They weren’t accepting the styles. Teams had to work all the way up and try to break into the top 10, then try to get to be one of the top teams in the world. It took so many years and so many skaters. It is great to see that it has paid off. It is great to see where North America is the leader of the ice dance.”

Shpilband said he and Zoueva still have a goal in mind, and that is an American Olympic gold medal.

“But you look back and see that

things have changed through the years,’’ Shpilband said. “It is just great to see dance has become more popular.

It is great to go to big summer competitions and see hundreds of young teams, that are interested in ice dance

"All of my students are absolutely great.

And I do my best for them, my heart, my soul and my good knowledge.�

MARINA ZOUEVA

and are motivated by the success of the current teams. So many people are thrilled with the results.�

Shpilband and Zoueva win Choreographer of the Year award Recent rules changes for competitive ice dancing has created a change in the art of choreography.

Working around those changes is the challenge choreography coaches face.

Igor Shpilband and Marina Zoueva were named 2011 PSA Choreographers of the Year for their body of work including Olympic gold and silver medallists Tessa Virtue and Scott Moir of Canada (gold) and Meryl Davis and Charlie White (silver) from the United States. Shpilband and Zoueva were named PSA Coaches of the Year for their work, which included identical first and second place finishes in the 2010 World Championships in Torino. Their skating teams switched places in the 2011 Worlds in Moscow.

"With the new system and required elements, it has changed quite a bit in the last 20 years,'' Shpilband said. "It has become more sport. It used to always be a combination of artistry and sport without identifying lines in between. Now the sport is more athletic, and the choreographer has to see what is going to be the artistry of that."

Zoueva has a different point of view. She agrees with her coaching

partner that choreographing ice dancing is different under the new rules, but she thinks it is better.

"Now you have real marks for choreography; there is a very objective score for that,'' Zoueva said.

"There are now special points for choreography, for presentation, for music presentation. There is much more you need to think about."

Shpilband said while the new rules change the split between artistic and athletic elements, the basic beauty that exists in ice dancing remains.

"Artistry is still a big part of figure skating; that is what attracts people to figure skating,'' Shpilband said. "It is made a little bit harder to create the program you like with the new requirements. It is more challenging. But it is still a combination of sport and artistry. Finding a good balance is the challenge for a good choreographer. Hopefully, that is the reason we are getting this award, is we are managing to do something people like."

The skating itself is more difficult than when Shpilband was competing back when he was representing Russia in international events.

"It requires a change in how strong they should be now-a-days,'' he said. "The difficulty of all of the technical aspects has increased, so it is almost a different sport. But every new generation of skaters train with the understanding of the requirements. Our sport is progressing like all sports are progressing."

For Zoueva, the rule changes for

ice dancing choreography has made her job more enjoyable.

"Before, it was not an objective sport,'' Zoueva said. "For me, it is now more interesting and enjoyable than before. You have points for everything, which is much better."

As double-award winners this year, Shpilband and Zoueva are enjoying an unusual level of recognition. Asked to differentiate the significance of being Coach of the Year and Choreographer of the Year, Zoueva had a simple explanation.

"Our sport is impossible without choreography,'' Zoueva said.

PS MAGAZINE

27

Best Practices For Effective Coaching |

series

At the 2010 Professional Skaters Association annual conference, a panel of coaches discussed the results of a coaching survey about best coaching practices. The survey was created and developed by Merry Neitlich, Director of the Coach’s Edge, an instructional coaching program. Neitlich moderated the panel, which included men’s singles coach Frank Carroll, dance coach Robbie Kaine, pair skating coach Dalilah Sappenfield and ladie’s singles coach Tom Zakrajsek.

There were a dozen questions asked in the survey. In the third and final story in the series, PSA Magazine presents more of the results of the survey along with comments from the coaches on the panel.

Have you had any formal training in how to teach?

A: All of the coaches had lengthy educational resumes, although actual teaching degrees did not seem to be necessary. Sappenfield has no formal teaching instruction.

Zakrajsek has a masters in exercise science, and had “the equivalent” of an undergraduate degree in physical education as well as a degree in English and mass communications.

Decades ago, Kaine taught school for about six months, working with emotionally disturbed adoles-

cents. He has also accessed many friends in higher education for instructional advice. He also had graduate courses in psychology.

38% Formal training or degree

52% Limited training such as seminars or workshops

10% None

What are the best communication tactics besides verbal?

Q: A: Sappenfield said verbal communication was the only kind that works for her.

“I’m pretty animated and pretty verbal,’’ Sappenfield said.

“I try to enforce in my kids not to assume anything through body language. If I need you to know something I am going to tell you. I try to avoid any body language communication because it can be misinterpreted.”

Kaine said he works his eyeglasses in such a way that his skaters know what he is thinking.

“My skaters make fun of me,’’ Kaine said. “After they have been with me a long time, if I tilt my head forward and look over my glasses, they know I think I am the biggest idiot in the world.”

Zakrajsek has a series of non-verbal hints he gives his students.

“A smile, a pat on the back, a high five, clapping, any form of positive reinforcement,’’ Zakrajsek said. “Then, on occasion, I offer a stern eyebrow.”

30% 25% 20%

Demonstrate skill Kinesthetic – correct body position

15%

Video Analysis – Dartfish

10%

Body language such as thumbs up, clapping, high five, eye contact

5%

Coach draws correct position – journal, on ice, plexi glass Use ice tracings, blade sounds, skate the curves

Coach Response

28

SEPTEMBER | OCTOBER 2011

DARTFISH

Introducing PSA/Dartfish TV The newly compiled Singles Skills Collection is now available!

This collection contains clips of jumps, spins, and steps at various athlete levels from the 2010 season.

From beginner to senior, some of the videos feature key teaching positions and observational descriptions of crucial aspects of the skills.

The skills can be searched by multiple criterions via a menu. Simply check the level, discipline, or skill etc.

to find exactly what you are looking for.

The first skill archive of its kind in skating, we hope you will find it a valuable and fun interactive study tool!

Content will be continually updated and added throughout the season, so check back regularly for more great interactive study tools!

Future collections will include skills for pairs and synchro as well!

Access Dartfish TV through the PSA website www.skatepsa.com P R O F E S S I O N A L S K AT E R S A S S O C I AT I O N

Entry Level Coaching Course

NEXT COU RSE: Septe m

ber 11 ,2 ukee, W 011 I

Milwa

With eight hours of intensive instruction, you will graduate with an introductory strategy to successfully navigate the world of coaching.

Explore these topics: •

educational theory applied to skating • skill breakdowns • how skaters develop • skating equipment basics • the education of parents • the what & why of coaching ethics • basic business practices to grow your small business...and more!

Enjoy these benefits: • • •

ALL FOR ONLY $60 for members $75 for non-members (includes one year PSA membership)

A PSA Coaches Manual (a $25 value!) • On & off-ice instruction from master-rated coaches Curriculum specifically designed to optimize your teaching potential • Educational handouts A peer learning experience in a nurturing environment • PSA Membership

Upon completion receive: •

An ELCC certificate • A pass to move directly to your first oral rating!

If you have been coaching for seven years or less, this course is for you!

Contact Barb Yackel at the PSA office: byackel@skatepsa.com or by phone 507-281-5122

GREAT TIPS FROM AMERICA'S TOP COACHES TIPS FROM PAST CONFERENCE PRESENTERS

Janet Champion’s

Spins 2011 2011 PSA Dallas Conference

T

he base positions are so important, you can’t have difficult variations if your base positions aren’t strong and little things really mean a lot. Quality starts right at the beginning. You have to have the strong foundation of the house and then you can build on top of that.

GENERAL SPIN TIPS: Centering to me is the most important. If you have beautiful positions but you’re not centered you don’t have anything. This is determined by the depth of the entry edge so you want to push really hard into your spin and lean in from the blade on the ice though the top of your head.

Always look at your print on the ice. Wherever you step you want to hook around back to that point and the shape of the print should resemble half of a Valentines heart. If you see mostly travelling little loops there’s not enough curve of the edge.

Spotting your head to the right when you start your spin is very helpful for centering your body weight and your balance.

Bring the power off the edge by pushing hard into the spin. The lean of the body and the swing of the free leg will create those power angles.

If you relax your free leg when you’re swinging it around you can feel the weight of your skate pulling your leg right out of the socket and it will help you with momentum and speed.

When you contract your muscles against centrifugal force that’s what make you spin faster but first you have to create the force. If you are spinning really slowly and don’t have much momentum it doesn’t do anything to contract your muscles so you have to create that momentum from the power of the edge going in.

When you turn the three and that toe hooks in it will also help initiate the rotation.

Move in the direction of the spin, for example, if you push into a spin lead with your left arm and reach back at the right time, all is well. If you reach back too soon the spin will travel.

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SEPTEMBER | OCTOBER 2011

BASIC SCRATCH SPIN You can’t do a back camel if you can’t do a back scratch spin so learn a back scratch spin first then start adding the base positions.

Likewise a forward scratch spin is the basis of the layback spin.

Sometimes the axis is through your body and sometimes it’s outside of your body. On a back scratch spin you are the axis. You’re spinning on the axis foot, your knee, your hip, your shoulder and your head are all lined up over your axis.

On the forward scratch spin it’s a little different. Feel your belly button press towards your spine. Let your arms reach in front as you start to pull in so you can feel two opposite forces. The axis is in front of you. It starts from the ball of the skating foot through that hip then on the upper part your axis is between your free leg and your body so there’s equal and opposite pressure on each side of the axis.

BASIC SIT SPIN On beginner sit spins don’t let those knees come together too soon or you will get stuck. Keep your knees apart until you get down into it then your legs can come closer.

In a basic sit your hips are going to be behind your skating foot and with half your weight on each side of your axis of rotation.

Often a skater will tuck their hips under and they try to bend over creating a hunched look instead of having a deep bend with their hip joint and their back arched forward. This is the only time your teacher is going to tell you stick your bottom out the rest of the time you always want to be over your hip.

BASIC CAMEL SPIN Get your hips over your skating foot and the ball of your foot. I teach the shoulders stacked almost all the time. Lead in with your skating side and reach back at the point of hooking the three turn.

There are times when you want to have your shoulders square but continued on page 35

All illustrations within the book were created by figure skaters. The upper image is by Kati Boldt and the lower drawing by Margot Cullen.

BOOK

It Figures... Life Lessons of Figure Skating A new book, “It Figures… Life Lessons of Figure Skating,” by figure skaters for figure skaters, is now available and focuses on the multitude of lessons learned inside the rink and how those same lessons can be applied to the skater’s lives outside of the rink.

“All coaches, parents and, eventually, the athletes know that the benefits of skating go far beyond learning jumps and spins.” Judi Harvey, a 25-year veteran coach and mother of a skater, said. “Figure skating is such a solo sport that the life lessons to be learned are even more than other athletic pursuits. The things the kids learn really can be applied to their futures in work, education, relationships …everything, really.”

Written by Terri Milner Tarquini, “It Figures… Life Lessons of Figure Skating” is culled from nearly 30 years of the author’s experience as a competitive figure skater and coach. The book is based on realworld truisms and the benefits of the sport in all areas of the lives of the athletes.

“Most of all, skating taught me the importance of being self-motivated and goal-oriented.” Kate Henniges, a 19-yearold figure skater, said. “Whenever I

am complimented on my work ethic, I always give credit to my many years of figure skating. How to be my own coach, how to be my biggest cheerleader … I have learned so many life lessons from skating. I know I am capable of anything if I work hard at it.”

The 80-page, soft-cover book has over 30 illustrations, all drawn by figure skaters.

Ideal for skaters of all ages and levels as an informational tool and inspirational keepsake, it is also well-suited for skating parents and coaches, touching on such topics as mental toughness, work ethic, dedication, perseverance and confidence.

“I didn’t realize everything skating had taught me until years after I had stopped competing, and the life lessons became clear to me in how I handled my relationships and jobs and got through college.”

Tarquini said. “When I decided to coach, I knew that, beyond helping the skaters with passing tests and having success at competitions, I wanted to teach the athletes things that would benefit them long after they had hung up their skates.”

Within the book, every page contains a lesson learned from skating and then also

counsels how that lesson can be applied to the skater’s lives outside of the rink.

“No, it’s not easy. But here’s the thing: Most people could kick a soccer ball and maybe even score a goal. Most people could pick up a bat and likely make it to first base. Most people cannot walk into an ice rink and spin and jump.

Sometimes it’s difficult, but that’s what makes it special. If it was easy, everyone would do it.”

“Your muscles have very good memories. Work them out the way you want them to perform and put them through their paces correctly every time.

If you want to excel when it’s important to you, practice it that way – excellent – even when no one is watching.”

“I just got home a little while ago and stood in the kitchen and read ‘It Figures.’

First, it should be required reading for parents to truly understand what the sport of figure skating is all about.” Jean Calzavara Uhlmann is a skating parent herself, as well as an adult skater and coach. “Second, thank you for putting on paper what, as figure skaters, is in our hearts.”

“It Figures… Life Lessons of Figure Skating” is available at www.lulu.com.

For autographed copies of the book, please contact the author through Facebook at “It Figures Life Lessons of Figure Skating.”

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Just a LITTLE Posture – Emails to Sheila!

CHAMPION CORDS – ALIGNMENT

By Sheila Thelen PRESIDENT – Champion Cords EXECUTIVE DIRECTOR –

Grassroots To Champions

“I teach at A-Game Sportsplex in Nashville, TN and I teach a little 7 year old girl named Ching Ching. This girl is loaded with talent and has good posture and stroking ability when she wants to have it! However, I expect her to have good posture and stretch at ALL TIMES and I felt she was slacking a little and I’m sure was tired of hearing me repetitively say “Stretch, point, lift, extend,” so I remembered I had my Champion Cords in my bag and decided to see if it would make her have the stretch and line that I expect from my students. IT WORKED!!! She was instantly stretching out her arms and legs and looking beautiful. The cords build strength in the legs and arms so of course she said her arms and legs were tired by the end of the lesson! I forgot how great Champion Cords work for improvement of skaters lines and position alignment.

They also add an element of “doing something new” in a lesson when I find that a skater becomes stagnant. They are even fun and entertaining for me as a coach as well:) Love my Champion Cords!”

Robert J. Mauti, PSA Master Rated Coach THANK-YOU Robert for using Champion Cords on your skaters!

Send your photos and success stories to me at: sk8Thelen@aol.com Champion Cords can be purchased online at the PSA Store: www.skatepsa.com Champion Cords are Endorsed by the PSA

Meet your AREA REPRESENTATIVE Interviewed and written by Kathy Goeke

Patrick O'Neil

Area 8 Representative

Years Coaching: 20 Ratings/Rankings: MFS, MM

Patrick O’Neil has been around. Though he’s been skating director at St. Claire Shores for 13 years, his career spans several professions outside of skating, and he brings the wealth of his experiences to the ice.

O’Neil started out with a bachelor’s degree in art from American University, and worked for non-profit organizations, law firms and hospitals in Washington, D.C. He continued his education and is now a licensed psychotherapist in addition to coaching.

“Those experiences make me a much better teacher than I otherwise would have been,” he said. “I know so much more than just how to teach a double Axel. Education gives anybody an edge. The more experiences you have in life, the more you can bring to the table.”

In addition to serving as an area representative, O’Neil is a

member of the PSA Board of Governors, a U.S. Figure Skating committee member, and a technical specialist. He believes it is important to give back, both to the sport and to the community. His time spent working with non-profits on Capitol Hill developed in him a heart for volunteerism.

And though he hasn’t hung out a shingle, he hasn’t allowed that psychotherapy license to gather dust in a drawer. In a profession filled with teenage angst, demanding parents, and the potential for heartbreak at every turn, O’Neil said that degree helps him every time he steps on the ice.

“Trust me, every day I’m practicing psychotherapy!” O’Neil laughed. “As coaches, we’re all giving therapy all the time!”

Mary Lin

Area 6 Representative Years Coaching: 23 Ratings/Rankings: MG, RD, RM Family is important to Mary Lin. She, husband David, and daughter Lexi recently expanded their family, adding their first puppy, a white ball of fluff named Moco .

“We never had a dog, so we really didn’t know what to expect,” Mary said. “It’s been quite an interesting couple of months with this guy!”

Mary added that “family” includes more than just the people and pets you live with. Her careers in recreation management and coaching have afforded her the opportunity to bond with many children and families over the years.

After graduating from Penn State, she was the director of youth programs at the Naval Academy in Annapolis, Md., coordinating activities for children of active duty personnel, while coaching part-time. She left recreation management 13 years ago to coach

skating full-time.

“Working with kids, both teaching and in youth programs, is always challenging. There’s something new every day. You never know what you’re getting into,” Mary laughed. “It’s very rewarding to have built so many lifelong friendships with the families I’ve worked with.”

Mary is also dedicated to her skating family, and advises new PSA coaches to jump in and get that first rating to build confidence and an understanding of the teaching process—and to pass that knowledge down to their students.

“It’s so important we pass along the philosophy of why we do what we do,” Mary said. “It’s not just about a coach’s income or students today, but about their students’ development if they decide to teach later.”

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Legal Ease DAVID SHULMAN

Independent contractor or employee… It's déjà vu all over again F

or more years than I care to count, I have been asked to comment, write and lead seminars on the question which is the subject title of this article.

Why go at it again? Things are heating up. The courts are returning to the business of sorting out claims involving the results of the label on the work place. The government is searching for more revenue and this issue becomes a hunting ground for the IRS (Internal Revenue Service) to whack an employer getting the collecting of taxes wrong. Oh yes, and no less than the President of the United States has promised funding for the Department of Labor to provide investigators to sort out employers who misclassify workers.

Why all the hoopla? For starters the benefits to an employee are multiple…paid medical insurance, work comp coverage if injured while at work, unemployment insurance, tough laws on hiring/firing “employees,” safety procedures and hours of service tightly regulated, laws against discrimination, a more rigid control on the “employment at will” status…and the list continues.

Lately, the hiring of coaches as independent contractors has become the general rule. But are the coaches so hired really correctly classified? If not, what is the result if the label is not correct? Who is at risk and to what penalties is there exposure?

A recent case involving Microsoft dragged through the courts for about three years when the parties settled out of court for $96 million and change, which included over $27 million in attorney This case involved “Lately, the hiring of coaches as fees. freelance programmers independent contractors has classified as independent contractors.

After the IRS audit become the general rule. But which determined the are the coaches so hired really programmers were

correctly classified?”

34

SEPTEMBER | OCTOBER 2011

employees, the newly minted employees sued for collection on the benefit plans Microsoft offered to employees… but had not offered to the programmers.

Various state and federal agencies have sought to come up with a twist which can be applied to employment situations so as to obtain certainty and consistency in these kinds of cases. The EEOC (Equal Employment Opportunity Commission) has devised a list of 16 factors to distinguish between an employee and an independent contractor.

Not to be outdone, the IRS slightly revised its venerable “list of 20” factors to determine employee/contractor status under the Code. See Rev. Rul. 87-41 (I.R.S. 1987). Boiled down, the test applied lists as follows: • The degree of control exercised by the alleged employer.

• The extent of the relative investment in the enterprise.

• The degree to which the alleged employee’s opportunity for profit or loss is determined by the employer.

• The skill and initiative required in performing the job.

• The permanency of the relationship.

As can be seen, the common thread running through all the rules: the degree of control the business exercises over workers. Avoiding the business’ right to direct and generally control how the worker performs the task for which they were hired moves the employment away from employee status.

How does this information affect the coach? In some situations coaches might be independent contractors for private lessons but employees for group lessons. It might also be more beneficial to be an employee but the club or rink does not want to hire you as an employee but as an independent contractor.

Are you correctly classified? It might be a good idea to find out.

TIPS continued from page 30

that stacked look is very elegant and is aerodynamically sound.

You can feel it when you lift that free side. I always say it’s like when an airplane turns and the outside wing is up.

I think it’s good to know many techniques because sometimes your way doesn’t work but I do like to have something that’s comfortable, cohesive and follows through with different spins.

BASIC LAYBACK SPIN One of the most important things we need to learn in skating is the position of our hips. In the layback spin you want your hips a little ahead of the ball of your foot to counter- balance, it won’t work if you just stand upright and bend back. The skater will need to work on flexibility not only in their back but in their hip flexors.

Skaters that have really good back bends tend to bend their back first before they get their hips forward so work on getting those hips forward first.

Lead in with your left arm, lots of knee bend and let your body lean in right at the toe hook. Your head should stops over to the right and the free leg swings wide but don’t let it release too soon. Your arm and right leg come around together and the left arm is in front. This position is so important, if your skater can do this they are going to be able to center their spin and have a gorgeous layback.

Once your skater has learned strong base positions experiment with new ones. Everyone has different body proportions and different flexibilities.

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New

MEMBERS NEW MEMBER Kelly Abolt-Layton Jill Ahlbrecht Ian Andersen Stephnie Andrade Anjali Arnold Shawna Barber Emily Barger Shaila Barker Nathan Bashkier Laura Bates Caitlin Bell Chelsea Bennett Renee Biagi Sundquist Bethany Bonenfant Kaci Brandt Kristin Broberg Tenley Brownwright Pauline Bynum Ashley Callaway Jacqueline Campbell Lauren Capehart Hays Andrea Cesario Kristina Chepaitis Lisa Chisholm Marlana Cole Alanna Collins Jessica Comfort Stephanie Coppola Bethany Cordeiro Christine Costa Elizabeth Dale Victoria de Vries Carl DeAngelis Katie DeRosa Parker DeWeese Bianca Dickson Christine Dillingham Aarin Dreyer Melissa Duncan Jenna Dzierzanowski Arlette Eagle-Lavelle Kala Enfield Amanda Farris Lindsey Fenton Mary Flesher Ashley Foy Elaina Francia Elise Friedson Caitlin Gallagher Laura Garvey Olivia Gibbons David Goldsand Kaitlin Goltz

SPONSOR Paige Scott Lezlea Miller Zessin Sonya Bedient Jane Taylor Dia McGaughey Melissa Williams Daphne Solis Laura Lipetsky Eddie Shipstad Brianna Barksdale Jana Conter Mary Summers Kris Amerine Rachel Bauld-Lee Laura Lemoine Deidre Kelly Beth Sutton Jason Deveikis Mandy Edwards Merita Mullen Ann Lewis Brumbaugh Courtney Gill Aren Nielsen Nicole Stalker Jeannie Lafornara Louise Kapeikis Jessica Comfort Holly Harper Karen E Short Chris O'Riordan Monica Laverdierre Gerry Lane Lara Walsh Pauline Gasparini Shannon Gebler Karen Meck Nicole Stalker Deborah Leitner Jones Nicole Stalker Vinny Dispenza Debby Cook Elsa Swenning Tamara Bell Laurie Leaman Kay Barsdell-Alswang Matthew Gates Felicia Beck Margarita Tyler Colleen Thomas Stanley Houston Suna Murray Sandy Goldsand-Schoech Heather Dirksen

NEW MEMBER Olivia Halevy Sabrina Harris Jordan Hartey Kate Hartzler Cosette Hatch Margaret Hickey-Marlow Alice Ho Rebeka Horsch Nichole Huenergardt Elaine Hume April Jardine Gerianne Johnson Edward Kang Crystal Kiang Holly Kirby Laura Klinger Adrienne Koob-Doddy Lezlie Kotlyar Lauren Krims Renee Lacy Salina Lang Nicole Larsen Amanda Larson Mika Lawson Alexis Leahy Daniel Leeds Lindsay Lessard Kristin Lisjak Katelyn Marie Llamas Louis Lombardo Anna Madorsky Mary Maher Janice Marchewka Cassandra Mason Anastasia Matusevich Katie McBeath Ann McDonald-Upton Janusz Mckinnon Scott Meredith Dana Merz Noelle Meuse Nicole Miller Hillary Mitera Pomaikai Miyata Molly Moskowitz Jenelle Mucher Kristine Musademba Stephanie Netzly Christine Newkirk Savannah Nicley Michael O'Grady Kelsey Oram Ryan Otto

SPONSOR Kimberly Murphy Todd Eldredge Oleg Makarov Craig Bodoh Brianna Hatch Thomas Hickey Richard Alexander Catherine Burns Wendy Olson Carol Rossignol Susan Schiff Francine Larson Natalie Schrader Tracy Doyle David Kirby Andrew Naylor Charles Fetter Carolyn Tonidandel Nicole Krudys Marta Nilsen Peter Biver Tammy Gambill Shannon Gebler Megan Doyle Sandra Duarte Daniel Leeds Jeannie Lafornara Stacy Arnold Jenny Wesley Gwyn Gia Rintala-Witmer Sandy Hurtubise-Ulmer Sarah Mirza Eleanor Fraser-Taylor Ellen Moon Vitaliy Shalin Sally Tasca Joy Wells Karel Kovar Kristin Meredith Julie Baffi Caryn Alves-Sylvestre Aren Nielsen Jewel Augustine Stephen Baker Rocky Marval Pamela Bossar-Warren Dmytri Ilin Scott Chiamulera Emily Lowenthal Cassella Laura Sanders Jenni Flores Lisa Kriley Janel Wamboldt

JOB PLACEMENTS NEW MEMBER Alyxx Peterson Lindsey Plank Monica Poncini Madeline Prange Ellie Price Kristina Ralston-Grimm Samuel Rashba Alexa Rae Reisen Ilya Reyzin Kristen Richgels Michelle Robinson Melissa Roche Allison Rosecan Maggie Ruderman Karen Savoie Elizabeth Schaap Alexis Scheller Rebecca Schrom Emily Senne Elizabeth Shaffner Oleksandr Shakalov Karen Short Sarah Sidwell Grace Siu June Smith Kristine Snyder-Chytla Alison Spurlock Danielle Stewart Michelle Strepka Stephanie Susko Dianne Takeuchi Dawn Talkington Katerina Tetzloff Trent Thueson Jonathan Toman Talli Topp Katherine Townsend Elizabeth Treu Maria Tsakiris Lauri Varvais Breanna Voyce Paige Warner Logan Waters Stacy Williamson Deanna Willmarth AnnaMarie Wippler Gretchen Wolf Jennifer Wong Nikki Wylan Joanna Zehme

SPONSOR

Figure Skating Coaches Wanted: Growing central NJ indoor rink is seeking to expand its professional FS staff with quality coaches of proven coaching ability. PSA ratings a plus. The home club has been asked for assistance in identifying potentials. Interested applicants can pre-apply by emailing resumes to testchair@fscohnj.org.

Elena Tobiash Valerie Murray Charles Tickner Erika Kulickowski Patty Hagen Job Placement Ads which advertise a job opportunity are $25 per 50 word insertion, $.25 for each additional word over 50. An additional $25 is required Mary Duecker to place your job posting on the PSA web site. Copy should be sent to the PSA Loren Galler-Rabinowitz office at Lee Green’s attention by one week prior to the first of the month Kimberley Murphy-Sutton preceding publication.

Gennadi Karponosov Stephanie Radloff Hollie Campagna Ashley Coveny Abern DID YOU KNOW? Tracey Potter Linda Burgess Bacon Christine Hough-Sweeney FELD ENTERTAINMENT Candi Diaz Michelle Pennington AU0403806 Job Number: Description: For singles events, music is chosen by the competitor; MeganEngagement Jonasson CORPORATE (2004 Skater Recr.

Ad) City: Ad Size: 4.875” x 5” Amy Sucha A. For short program and free skate, vocal music with 5”ENTERTA Media: Section: Deborah Leitner Jones lyrics is not permitted, except as follows: Insertion Date(s): Mark Magliola 1. For all short programs and free skates up to and Nancy Owen including the intermediate level, for all events Adnrea Vickers using the 6.0 system of judging and for all adult Charlie Tickner events, vocal music with lyrics is permitted.

Charles Rossbach Jr. Barb Foltz Shari Trotter Oleg Makarov Kristin Adamczyk Sandy Moss Lyndon Johnston Amanda Griffin ARE YOU LOOKING FOR Carol Rossignol A GREAT SKATING OPPORTUNITY? Come Join The World’s Greatest Skaters!

Karel Kovar Feld Entertainment is looking for Male and Female Skaters Niki Anderson for its U.S. and International Tours of Disney On Ice .

Shannon Gebler Darlene Lewis Elisa Nash Rocky Marval Aimee Kravette Megan Berntson Rebecca Healey For more information, please send a skating resume, photos and Kimberley Carter current video (3-6 minutes) including all contact Michelle Zeeff-McCarthy information to: Cynthia Baran Judy Thomas Terri Hamre-Anderson Talent Director and Production Coordinator Cassie Joyce Feld Entertainment Lisa Lueking-Dahl 1313 17th Street East Palmetto, FL 34221 Jenny Gibson USA Ginger Whitney or call

4040 Music – Singles

®

SM

©Disney

(941) 721-1234 FAX: (941) 349-4280 jthomas@feldinc.com

PS MAGAZINE

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CALENDAR

OF

EVENTS

SEPTEMBER Event: Date:

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

38

Nine PSA Nationwide Seminars [8:00 am - 5:00 pm] 9/10 Seattle, WA Area 14 Host - Patti Brinkley 9/11 Denver, CO Area 13 Host - J Lane & T O’Brien 9/11 Morristown, NJ Area 3 Host - Jackie Palawasts 9/17 Burlington, VT Area 1 Host - Kathy Knauer 9/17 Orleans, MA Area 2 Host - Chris O’Riordan 9/18 Troy, MI Area 8 Host - Sergey Petrovskly 9/25 Coral Springs, FL Area 7 Host - Nancy Mariani 9/25 Oklahoma City, OK Area 12 Host - S Burnett & L Stucks-Vivona 9/25 Bloomington, MN Area 10 Host - Thomas Amon PSA Office at 507-281-5122 or byackel@skatepsa.com September 10 Area 10 Wyndham Milwaukee Airport Hotel, 4747 South Howell Ave. Milwaukee, WI 53207 Rating Zone 3: Oral Rating Site PSA Office at 507-281-5122 or byackel@skatepsa.com Register online at www.skatepsa.com Oral Rating Exams: July 11, 2011 September 11 Area 10 Pettit National Ice Center, 500 S. 84th Street, Milwaukee, WI 53214 Entry Level Coaching Course (ELCC) [8 am - 5 pm] PSA Office at 507-281-5122 or byackel@skatepsa.com Register online at www.skatepsa.com August 11, 2011

Date: Location: Event: Contact:

September 11 Area 9 N. Olmsted Rec Complex, 26000 Lorain Rd, North Olmsted, OH 44070 U.S. Figure Skating Basic Skills Workshop [10am - 4pm] Susi Wehrli 719-635-5200 ext. 423 swehrli@usfigureskating.org Local Contact: Jeff Marshall oneice@aol.com

Date: Location: Event: Contact:

September 16 Area 9 Glenview Ice Arena, 1851 Landwehr, Glenview, IL 60026 U.S. Figure Skating Basic Skills Workshop [8:30am - 3:00pm] Susi Wehrli 719-635-5200 ext. 423 swehrli@usfigureskating.org Local Contact: Kerry Murphy 847-724-2800

Date: Location: Event: Contact:

September 16 Area 9 Glenview Ice Arena, 1851 Landwehr, Glenview, IL 60026 U.S. Figure Skating Synchro Basic Skills Workshop [5:30-9:30pm] Susi Wehrli 719-635-5200 ext. 423 swehrli@usfigureskating.org Local Contact: Kerry Murphy 847-724-2800

Date: Location: Event: Contact:

September 17 Area 9 All Seasons Ice Rinks, 31 W-330 N Aurora Rd, Naperville, IL 60563 U.S. Figure Skating Basic Skills Workshop [1:00 - 6:00pm] Susi Wehrli 719-635-5200 ext. 423 swehrli@usfigureskating.org Local Contact: Kerry Murphy 630-851-0755

SEPTEMBER | OCTOBER 2011

S E P T E M B E R continued Date: Location: Event: Contact:

September 18 Area 10 Coon Rapids Ice Center, 11000 Crooked Lake Blvd NW, Coon Rapids, MN 55433 U.S. Figure Skating Basic Skills Workshop [9:00am - 1:00pm] Susi Wehrli 719-635-5200 ext. 423 swehrli@usfigureskating.org Local Contact: Karen Meck kmeck@coonrapidsmn.gov

O C TO B E R Event: Date:

Contact:

Two PSA Nationwide Seminars [8:00 am - 5:00 pm] 10/8 Raleigh, NC Areas 6 & 7 Host - Scott Cudmore 10/9 San Francisco, CA Area 15 Host - Paige Scott PSA Office at 507-281-5122 or byackel@skatepsa.com

Date: Location: Event: Contact

Deadline

October 8 Area 15 Yerba Buena Ice Skating Center, 750 Folsom St., San Francisco, CA 94107 RATING ZONE 5: Oral Rating Site PSA Office at 507-281-5122 or byackel@skatepa.com Register On line at www.skatepsa.com August 8, 2011

Date: Location: Event: Contact:

Deadline:

October 28-30 Area 9 Radisson Indianapolis Airport Hotel, 2500 S. High School Road, Indianapolis, IN 46241 Zone 2: PSA Master Oral Rating Site PSA Office at 507-281-5122 or byackel@skatepsa.com Register online at www.skatepsa.com Oral Rating Exams: August 29, 2011

NOVEMBER Date: Location: Event: Contact:

November 6 Area 11 Cedar Rapids Ice Center, 1100 Rockford Rd SW, Cedar Rapids, IA 52404 PSA Nationwide Seminar [8:00 am - 5:00 pm] PSA Office at 507-281-5122 or byackel@skatepsa.com Host - Melissa Haars

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

39

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