October 0 - Ice skating resources

October 2007
Volume 38, Issue 2
In the Loop
A Publication of the San Diego Figure Skating Club
Table of Contents
From the Editor’s Desk
Ballet's Influence in Skating
Trip to Lake Placid
Dancing Without A Partner
Eating Problems in Female Skaters
On-Ice Exercises for Skaters
What is the PSA?
Adult Competitions
History of World Championships
Sprains and Strains
Preparing for a Competition
Competition Check List
Code of Conduct for Parents
Goal Setting
Figure Skating Boots and Blades
Photo Feature –
Summer 07 Workshops
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page 17
Please be thinking of how you can help and
send your name and areas of interest to –
sdskate@abcgloba.net
________________________________
Ballet's Influence in Skating
Many figure skating moves and techniques are
based on ballet. The following is a brief view of
Common terms and positions skaters should be
familiar with.
Rond de Jambe – A rotary movement of the leg.
It can be done in a number of ways, such as on the
floor with knee straight, or in air with a circular
rotation of the knee from bent to straight.
Plié – A bending of the knees with hips, legs, and
From the Editor’s Desk
Pacific Sectional Championships at Mira Mesa SDIA
We hope SDFSC club members and their
families will support our skaters at the Pacific
Coast Sectional Championships being hosted by
our club on November 14 – 17.
The SDFSC was awarded this competition
because of our reputation for organizing and
hosting well run competitions. That reputation
comes from the support of member volunteers
when our club hosted previous competitions. There
are going to be many jobs to fill so we will need to
identify additional volunteers.
There are many positions that need to be filled
by volunteers to make the Pacific Coast
Championships an enjoyable experience for
competitors and officials.
Becoming a volunteer is a good way for skaters
and parents to see the competition without having
to purchase a ticket.
feet turned outward.
Arabesque – A position in which the dancer
stands on one leg with the other leg extended in a
straight line to the rear. The positions of the arms
and the height of the raised leg may vary.
There are certain set positions in ballet for the
arms and particularly for the feet which give the
ballet dancer a particularly pleasing aspect as well
as providing a starting point for particular moves
and interchanges. The following discussion
describes a few of the more basic principles.
Skaters who have a background in ballet
should be able to transfer the positions and
principles from ballet to skating.
Foot Positions
There are five basic ballet foot positions that
are common to all teaching methods. These
position are based on the ‘turning-out’ the feet.,
The feet point either in opposing directions either
in a straight line, or offset with one foot in front of
the other.
First Position: Feet together, in line, heel to
heel
Fourth Position: Feet apart, front and
behind. Feet may be
• closed - fully overlapping
• Open - no overlap.
Example: Inside and outside forward and
backward Choctaws
Second Position: Feet apart, in line, heels
opposed.
Example: Inside and outside spread eagles
Third Position: Feet together, front and
behind, overlapping by about a half foot
length.
Example: Inside and outside forward and
backward Mohawks
In the Loop
Oct. 2007
Position: Feet together, front and behind, fully
overlapping
Note: that the illustrations show a small
separation of the feet in the 'feet together'
positions; whereas the positions with skates
on would vary because the skater are bulky
than ballet shoes, plus the curve of the edges,
lean, and flow over the ice are factors.
Vol. 38, Issue 2
page 2
Skaters must achieve these positions quickly and
their performance depends on a rhythm in order to
transfer weight from one foot to another as a
transition to the next skating edge.
Second Position
Arm Positions
Depending on the ballet teaching methods, arm
positions are numbered differently .The following
basic arm positions illustrate those that are
commonly taught.
The arms are never held straight, but are
always gently curved. It is the positing of the arms
and legs in combination that give the overall
character to the presentation the skater achieves
on the ice.
The tilt of the head and the facial expression
can be used to enhance or alter radically the
character of the position.
Preparatory
Position
First Position
Arms at waist level,
hands a little in front
of the thighs. This
low arm position is
the ballet dancer's
equivalent of 'stand
at ease'
Arms forward (held
curved and apart as
though embracing a
large object. This
position is known as
the gateway position
since it is the mid
point of transition
between other
positions.
Arms held out to the
side, curving slightly
forward. The
shoulders are NOT
elevated.
Arms held aloft as if
preparing to place a
crown on one’s head.
Third Position
One arm extended to
the side, other held
curved in front.
Combination
Position
One arm raised
overhead, other held
curved in front - note
change in character
from head straight to
head tilted.
Combination
Position
The numbering used above is based upon the
Russian Ballet teaching method.
Even with special skates, free skating requires
considerable training to build up the necessary
strength, and places considerable stress on the feet
often resulting in minor injuries such as bunions
and/or blisters
________________________________
In the Loop
Oct. 2007
Vol. 38, Issue 2
page 3
Trip to Lake Placid, NY
Years ago I skated Junior Pairs in the Eastern
Sectional Championships held at Lake Placid. The
competition was an experience in an unbelievable
winter wonderland.
Every season at lake Placid is one to enjoy
especially if you time your trip to skate to coincide
with a competition. When I head Kassy and Justin
were entering the summer dance competition at Lake
Placid, I asked Suzan Cioffi, Kassy Kova, and Justin
Ross to write about their experiences. Hope you enjoy
reading about their trip.
The Editor
Date book… Lake Placid, Aug. 07
Crystal clear bubbling brooks…. Verdant
mountains ….. Picturesque little Olympic Village …..
Beautiful and lithe young ladies and their svelte
partners stroll along peering inside the quaint little
shops that line the main street and side-stepping the
rough-and-tumble rugby players who are sharing the
village with them this week…. Humm… it must be
Lake Placid in early August where almost all American
ice dancers gather for their first major competition of
the season, the Lake Placid Ice Dance Championships.
Downtown Lake Placid
Fountain in Town Center
Entrance to World Arena
In the Loop
Oct. 2007
Vol. 38, Issue 2
page 4
The site of both the 1932 and 1980 Olympics, this
tiny village is transformed into America’s Ice Dancing
Mecca for the first four days of August each year.
Teams converge on this historic site from all across the
United States with a sprinkling of Canadian ice
dancers to spice up the mix.
Here, America’s ice dance teams get a first chance
to perform their newly-minted Freedance programs on
hallowed Olympic center ice before a large and adoring
crowd; eagerly absorb the assessments and tips
provided in one-on-one critiques with many of the
same judges who will decide the final pecking order at
national championships just a few months from now;
size up their team’s competition for the year; and
breath in pure inspiration from the air replete with the
beauty, power and creativity that is the essence of this
very unique sport.
With a total of only about 100 American ice
dancing teams spanning the levels of Juvenile through
Senior teams in the entire United States), competitors
on their second trip to Lake Placid quickly develop a
familiarity with many of the faces.
To most in this small group of athletes being in
Lake Placid feels as if they have died and gone to hog
heaven. Their eyes drink in the incredible beauty of
one delicate ice dancing dress after another, with soft
pastel hues swishing in time with the rhythm of the
‘waltz du jour’.
Competitors are elated to be in a fairy tale land
where large and boisterous audiences “ooh”, “aah” and
feverishly applaud intricate Freedance lifts and spins,
instead of waiting quietly for a freestyle jump that
never arrives. For a very special week it is their world,
and ice dancing reigns supreme!
The Freedance programs are a Jelly-Belly-wild
assortment of themes and music. There are red-hot
Tangos, and smooth cool blues, tantalizingly sexy
sambas and playful jive. You see Freedance programs
where girls are twisted into every outlandish position
humanly possible, wearing a smile that is tight with
concentration and tinged with the discomfort of pulling
a blade up to touch the back of her head while
teetering on one of her partner’s knees!
Boys balanced low on one thin blade of steel while
elevating their sprite to the heavens with one arm, like
an offering to the Gods. You are moved, you are
thrilled, and at the end you are exhausted, having
depleted all of your energy trying to reign in your wild
heart as it somersaulted uncontrollably around in your
chest during your team’s seemingly endless 150
seconds on center ice.
When it’s over, some competitors celebrate, some
cry, but all are permeated with the knowledge that
they needed to be here; needed to experience the
season’s first ritual trial by fire to lay the groundwork
for the next few months of training and preparation.
For some, a final stroll along Main Street and ice
In the Loop
Oct. 2007
cream at the favorite spot; for others, a party or
gathering among friends. The village offers its last
warm embrace to all who came and tried their
best.
A sunny Sunday morning; bags are packed,
and Goodbyes waved. Competitors drive off leaving
the village tranquil and quiet. It fondly awaits
their return next summer.
Suzan Cioffi
The Dance Competitions at Lake Placid
Competition for Intermediate-level ice dance
teams got underway Thursday with the
Compulsory Dances. After a 6th place mark for
their first dance, the 14-step, Kova & Ross took
smoothness and elegance to the max, earning them
their first-ever, First Place finish for the Foxtrot, in
a competitive field of nine teams from across the
United States. Their light and flowing American
Waltz earned Kova & Ross a 3rd place finish.
When all three of the compulsory dance scores
were combined, Kova & Ross' placement was 4th
overall in a field of nine, and one half points below
the bronze medal, a marked improvement over
their 2006 results.
Vol. 38, Issue 2
Kassy and Justin
relax after skating
page 5
Kova & Ross showcased their new Freedance
program in the final competitive event, the
Intermediate Freedance, Saturday night. Set to a
jazzy piece, "Black Machine" paired with a
rhythmic slower section from the same film (Dance
with Me) "Tu Corazon", and a quick-paced snippet
of "Yello" to end with, the program was well
received by the judges, earning them high marks
for interpretation of music and presentation, and
an 8th place finish in a field of twenty teams that
included two Canadian teams.
The energetic program included a fast-paced
rotational lift with a change of position and a
catch-foot, a combination spin, a second lift with
Ross in a low position and Kova balanced on his
knee with her blade pulled up to touch her head,
an eye-catching hydroblade move near the end of
the program and good ballroom dance technique
and creative choreography evident throughout.
Photos by Suzan Cioffi
________________________________
Kassy and Justin make their
freedance look easy.
Dancing Without a Partner
Finding a dance partner is difficult. There just
are not as many boys as girls who skate and even
fewer who dance. USFSA dance judge Claude
Sweet recommends that everyone learn to skate
dance first as a solo dancer.
New dancers should first learn the correct
technique of turns and steps, memorize the
rulebook dance patterns, and learn the timing of
the individual dances PRIOR to attempting to
perform the dances as a team.
There is a solo dance test track that allows
skaters to test without finding a partner or having
a coach act as a partner for the test.
Anyone who plans on acquiring a gold medal in
dance MUST become a skilled solo dancer. At the
gold level the ability to solo is 50% of the mark
of a standard dance test.
The ability to skate to the musical tempo
and develop presentation skills is as
important as doing triple revolution jumps is
to a junior free skater.
________________________________
Deep edges and great unison in the
Foxtrot awarded 1st place.
In the Loop
Oct. 2007
Vol. 38, Issue 2
page 6
Eating Problems in
Female Athletes
On Ice Exercises for Skaters
Exercises for Pre-Preliminary Moves
By G. Taylor & D. M. Ste-Marie
School of Human Kinetics
Faculty of Health Sciences
University of Ottawa
Female Pair and Dance Figure Skaters'
Perceptions of Pressures to Lose Weight
The purposes of this study were:
1) to determine whether female pair/dance figure
skaters perceived pressures to lose weight from five
specific sources, those being :
a) coach
b) judge
c) parents
d) male skating partner
e) the skater herself
2) to examine the relationship between such pressures
and disordered eating tendencies.
Forty-one participants completed the eating
disorder inventory (EDI; Garner & Olmstead, 1984)
and the SKATE scale that contained statements
related to perceived pressures to lose weight and
various weight loss techniques that could be practiced.
The results showed that 92.7% of the figure
skaters felt there were pressures to lose weight and
that 100% of the skaters had used at least one of the
weight loss techniques during their career.
An analysis of variance indicated that the highest
source of perceived pressure was from themselves,
followed by pressures from the coach, F (4, 156) =
26.1, p < .01. A correlation analysis showed, however,
that skaters who placed the most pressure on
themselves to lose weight were those that perceived
greater pressures from the four other sources, and the
strongest correlation was associated with the
pressures received from the coach (r =.78, p < .001).
Correlation analysis among the EDI subscales
and the SKATE scale scores revealed that skaters who
had higher perceived pressures to lose weight were
more likely to be in the eating disordered range for the
drive for thinness, body dissatisfaction, and bulimia
subscales (all p values <.005).
These results will be discussed in terms of
implications for interventions to avoid the onset of
disordered eating tendencies.
________________________________
In the Loop
Oct. 2007
Week 1: Basic consecutive forward stops on left
and right foot
• Two foot Snowplow Stops – toes pointed in and
equal pressure on both feet
• One foot Snowplow Stops – toe pointed in with
strong pressure on leading foot
• T-Stop – upright body position must be
achieved and maintained throughout stop
• Hockey Stop – feet must be parallel with equal
pressure applied to both feet while keeping
head up
Week 2: Basic consecutive forward outside and
inside edges
• Glide on 2 feet in a straight line to practice
“arm switch – arms brush sides of body while
switching
• Glide on 1 foot in a straight line, balance,
“switch” arms, then pass free foot
• On a large circle, push onto an edge – balance,
switch arms, pass free let
Week 3: Basic consecutive backward outside and
inside edges
• Teach edges on larger 1/2 circles on 2 feet –
work free foot, arm switch, head & upper body
rotation – progress to 1 foot
• Teach “rat tail” push for back outside and back
inside edges
Week 4: Exercise – inside and outside forward
circle 8’s
• Teach circle 8’s on 2 feet – work on “arm
switch”
• Progress to 1 foot – balance, switch arms, pass
free leg to the front over the print
Week 5: Forward Right and left spirals in a straight
line
• Teach spiral using the barrier – emphasize free
leg turn out and upper body lift as back
flattens
• Glide in extended free leg position and balance
before entering full spiral position
• Practice right outside and left outside spirals
on a large circle
Week 6: Exercise – inside and outside backward
circle 8’s
• Teach circle 8’s on 2 feet, work on arm and
head switch (rotation of upper body)
Vol. 38, Issue 2
page 7
•
Progress to 1 foot – balance – pass free leg, switch
arms, upper body and head rotation
Week 7: Exercise – forward outside waltz 3 turns in
both directions
• A forward outside waltz 3 followed by 2 consecutive
back outside edges
Week 8: Waltz 8
• Review back outside edge on a large circle
• Teach 2 foot waltz 8 – emphasize arm positions
for 3 turn, upper body rotation to the outside of
the circle for back outside edge and check back
to center
• Practice back outside to forward outside
Mohawk
Week 9: Exercise – back outside to forward outside
Mohawks in both directions
• Land waltz jump, step forward and glide on outside
edge
• Back outside stretch step forward into outside
spiral
• Teach Pre-Juvenile 5 step Mohawk on a large circle
Exercises for Preliminary Moves
Week 1: Forward Crossovers both directions
• Practice slow timing crossovers: push 1,2, cross
3,4 – emphasize correct edge push and pre-bend is
needed to get power
Week 2: Backward Crossovers both directions
• Practice slow timing crossovers – push 1,2 cross
3,4 – emphasize correct edge push and pre-bend
needed to get power
Week 3: Outside and Inside forward spirals
• Use hockey circles at beginning and end of ice to
teach 5 lobe pattern
• Practice spirals on a large circle
Week 4: Forward power 3 turns – outside 3 turns
• Teach back weight shifts at barrier
• Teach the 4 places to push – before 3 then push
into lean, then 2 pushes during crossovers
Week 5: Forward power 3 turns – inside 3-Turns
Week 6: Alternating forward outside 3 turns
• Review forward outside 3 turns
• Teach test pattern using 2 foot 3 turns
• Exercise - forward outside 3’s followed by 2
consecutive forward outside edges, repeat
In the Loop
Oct. 2007
•
Exercise - forward inside 3’s followed by 2
consecutive forward inside edges, repeat for
other foot
Week 7: Alternating forward inside 3 turns
• Review forward inside 3 turns
• Teach test pattern using 2 foot 3 turns
• Exercise – forward inside 3 followed by 2
consecutive forward inside edges, repeat on the
other foot
Exercises for Pre-Juvenile
Week 1: Forward perimeter power crossovers both
directions
• Review slow timing crossovers on a circle
• Draw pattern on the ice to explain axis and
also to show the size of the inside edge in
relation to the lobe
• Review inside edges and point out the correct
stepping on the axis to set proper curvature of
the edge
Week 2: Back Perimeter Power Crossover stroking
both directions
• Back inside “rat tail” pushes
• Review slow timing crossovers (backward) on a
circle
• Draw pattern on the ice to explain axis and
also to show the size of the inside edge in
relation to the lobe
Exercises for Juvenile
Week 1: 8 step Mohawk in clockwise direction
• Do forward crossovers with arms and upper
body rotated to the outside of the circle (skating
arm leading)
• Do outside Mohawk on a circle on 2 feet then 1
foot
Week 2: 8 step Mohawk in counter clockwise
direction
• Do forward crossovers with arms and upper
body rotated to the outside of the circle (skating
arm leading)
• Do outside Mohawk on a circle on 2 feet then 1
foot
Week 3: Forward cross strokes
• 3 forward cross strokes hold in position for 1/2
circle and repeat
Week 4: Backward cross strokes
• 3 backward cross strokes hold in position for
1/2 circle and repeat
Vol. 38, Issue 2
page 8
Exercises for Intermediate
Exercises for Junior
Week 1: Forward power circles both directions
• Crossover to different tempo’s (123, 456, 123, 456),
(12, 34, 12, 34, 12, 34) (1, 2, 1, 2, 1, 2)
• Progressives on a circle
Week 1: Forward counter clockwise power circles
(snails)
• Review slow timing of crossovers
• Teach crossovers to different tempos (123, 456)
(12, 34) (1, 2, 1, 2)
Week 2: Forward clockwise power circles (snails)
• Review slow timing of crossovers
• Teach crossovers to different tempos (123, 456)
(12, 34) (1, 2, 1, 2)
Week 2: Backward power circles
• Crossover to different tempo’s (123, 456, 123, 456),
(12, 34, 12, 34, 12, 34) (1, 2, 1, 2, 1, 2)
• Progressives on a circle
Week 3: Backward perimeter power crossovers with 3
turns in counter clockwise direction
• Review back outside 3’s
• Review back power crossovers
• Teach back outside 3, Mohawk – glide on 2 feet on
a lobe and then do on opposite foot (consecutive
lobes)
Week 4: Backward perimeter power crossovers with 3
turns in clockwise direction
• Review back outside 3’s
• Review back power crossovers
• Teach back outside 3, Mohawk – glide on 2 feet on
a lobe and then do on opposite foot (consecutive
lobes)
Exercises for Novice
Week 1: Counter clockwise backward perimeter power
stroking with back inside 3 turns
• Review power crossovers
• Teach forward inside 3’s on a large circle
• Teach 5 lobe pattern and the use of the hockey
circles in setting up end pattern
Week 2: Clockwise backward perimeter power stroking
with back inside 3 turns
• Review backward power circles
• Teach forward inside 3’s on a large circle
• Teach 5 lobe pattern and the use of the hockey
circles in setting up end pattern
Week 3: Forward counter clockwise perimeter power
crossover stroking to backward quick rocker sequence
• Review forward power crossovers
• Teach a swing rocker on the hockey circle
• Teach the quick rockers by the barrier and then on
a large circle
Week 3: Backward power circles both directions
(snails)
• Review slow timing of crossovers
• Teach crossovers to different tempos (123, 456)
(12, 34) (1, 2, 1, 2)
Exercises for Senior
Week 1: Counter clockwise sustained edge step
• Alternating back inside 3’s
• Back inside crossovers, pull to short axis, cross
RBI – repeat
Week 2: Clockwise sustained edge step
• Alternating back inside 3’s
• Back inside crossovers, pull to short axis, cross
RBI – repeat
Week 3: Counter clockwise extension spiral step
• Alternating consecutive triple 3’s
• Quick open Mohawks on a large circle
• Forward inside spirals on a large circle – both
feet
• Back outside spirals on a large circle – both
feet
Week 4: Clockwise extension spiral step
• Alternating consecutive triple 3’s
• Quick open Mohawks on a large circle
• Forward inside spirals on a large circle – both
feet
• Back outside spirals on a large circle – both
feet
________________________________
Week 4: Forward clockwise perimeter power crossover
stroking to backward quick rocker sequence
• Review forward power crossovers
• Teach a swing rocker on the hockey circle
• Teach the quick rockers by the barrier and then on
a large circle
In the Loop
Oct. 2007
Vol. 38, Issue 2
page 9
What Is the PSA?
•
•
by Wendy Smith. Skating School Director SDIA
The Professional Skaters Association (PSA) is
the Official Coaches Education Certification
and Training Program for the U.S. Figure
Skating Association (USFSA).
Historical Background of the PSA
• Organized in 1938
• Current membership of over 6000
• Membership includes coaches, performing
professionals, judges, manufacturers, officials,
and patrons of the sport
• Offers education for coaches and judges plus
accreditation for coaches
• 4000 ratings are held by coaches
• 100% of all U.S. Olympic and World coaches
are PSA members
• Provides over 100 educational programs
throughout the country each year
• In 2004, a mandate was passed that any coach
requesting a credential for a U.S. Figure
Skating qualifying event must be a PSA
member
• PSA also provides a code of ethics for figure
skating professionals to follow with guidelines
and legal help if needed in certain situations.
Accreditation & Certification
The PSA Official Rating System is for coaches
who want to validate their skating skill and
teaching experience.
Ratings are an assurance to clubs, rinks,
skaters, parents and the general public that the
coach they hire is technically qualified to instruct
at the level in which they are rated regardless of
background and skating achievement.
Increasingly coaches are required to become
rated, but many are choosing to do so because
they realize it is beneficial to their coaching.
Ratings offered include:
• Free Skating
• Figures
• Pairs
• Dance
• Group
• Program Director
• Synchronized Team
• Free Dance
In the Loop
Oct. 2007
Choreography and Style
Moves in the Field.
Rating levels tests offered include:
 Registered
 Certified
 Senior
 Masters
Rating tests consist of both written and oral
examinations. Once a rating has been earned, a
coach must:
• Maintain at least 28 educational credits over a
three-year period through attendance at
educational events.
• Attend and then submitting an Affidavit to the
PSA office to accumulate educational credits.
Functions include: PSA state workshop
 Seminar
 Conference,
 PACE
 Complete an E-Learning course or PSA
Apprentice program
________________________________
Adult Competitions
The U.S. Figure Skating Association has four
official adult competitions: Eastern, Midwestern,
and Pacific Coast Sectionals, and the Adult
National Championships.
Qualifying track “Championship” events at
sectionals typically attract skaters with higher
technical skating skills. The top four skaters in
each Championship event qualify for the
Championship event at Nationals.
Other non-qualifying events are usually held in
conjunction with the qualifying events. Prior to the
creation of Sectionals in the late 1990s, adult
skaters had their events at a standard regional
competition.
Nationals include qualifying Championship
events and adult levels (Pre-Bronze through Gold)
or Masters levels (Intermediate through Senior).
pairs, dance, and interpretive events are also held.
Championship events use the new IJS scoring.
For competitions, skaters are grouped in events
by age. (The age groups may be merged depending
on the number of entries):
Vol. 38, Issue 2
page
10
Age
Classifications
I.
II.
III.
IV.
V.
Age
Range
21-28 years old
29-35 years old
36-45 years old
46-55 years old
55+ years old
Skaters who have passed the Juvenile freestyle
or 2nd figure test must compete at the Masters
level, where competition classes are one level
higher than actual test level for Intermediate,
Novice and Junior level skaters.
Adult skaters who have passed the Adult Gold
freestyle test and want to test or compete on the
standard track at the Masters level may take the
Intermediate moves in the field and freestyle tests,
which will make them eligible to compete at
Masters Novice.
________________________________
has two skaters/teams, the combined placement of
those teams must be 13 or less to qualify 3 entries,
and 28 or less to keep their two entries. If they do
not do so, they only have one entry for the
following year.
There are exceptions if a skater is forced to
withdraw in the middle of the competition due to a
medical emergency or equipment problems.
Which skaters from each country attend the
World Championships is at the national governing
body's discretion.
Some countries rely on the results of their
national championships while others have more
varied criteria based on international success at
competitions such as the European Figure Skating
Championships and the Four Continents Figure
Skating Championships. Selections vary by
country.
Skaters must be older than fifteen as of July
1st the previous year to compete. The World Junior
Figure Skating Championships is the
corresponding competition for skaters at age 13 to
19 who are not old enough for senior Worlds or do
not qualify
History of World
Championships
________________________________
http://en.wikipedia.org/wiki/Madge_Syers-Cave
The World Championships were established in
1896. Originally, they contained only the men's
event. There was no rule regarding women
competing, so in 1902, Madge Syers-Cave
competed and won the silver. Many, including
World Champion Ulrich Salchow, believed she
should have won the gold. After that, women were
banned from the men's competition. In 1906, a
separate event for ladies was established.
Skaters qualify for the World Championships
by belonging to a member nation of the ISU. Each
country gets one entry in every discipline by
default.
The most entries a country can have in a single
discipline are three. Countries earn a second or
third entry for the following year's competition by
earning points through skater placement.
The points are equal to the sum of the
placements of the country's skaters (top two if they
have three). Entries do not carry over and so
countries must continue to earn their second or
third spot every year.
If a country only has one skater/team, that
skater/team must place in the top ten to earn a
second entry and in the top two to earn three
entries to next year's championships. If a country
In the Loop
Oct. 2007
The Difference between
Sprains and Strains:
What Every Skater Should Know
By Julie Keen, RN
The sport of figure skating is a beautiful but
physically demanding sport. It is one sport in a
group of individualized, high performance sports
and as such can lend itself to injury. Overuse and
trauma to muscles and supporting joint structures
can occur at any time given. It is important for the
skater to have a sound understanding of the
difference between two of the more common
injuries that can be experienced with athletics:
sprains and strains.
First, let’s look at some normal anatomy of the
human body.
 Muscles constitute a large portion of the body,
and assist the skeletal system in supporting
the body and allowing for complex movement.
Vol. 38, Issue 2
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11

Tendons and ligaments are structures, which
hold our muscles together throughout the
body, particularly over the joint areas. These
stretchy structures are attached to bones and
allow for twisting and turning movements.
Humans can achieve a variety of positions
available to them for movement with the
assistance of these body structures, and skaters
often take advantage of this unique flexibility.
A strain
A strain is a stretching injury to a muscle or
muscle/tendon attachment caused by mechanical
overloading. This is caused by either an unusual
muscle contraction or an excessive forcible stretch.
Skaters can do this by moving in an unusual
manner and using muscles that have not been
properly stretched or prepared for that movement.
Common sites for this type of injury are the upper
and lower back, hip, shoulder, and foot.
A sprain
A sprain is also a stretching injury but usually
involves a traumatic movement injury. This is an
abnormal stretching of the structures surrounding
a joint and can involve tendons, ligaments,
muscles, and soft tissues.
Skaters can do this by moving in a forceful manner
on a joint causing injury to those joint and
surrounding structures. The sprain can be
classified from minor to severe. In severe cases, the
ligaments may even tear away from the muscle or
become ruptured. The more common sites for
sprain are the ankle, knee, and elbow.
Julie Anne Keen is a Certified Nurse
Practitioner, Clinical Specialist, &
Registered Nurse. She holds degrees as
RN, MSN, CS, and AGNP.
She practices medicine in hospital
and out-patient settings. She also is a
member of the USFSA Sports Medicine
Society.
Currently, she is a Sectional Level
Competition and Gold Test Judge. Her
son was a former national level singles
and pairs competitor.
So what do these injuries look like?
A sprain is often quite easy to spot because
initially there is excessive swelling of the area and
sometimes bruising can occur. The area many feel
warmer to the touch. There is limited movement
and pain present. In severe cases, numbness and
tingling can occur.
A strain is more difficult to spot. Usually, there
are no outward signs except in severe cases there
may be slight swelling in the area. However, as
seen with a sprain, there is pain and limitation of
movement present.
The treatment of Sprains is as
follows:
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Oct. 2007
Secondary Treatment
Continue to rest the involved area
Physician may recommend splints or braces
Continue cold packs and elevation
Physical therapy as indicated when healing
Tertiary Treatment
Continue to rest the involved are
Ice and elevations as needed
Casting may be indicated in severe cases (tear
or rupture)
Surgery may be recommended if problem
persists or worsens
The treatment of strains is as
follows:
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In the Loop
Initial Treatment
Rest the involved area
Ice packs (15-20 min every 4 hours x 24 hours;
then 3 x per day x 48 hours; then as needed)
Compression or elastic wraps may be applied to
the joint
Elevation of extremity (as much as possible)
Seek the advice of a physician
Oral analgesics (Ibuprofen reduces swelling
and pain)
Diagnostic studies may be ordered (X-Rays or
MRI)
Initial Treatment
Rest the affected area
Ice packs in first 24 hours (20-30 min x 2-4
hours)
Oral analgesics (Ibuprofen reduces swelling
and pain)
Secondary Treatment
Continue to rest the affected area
Application of heat after first 24 hours
Seek the advice of a physician
Vol. 38, Issue 2
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Tertiary Treatment
Continue to rest the affected area
Massage or physical therapy may be ordered
Referral to specialist if persists
Prevention is the best recommendation for
any athlete, but particularly with figure
skating.
Training for the competitive season is a long
process and prevention of injury is best. There are
many ways to prepare for strenuous activity. The
following are some important ways to prepare:
Warm up before beginning your skating
sessions. Cold, stiff muscles, tendons, and
ligaments are more susceptible to injury. Aerobic
type exercises, such as jumping rope, jogging in
place, or brisk walking are good ways to warm up.
Remember to watch the intensity level – too much
is not always best!!
Cool down and stretch after skating. Stretch
slowly and gradually. Maintain a continuous
tension on the muscle. Relax and hold each
stretch for the count of 10. Exhale as you stretch.
Remember if it hurts, you have stretched too far!
Increase the intensity and duration of exercise
gradually. As your fitness level improves, you will
be able to do more complex maneuvers without
injury.
Use proper sports equipment. The level of
thickness of the skating boots should correspond
with the level of your skating ability. Boots should
fit well with proper sized blades.
Alternate hard workouts with easier ones to
let your body rest. Work on a variety of skating
maneuvers during a session not just jumps. This
allows for different muscle groups to alternate their
workouts.
Cross-train to rest your muscles. Do several
activities off ice to rest muscle groups and
strengthen others. If at all possible, work with a
licensed sports trainer to get started on a workout
regimen.
Don’t ignore aches and pains. A few days of
less strenuous activity when you first feel twinges
of pain in your muscles may help you avoid more
serious injury.
________________________________
In the Loop
Oct. 2007
Preparing for a Competition
It seems like there are opportunities every weekend
to compete in some form of USFSA figure skating
competition. Years ago a skating club would host
competitions restricted to their own members; however,
today clubs are hosting competitions that are “Open” to
all USFSA members.
These competitions usually offer a full range of
figure skating events (free Skating, Dance, and Pairs)
including all levels and age groups from those skaters
with no test to the Senior level in varying disciplines.
Many clubs also offer Synchronized Team Skating,
artistic, interpretive, showcase, and Theater On Ice
events.
When skaters travel to a competition, they usually
will sign up for multiple events to help justify the
expense.
The organizing committee of the club hosting of
the competition writes their own announcement
choosing the levels and age groups of events they will
offer under the USFSA rules. The USFSA has specific
guidelines set forth each year for competition levels,
testing requirements and prerequisites that the
skaters must follow.
After acquiring the competition announcements
parents, with the help of your coach, should consider
the various competitions that offer events suitable to
their child’s skating skills. It will be necessary to
prioritize the competitions with other family obligations,
school, and job considerations.
It is very important that the skater signs up for the
correct event based on their test level and ability. Each
application confirms that a skater is competing at the
correct level. Required signatures on include:
 participant (skater is over 18) or parent/guardian
(skater is under 18)
 a club officer (USFSA member) or skating director
(ISI or Basic Skills member)
 sometimes the skating coach or instructor
Each announcement contains all of the
event information, levels and requirements,
practice ice information, hotel and travel
information, plus a deadline for the
applications to be received.
These deadlines are fairly strict (especially for
qualifying competitions) so mail your form in early. If
not, there are no guarantees that you will get in and if
accepted you will be assessed a late fee. Keep a
photocopy of the announcement and application. Event
schedules are normally sent to the competitors directly
and posted at the host arena two weeks prior to the
event. Competition schedules are tentative so keep this
in mind and plan around it.
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The coach attempts to set a practice schedule so
the skater will “peak” at the right time. Discuss the
game plan with your coach as to the ideal training
regime for the competition months in advance of the big
event.
Your coach should have prepared you with an onice warm-up routine (stroke around, how many of each
jump, which spins to practice and if you want to do a
run through of all or part of your program) and discuss
this with your coach.
Coaches are also responsible to insure the
length of the skating program is within the
allowable limits and the program contains the
all of the required elements listed in the
announcement or USFSA Rulebook.
There is not enough time for coaching during
the 3-5 minute warm-up period so use your time
wisely and keep going unless there is a serious
problem. You can refresh your thoughts and
reminders with your coach after your warm-up.
Nerves may interfere with a skater’s performance
anytime they appear in front of a panel of judges and
an audience. However, with proper preparation and
confidence, a good result can be achieved. A skater
needs to feel that they performed their best and gave
100% regardless of their final placement.
What to do when you arrive at the competition:
Plan to arrive at least one hour before the
scheduled event. Traffic accidents can cause
substantial delays. Competitions will not delay the start
of a posted event.
Check-in at the registration table, turn in your tape
with the proper label - containing name, skating
club/program, event name and group #. All tapes must
be rewound. Always have a back-up copy of your tape
available (either with a coach or chaperon).
Find your coach to let them know you have arrived
and where you will be. Sometimes rinks will have
assigned locker rooms for skaters to get ready and leave
their belongings. If not, try to find a place to sit in the
stands you’re your parents of friends and let your
coach know where you are.
Never leave your skates unattended! Be
fully dressed and ready to begin your off-ice
warm-up routine (jumping jacks, jogging in
place, stretching routine) at least 30 minutes
before your scheduled event.
Put your skates on, walk through your routine rink
side or in the lobby. Try to find a quiet spot and start
mentally preparing for your performance. It is
important to stay warm at this point in time so wear a
sweater and gloves or bring a blanket with you.
Prior to the posted time for your event, walk over to
the monitor and check in. They will tell you where you
need to wait and how long before it are your warm-up
time. If you are in a compulsory program event then go
to the side of the rink that your event is being held on
and check in with that monitor.
In the Loop
Oct. 2007
When it is your turn to compete, step out onto the
ice, have confidence in yourself, try your best, take each
element one at a time (one element is not your entire
routine) and most importantly have fun and smile to
the judges and audience at least once.
After your performance, your coach should give you
some brief feedback about your performance. Be proud
of yourself and stay to cheer on the others in your
group. You can learn a lot by watching the other
competitors.
After the conclusion of the event, the accountant
will tally the scores from the judges and the final
standings will be posted over the starting order sheet in
the lobby. Keep your skates on since the award
ceremony should follow shortly after the posting of the
results.
No
matter what the final outcome
is, you should always be a good
sport.
Congratulate the winner and congratulate the
others for good efforts. There is only one winner per
event and everyone will have their good days and could
be better days. This is the nature of figure skating so
always be proud of your performance and learn from
each experience.
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Competition Check Lists
by Cheryl Smith
Skaters Competition Checklist:
Skate Bag. Clean out skate bag
1. Clean & polish skates & laces (extra laces).
Towel/soakers & blade guards, screw driver
2. 2 copies of music (not practice music)
3. Towel or small blanket to sit on to protect outfit
& tights
4. Good luck charm!
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4.
Garment bag
1. Outfit for each event/test (make sure they fit
correctly) Back-up dress in case of emergency
2. (girls) Tights and extra tights, check that there
are no holes and runs
3. Club Jacket or Sweater
6
Hair & make-up bag
1.
2.
3.
4.
Scrunches/hair ties for each outfit
Thread/needle/hairnet/scissors – outfit repair
Hairbrush Gel, hairspray, (glitter)
(Girls) Make-up, blush, eye shadow, mascara,
lipstick/gloss
Parent to Skater – When you are done, I
will re-check everything.
Parents Competition Checklist:
• Your skates (both of them), guards, soakers and
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extra laces
Competition outfit and back-up outfit
Girls: Extra pair of tights
Girls: Hair accessories and make-up
Two new copies of your music (Your practice copy
may malfunction)
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7.
8.
9.
10.
11.
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Code of Conduct for Parents
Codes of Conduct give everyone a guide to what
is expected of us if we are part of an organization,
participating in a sport, or as spectators at our
child's events.
Preamble: The essential elements of character
building and ethics in sports are embodied in the
concept of sportsmanship and six core principles:
respect, responsibility, fairness, caring, trustworthiness
and good citizenship. The highest potential of sports is
achieved when competition reflects these "six pillars of
character" (Arizona Sports Summit Accord)
By signing below I hereby agree that:
1
I will encourage good sportsmanship by
demonstrating positive support for all skaters,
coaches and officials at every practice session,
competition and test session,
2.
I will place the emotional and physical welt being
of my child ahead of my personal desire to win.
3.
I will encourage my child to skate in a safe and
healthy environment.
In the Loop
Oct. 2007
I will inform my child's coach of any physical
disability or ailment that may affect the safety of
my child or the safety of others.
I will teach my child that doing one's best is more
important than winning, so that my child will
never feel defeated by the results of a
competitive event
I will never ridicule or yell at my child or other
participant for making a mistake or blame my
child's teammates for placement in a
competition.
I will do my best to make skating fun and will
remember that my child participates in sports for
his/her own enjoyment and satisfaction not
mine.
I will ask my child to treat other skaters,
coaches, fans, and officials with respect,
regardless of race, creed, color, sexual orientation
or ability.
I will applaud a good effort in both victory and
defeat emphasizing the positive accomplishments
and learning from the mistakes.
I will teach my child to resolve conflicts without
resorting to hostility or violence.
1 will be a positive role model for my child and
other skaters.
1 will demand a figure skating environment for
my child that is free of drug or alcohol abuse and
agree that I will not use or provide to a third
party any drug proscribed by applicable federal,
state, or municipal law.
Goal Setting - Plan for Success
Skaters need to set goals because it helps
their performance. How important is success and
improvement to skaters?
Many skaters achieve some success without
using formal goal setting, but virtually every great
athlete who consistently succeeds, uses some
form of goal setting.
Goal setting is as necessary as
having a good coach and
supportive parents.
Setting good goals gives a skater an “edge” in
three areas:
• Direction- Goals tell the skaters where they
need to go and how to get there.
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Feedback- Goals tell the skaters about their
progress.
Support- Goals keep the skaters going when
they might otherwise give up.
Developing SMART Goals:
S
Specific statement of how and when the goal
will be achieved
M Meaningful goal that has a specific value to the
skater
A Affirmation by skater that they believe they can
and will achieve the goal
R Realistic goal that can be achieved
T Task-oriented goal that clearly states what the
skater needs to do.
Skates - The figure skating boot resembles a
street boot with a heel. The front of the blade is
curved and doesn't go far past the toes. The back
of the blade is mostly straight (with a slight bit of
curve) and extends passed the heel.
Toe Pick - The toe pick is shaped like teeth at
the front of the blade. Its main use is for some
types of jumps, as the skaters can push off with
the toe pick to throw themselves into the air.
Many figure skaters are taught not to use the
toe pick at all for spins. Some figure skaters use
slight contact between the ice and the lowest tooth
on spins. The toe pick should not be used for
stroking.
The figure skate blade has a rocker starting at
the toe pick and extending passed the boot heel.
Suggestions on how to set beneficial goals
Effective goals are process goals verses outcome
goals. Process goals focus on “how to” accomplish
something. Outcome goals focus solely on the final
result.
• Have a goal for the season and a goal for
each practice. Most skaters set only longterm goals. They should start with daily and
weekly goals that eventually will result in the
achievement of longer term goals.
• Have skaters write down a seasonal goal so
they see it everyday - on water bottles,
bedroom mirrors, in their skating bags...
• Focus on the little things!
Edges - Inside and Outside - Flat - The blade is
sharpened to produce a hollow with two distinct
edges - the inside edge and the outside edge.
Skating on both edges is called skating on the
“flat.”
The blades are hollowed out to produce two edges,
known as the inside edges and outside edges.
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Figure Skating Boots & Blades
There are three
types of ice
skating boots,
(a) figure, (b)
hockey, and (c)
speed.
In the Loop
Oct. 2007
Skating on the Edge - Figure skaters skate
mostly on one edge of each skate. Skating on edges
looks more graceful and gives nice curved paths
across the ice.
Beginners will start skating flat, and learn to
skate on edges as they progress. Once you learn to
skate on the edge, you will notice how much
smoother it is compared to skating flat. You will
also be surprised how quickly you can turn left or
right by simply increasing your body lean on an
edge.
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