October 2007 Volume 38, Issue 2

In the Loop A Publication of the San Diego Figure Skating Club

Table of ContentsFrom the Editor’s Desk page 1Ballet's Influence in SkatingTrip to Lake Placid

page 1page 3

Dancing Without A Partner page 6Eating Problems in Female Skaters page 7On-Ice Exercises for Skaters page 7What is the PSA?Adult CompetitionsHistory of World ChampionshipsSprains and StrainsPreparing for a Competition

page 10page 10page 11page 11page 13

Competition Check ListCode of Conduct for ParentsGoal SettingFigure Skating Boots and BladesPhoto Feature – Summer 07 Workshops

page 14page 15page 15page 16

page 17

From the Editor’s DeskPacific Sectional Championships at Mira Mesa SDIA

We hope SDFSC club members and theirfamilies will support our skaters at the PacificCoast Sectional Championships being hosted byour club on November 14 – 17.

The SDFSC was awarded this competitionbecause of our reputation for organizing andhosting well run competitions. That reputationcomes from the support of member volunteerswhen our club hosted previous competitions. Thereare going to be many jobs to fill so we will need toidentify additional volunteers.

There are many positions that need to be filledby volunteers to make the Pacific CoastChampionships an enjoyable experience forcompetitors and officials.

Becoming a volunteer is a good way for skatersand parents to see the competition without havingto purchase a ticket.

Please be thinking of how you can help andsend your name and areas of interest to –

sdskate@abcgloba.net

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Ballet's Influence in SkatingMany figure skating moves and techniques are

based on ballet. The following is a brief view ofCommon terms and positions skaters should befamiliar with.

Rond de Jambe – A rotary movement of the leg.It can be done in a number of ways, such as on thefloor with knee straight, or in air with a circularrotation of the knee from bent to straight.

Plié – A bending of the knees with hips, legs, andfeet turned outward.

Arabesque – A position in which the dancerstands on one leg with the other leg extended in astraight line to the rear. The positions of the armsand the height of the raised leg may vary.

There are certain set positions in ballet for thearms and particularly for the feet which give theballet dancer a particularly pleasing aspect as wellas providing a starting point for particular movesand interchanges. The following discussiondescribes a few of the more basic principles.

Skaters who have a background in balletshould be able to transfer the positions andprinciples from ballet to skating.

Foot PositionsThere are five basic ballet foot positions that

are common to all teaching methods. Theseposition are based on the ‘turning-out’ the feet.,The feet point either in opposing directions eitherin a straight line, or offset with one foot in front ofthe other.

In the Loop Oct. 2007 Vol. 38, Issue 2 page 2

First Position: Feet together, in line, heel toheel

Second Position: Feet apart, in line, heelsopposed.

Example: Inside and outside spread eagles

Third Position: Feet together, front andbehind, overlapping by about a half footlength.

Example: Inside and outside forward andbackward Mohawks

Fourth Position: Feet apart, front andbehind. Feet may be

• closed - fully overlapping• Open - no overlap.

Example: Inside and outside forward andbackward Choctaws

Position: Feet together, front and behind, fullyoverlapping

Note: that the illustrations show a smallseparation of the feet in the 'feet together'positions; whereas the positions with skateson would vary because the skater are bulkythan ballet shoes, plus the curve of the edges,lean, and flow over the ice are factors.

In the Loop Oct. 2007 Vol. 38, Issue 2 page 3

Skaters must achieve these positions quickly andtheir performance depends on a rhythm in order totransfer weight from one foot to another as atransition to the next skating edge.

Arm PositionsDepending on the ballet teaching methods, arm

positions are numbered differently .The followingbasic arm positions illustrate those that arecommonly taught.

The arms are never held straight, but arealways gently curved. It is the positing of the armsand legs in combination that give the overallcharacter to the presentation the skater achieveson the ice.

The tilt of the head and the facial expressioncan be used to enhance or alter radically thecharacter of the position.

PreparatoryPosition

Arms at waist level,hands a little in frontof the thighs. Thislow arm position isthe ballet dancer'sequivalent of 'standat ease'

First Position

Arms forward (heldcurved and apart asthough embracing alarge object. Thisposition is known asthe gateway positionsince it is the midpoint of transitionbetween otherpositions.

Arms held out to theside, curving slightlyforward. Theshoulders are NOTelevated.

Second Position

Third Position

Arms held aloft as ifpreparing to place acrown on one’s head.

CombinationPosition

One arm extended tothe side, other heldcurved in front.

CombinationPosition

One arm raisedoverhead, other heldcurved in front - notechange in characterfrom head straight tohead tilted.

The numbering used above is based upon theRussian Ballet teaching method.

Even with special skates, free skating requiresconsiderable training to build up the necessarystrength, and places considerable stress on the feetoften resulting in minor injuries such as bunionsand/or blisters

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In the Loop Oct. 2007 Vol. 38, Issue 2 page 4

Trip to Lake Placid, NYYears ago I skated Junior Pairs in the Eastern

Sectional Championships held at Lake Placid. Thecompetition was an experience in an unbelievablewinter wonderland.

Every season at lake Placid is one to enjoyespecially if you time your trip to skate to coincidewith a competition. When I head Kassy and Justinwere entering the summer dance competition at LakePlacid, I asked Suzan Cioffi, Kassy Kova, and JustinRoss to write about their experiences. Hope you enjoyreading about their trip.

The Editor

Date book… Lake Placid, Aug. 07

Crystal clear bubbling brooks…. Verdantmountains ….. Picturesque little Olympic Village …..Beautiful and lithe young ladies and their sveltepartners stroll along peering inside the quaint littleshops that line the main street and side-stepping therough-and-tumble rugby players who are sharing thevillage with them this week…. Humm… it must beLake Placid in early August where almost all Americanice dancers gather for their first major competition ofthe 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 5

The site of both the 1932 and 1980 Olympics, thistiny village is transformed into America’s Ice DancingMecca for the first four days of August each year.Teams converge on this historic site from all across theUnited States with a sprinkling of Canadian icedancers to spice up the mix.

Here, America’s ice dance teams get a first chanceto perform their newly-minted Freedance programs onhallowed Olympic center ice before a large and adoringcrowd; eagerly absorb the assessments and tipsprovided in one-on-one critiques with many of thesame judges who will decide the final pecking order atnational championships just a few months from now;size up their team’s competition for the year; andbreath in pure inspiration from the air replete with thebeauty, power and creativity that is the essence of thisvery unique sport.

With a total of only about 100 American icedancing teams spanning the levels of Juvenile throughSenior teams in the entire United States), competitorson their second trip to Lake Placid quickly develop afamiliarity with many of the faces.

To most in this small group of athletes being inLake Placid feels as if they have died and gone to hogheaven. Their eyes drink in the incredible beauty ofone delicate ice dancing dress after another, with softpastel hues swishing in time with the rhythm of the‘waltz du jour’.

Competitors are elated to be in a fairy tale landwhere large and boisterous audiences “ooh”, “aah” andfeverishly applaud intricate Freedance lifts and spins,instead of waiting quietly for a freestyle jump thatnever arrives. For a very special week it is their world,and ice dancing reigns supreme!

The Freedance programs are a Jelly-Belly-wildassortment of themes and music. There are red-hotTangos, and smooth cool blues, tantalizingly sexysambas and playful jive. You see Freedance programswhere girls are twisted into every outlandish positionhumanly possible, wearing a smile that is tight withconcentration and tinged with the discomfort of pullinga blade up to touch the back of her head whileteetering on one of her partner’s knees!

Boys balanced low on one thin blade of steel whileelevating their sprite to the heavens with one arm, likean offering to the Gods. You are moved, you arethrilled, and at the end you are exhausted, havingdepleted all of your energy trying to reign in your wildheart as it somersaulted uncontrollably around in yourchest during your team’s seemingly endless 150seconds on center ice.

When it’s over, some competitors celebrate, somecry, but all are permeated with the knowledge thatthey needed to be here; needed to experience theseason’s first ritual trial by fire to lay the groundworkfor the next few months of training and preparation.For some, a final stroll along Main Street and ice

cream at the favorite spot; for others, a party orgathering among friends. The village offers its lastwarm embrace to all who came and tried theirbest.

A sunny Sunday morning; bags are packed,and Goodbyes waved. Competitors drive off leavingthe village tranquil and quiet. It fondly awaitstheir return next summer. Suzan Cioffi

The Dance Competitions at Lake PlacidCompetition for Intermediate-level ice dance

teams got underway Thursday with theCompulsory Dances. After a 6th place mark fortheir first dance, the 14-step, Kova & Ross tooksmoothness and elegance to the max, earning themtheir first-ever, First Place finish for the Foxtrot, ina competitive field of nine teams from across theUnited States. Their light and flowing AmericanWaltz earned Kova & Ross a 3rd place finish.

When all three of the compulsory dance scoreswere combined, Kova & Ross' placement was 4thoverall in a field of nine, and one half points belowthe bronze medal, a marked improvement overtheir 2006 results.

Kassy and Justinrelax after skating

In the Loop Oct. 2007 Vol. 38, Issue 2 page 6

Kassy and Justin make theirfreedance look easy.

Deep edges and great unison in theFoxtrot awarded 1st place.

Kova & Ross showcased their new Freedanceprogram in the final competitive event, theIntermediate Freedance, Saturday night. Set to ajazzy piece, "Black Machine" paired with arhythmic slower section from the same film (Dancewith Me) "Tu Corazon", and a quick-paced snippetof "Yello" to end with, the program was wellreceived by the judges, earning them high marksfor interpretation of music and presentation, andan 8th place finish in a field of twenty teams thatincluded two Canadian teams.

The energetic program included a fast-pacedrotational lift with a change of position and acatch-foot, a combination spin, a second lift withRoss in a low position and Kova balanced on hisknee with her blade pulled up to touch her head,an eye-catching hydroblade move near the end ofthe program and good ballroom dance techniqueand creative choreography evident throughout.

Photos by Suzan Cioffi

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Dancing Without a PartnerFinding a dance partner is difficult. There just

are not as many boys as girls who skate and evenfewer who dance. USFSA dance judge ClaudeSweet recommends that everyone learn to skatedance first as a solo dancer.

New dancers should first learn the correcttechnique of turns and steps, memorize therulebook dance patterns, and learn the timing ofthe individual dances PRIOR to attempting toperform the dances as a team.

There is a solo dance test track that allowsskaters to test without finding a partner or havinga coach act as a partner for the test.

Anyone who plans on acquiring a gold medal indance MUST become a skilled solo dancer. At thegold level the ability to solo is 50% of the markof a standard dance test.

The ability to skate to the musical tempoand develop presentation skills is asimportant as doing triple revolution jumps isto a junior free skater.

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In the Loop Oct. 2007 Vol. 38, Issue 2 page 7

Eating Problems in Female Athletes

By G. Taylor & D. M. Ste-Marie

School of Human KineticsFaculty 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 figureskaters perceived pressures to lose weight from fivespecific sources, those being :

a) coachb) judgec) parentsd) male skating partnere) the skater herself

2) to examine the relationship between such pressuresand disordered eating tendencies.

Forty-one participants completed the eatingdisorder inventory (EDI; Garner & Olmstead, 1984)and the SKATE scale that contained statementsrelated to perceived pressures to lose weight andvarious weight loss techniques that could be practiced.

The results showed that 92.7% of the figureskaters felt there were pressures to lose weight andthat 100% of the skaters had used at least one of theweight loss techniques during their career.

An analysis of variance indicated that the highestsource 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 onthemselves to lose weight were those that perceivedgreater pressures from the four other sources, and thestrongest correlation was associated with thepressures received from the coach (r =.78, p < .001).

Correlation analysis among the EDI subscalesand the SKATE scale scores revealed that skaters whohad higher perceived pressures to lose weight weremore likely to be in the eating disordered range for thedrive for thinness, body dissatisfaction, and bulimiasubscales (all p values <.005).

These results will be discussed in terms ofimplications for interventions to avoid the onset ofdisordered eating tendencies.

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On Ice Exercises for SkatersExercises for Pre-Preliminary MovesWeek 1: Basic consecutive forward stops on leftand 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 keepinghead up

Week 2: Basic consecutive forward outside andinside edges• Glide on 2 feet in a straight line to practice

“arm switch – arms brush sides of body whileswitching

• 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 andinside edges• Teach edges on larger 1/2 circles on 2 feet –

work free foot, arm switch, head & upper bodyrotation – progress to 1 foot

• Teach “rat tail” push for back outside and backinside edges

Week 4: Exercise – inside and outside forwardcircle 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 straightline• Teach spiral using the barrier – emphasize free

leg turn out and upper body lift as backflattens

• Glide in extended free leg position and balancebefore entering full spiral position

• Practice right outside and left outside spiralson a large circle

Week 6: Exercise – inside and outside backwardcircle 8’s• Teach circle 8’s on 2 feet, work on arm and

head switch (rotation of upper body)

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• Progress to 1 foot – balance – pass free leg, switcharms, upper body and head rotation

Week 7: Exercise – forward outside waltz 3 turns inboth 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 ofthe circle for back outside edge and check backto center

• Practice back outside to forward outsideMohawk

Week 9: Exercise – back outside to forward outsideMohawks 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 MovesWeek 1: Forward Crossovers both directions• Practice slow timing crossovers: push 1,2, cross

3,4 – emphasize correct edge push and pre-bend isneeded 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-bendneeded 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

• Exercise - forward inside 3’s followed by 2consecutive forward inside edges, repeat forother 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 theother foot

Exercises for Pre-JuvenileWeek 1: Forward perimeter power crossovers bothdirections• 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 inrelation to the lobe

• Review inside edges and point out the correctstepping on the axis to set proper curvature ofthe edge

Week 2: Back Perimeter Power Crossover strokingboth 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 inrelation 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 (skatingarm leading)

• Do outside Mohawk on a circle on 2 feet then 1foot

Week 2: 8 step Mohawk in counter clockwisedirection• Do forward crossovers with arms and upper

body rotated to the outside of the circle (skatingarm leading)

• Do outside Mohawk on a circle on 2 feet then 1foot

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

In the Loop Oct. 2007 Vol. 38, Issue 2 page 9

Exercises for IntermediateWeek 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 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 3turns 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 (consecutivelobes)

Week 4: Backward perimeter power crossovers with 3turns 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 (consecutivelobes)

Exercises for NoviceWeek 1: Counter clockwise backward perimeter powerstroking 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 strokingwith 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 powercrossover 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 4: Forward clockwise perimeter power crossoverstroking 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

Exercises for JuniorWeek 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 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 SeniorWeek 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

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In the Loop Oct. 2007 Vol. 38, Issue 2 page 10

What Is the PSA?by Wendy Smith. Skating School Director SDIA

The Professional Skaters Association (PSA) isthe Official Coaches Education Certificationand Training Program for the U.S. FigureSkating 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 plusaccreditation 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. FigureSkating qualifying event must be a PSAmember

• PSA also provides a code of ethics for figureskating professionals to follow with guidelinesand legal help if needed in certain situations.

Accreditation & CertificationThe PSA Official Rating System is for coaches

who want to validate their skating skill andteaching experience.

Ratings are an assurance to clubs, rinks,skaters, parents and the general public that thecoach they hire is technically qualified to instructat the level in which they are rated regardless ofbackground and skating achievement.

Increasingly coaches are required to becomerated, but many are choosing to do so becausethey realize it is beneficial to their coaching.

Ratings offered include:• Free Skating• Figures• Pairs• Dance• Group• Program Director• Synchronized Team• Free Dance

• Choreography and Style• Moves in the Field.

Rating levels tests offered include: Registered Certified Senior Masters

Rating tests consist of both written and oralexaminations. Once a rating has been earned, acoach must:• Maintain at least 28 educational credits over a

three-year period through attendance ateducational events.

• Attend and then submitting an Affidavit to thePSA office to accumulate educational credits.Functions include:- PSA state workshop Seminar Conference, PACE Complete an E-Learning course or PSA

Apprentice program

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Adult CompetitionsThe U.S. Figure Skating Association has four

official adult competitions: Eastern, Midwestern,and Pacific Coast Sectionals, and the AdultNational Championships.

Qualifying track “Championship” events atsectionals typically attract skaters with highertechnical skating skills. The top four skaters ineach Championship event qualify for theChampionship event at Nationals.

Other non-qualifying events are usually held inconjunction with the qualifying events. Prior to thecreation of Sectionals in the late 1990s, adultskaters had their events at a standard regionalcompetition.

Nationals include qualifying Championshipevents 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 eventsby age. (The age groups may be merged dependingon the number of entries):

In the Loop Oct. 2007 Vol. 38, Issue 2 page 11

Age AgeClassifications Range

I. 21-28 years old II. 29-35 years old III. 36-45 years old IV. 46-55 years old V. 55+ years old

Skaters who have passed the Juvenile freestyleor 2nd figure test must compete at the Masterslevel, where competition classes are one levelhigher than actual test level for Intermediate,Novice and Junior level skaters.

Adult skaters who have passed the Adult Goldfreestyle test and want to test or compete on thestandard track at the Masters level may take theIntermediate moves in the field and freestyle tests,which will make them eligible to compete atMasters Novice.

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History of WorldChampionships

http://en.wikipedia.org/wiki/Madge_Syers-Cave

The World Championships were established in1896. Originally, they contained only the men'sevent. There was no rule regarding womencompeting, so in 1902, Madge Syers-Cavecompeted and won the silver. Many, includingWorld Champion Ulrich Salchow, believed sheshould have won the gold. After that, women werebanned from the men's competition. In 1906, aseparate event for ladies was established.

Skaters qualify for the World Championshipsby belonging to a member nation of the ISU. Eachcountry gets one entry in every discipline bydefault.

The most entries a country can have in a singlediscipline are three. Countries earn a second orthird entry for the following year's competition byearning points through skater placement.

The points are equal to the sum of theplacements of the country's skaters (top two if theyhave three). Entries do not carry over and socountries must continue to earn their second orthird spot every year.

If a country only has one skater/team, thatskater/team must place in the top ten to earn asecond entry and in the top two to earn threeentries to next year's championships. If a country

has two skaters/teams, the combined placement ofthose teams must be 13 or less to qualify 3 entries,and 28 or less to keep their two entries. If they donot do so, they only have one entry for thefollowing year.

There are exceptions if a skater is forced towithdraw in the middle of the competition due to amedical emergency or equipment problems.

Which skaters from each country attend theWorld Championships is at the national governingbody's discretion.

Some countries rely on the results of theirnational championships while others have morevaried criteria based on international success atcompetitions such as the European Figure SkatingChampionships and the Four Continents FigureSkating Championships. Selections vary bycountry.

Skaters must be older than fifteen as of July1st the previous year to compete. The World JuniorFigure Skating Championships is thecorresponding competition for skaters at age 13 to19 who are not old enough for senior Worlds or donot qualify

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The Difference betweenSprains and Strains:

What Every Skater Should Know

By Julie Keen, RN

The sport of figure skating is a beautiful butphysically demanding sport. It is one sport in agroup of individualized, high performance sportsand as such can lend itself to injury. Overuse andtrauma to muscles and supporting joint structurescan occur at any time given. It is important for theskater to have a sound understanding of thedifference between two of the more commoninjuries that can be experienced with athletics:sprains and strains.

First, let’s look at some normal anatomy of thehuman body. Muscles constitute a large portion of the body,

and assist the skeletal system in supportingthe body and allowing for complex movement.

In the Loop Oct. 2007 Vol. 38, Issue 2 page 12

Tendons and ligaments are structures, whichhold our muscles together throughout thebody, particularly over the joint areas. Thesestretchy structures are attached to bones andallow for twisting and turning movements.

Humans can achieve a variety of positionsavailable to them for movement with theassistance of these body structures, and skatersoften take advantage of this unique flexibility.

A strainA strain is a stretching injury to a muscle or

muscle/tendon attachment caused by mechanicaloverloading. This is caused by either an unusualmuscle contraction or an excessive forcible stretch.

Skaters can do this by moving in an unusualmanner and using muscles that have not beenproperly stretched or prepared for that movement.Common sites for this type of injury are the upperand lower back, hip, shoulder, and foot.

A sprainA sprain is also a stretching injury but usually

involves a traumatic movement injury. This is anabnormal stretching of the structures surroundinga joint and can involve tendons, ligaments,muscles, and soft tissues.Skaters can do this by moving in a forceful manneron a joint causing injury to those joint andsurrounding structures. The sprain can beclassified from minor to severe. In severe cases, theligaments may even tear away from the muscle orbecome ruptured. The more common sites forsprain are the ankle, knee, and elbow.

Julie Anne Keen is a Certified NursePractitioner, Clinical Specialist, &Registered Nurse. She holds degrees asRN, MSN, CS, and AGNP.

She practices medicine in hospitaland out-patient settings. She also is amember of the USFSA Sports MedicineSociety.

Currently, she is a Sectional LevelCompetition and Gold Test Judge. Herson was a former national level singlesand 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 andsometimes bruising can occur. The area many feelwarmer to the touch. There is limited movementand pain present. In severe cases, numbness andtingling can occur.

A strain is more difficult to spot. Usually, thereare no outward signs except in severe cases theremay be slight swelling in the area. However, asseen with a sprain, there is pain and limitation ofmovement present.

The treatment of Sprains is asfollows:

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)

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 asfollows:

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

In the Loop Oct. 2007 Vol. 38, Issue 2 page 13

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 forany athlete, but particularly with figureskating.

Training for the competitive season is a longprocess and prevention of injury is best. There aremany ways to prepare for strenuous activity. Thefollowing are some important ways to prepare:

Warm up before beginning your skatingsessions. Cold, stiff muscles, tendons, andligaments are more susceptible to injury. Aerobictype exercises, such as jumping rope, jogging inplace, or brisk walking are good ways to warm up.Remember to watch the intensity level – too muchis not always best!!

Cool down and stretch after skating. Stretchslowly and gradually. Maintain a continuoustension on the muscle. Relax and hold eachstretch for the count of 10. Exhale as you stretch.Remember if it hurts, you have stretched too far!

Increase the intensity and duration of exercisegradually. As your fitness level improves, you willbe able to do more complex maneuvers withoutinjury.

Use proper sports equipment. The level ofthickness of the skating boots should correspondwith the level of your skating ability. Boots shouldfit well with proper sized blades.

Alternate hard workouts with easier ones tolet your body rest. Work on a variety of skatingmaneuvers during a session not just jumps. Thisallows for different muscle groups to alternate theirworkouts.

Cross-train to rest your muscles. Do severalactivities off ice to rest muscle groups andstrengthen others. If at all possible, work with alicensed sports trainer to get started on a workoutregimen.

Don’t ignore aches and pains. A few days ofless strenuous activity when you first feel twingesof pain in your muscles may help you avoid moreserious injury.

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Preparing for a CompetitionIt seems like there are opportunities every weekend

to compete in some form of USFSA figure skatingcompetition. Years ago a skating club would hostcompetitions restricted to their own members; however,today clubs are hosting competitions that are “Open” toall USFSA members.

These competitions usually offer a full range offigure skating events (free Skating, Dance, and Pairs)including all levels and age groups from those skaterswith no test to the Senior level in varying disciplines.Many clubs also offer Synchronized Team Skating,artistic, interpretive, showcase, and Theater On Iceevents.

When skaters travel to a competition, they usuallywill sign up for multiple events to help justify theexpense.

The organizing committee of the club hosting ofthe competition writes their own announcementchoosing the levels and age groups of events they willoffer under the USFSA rules. The USFSA has specificguidelines set forth each year for competition levels,testing requirements and prerequisites that theskaters must follow.

After acquiring the competition announcementsparents, with the help of your coach, should considerthe various competitions that offer events suitable totheir child’s skating skills. It will be necessary toprioritize the competitions with other family obligations,school, and job considerations.

It is very important that the skater signs up for thecorrect event based on their test level and ability. Eachapplication confirms that a skater is competing at thecorrect 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 theevent information, levels and requirements,practice ice information, hotel and travelinformation, plus a deadline for theapplications to be received.

These deadlines are fairly strict (especially forqualifying competitions) so mail your form in early. Ifnot, there are no guarantees that you will get in and ifaccepted you will be assessed a late fee. Keep aphotocopy of the announcement and application. Eventschedules are normally sent to the competitors directlyand posted at the host arena two weeks prior to theevent. Competition schedules are tentative so keep thisin mind and plan around it.

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The coach attempts to set a practice schedule sothe skater will “peak” at the right time. Discuss thegame plan with your coach as to the ideal trainingregime for the competition months in advance of the bigevent.

Coaches are also responsible to insure thelength of the skating program is within theallowable limits and the program contains theall of the required elements listed in theannouncement or USFSA Rulebook.

Nerves may interfere with a skater’s performanceanytime they appear in front of a panel of judges andan audience. However, with proper preparation andconfidence, a good result can be achieved. A skaterneeds to feel that they performed their best and gave100% 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 causesubstantial delays. Competitions will not delay the startof a posted event.

Check-in at the registration table, turn in your tapewith the proper label - containing name, skatingclub/program, event name and group #. All tapes mustbe rewound. Always have a back-up copy of your tapeavailable (either with a coach or chaperon).

Find your coach to let them know you have arrivedand where you will be. Sometimes rinks will haveassigned locker rooms for skaters to get ready and leavetheir belongings. If not, try to find a place to sit in thestands you’re your parents of friends and let yourcoach know where you are.

Never leave your skates unattended! Befully dressed and ready to begin your off-icewarm-up routine (jumping jacks, jogging inplace, stretching routine) at least 30 minutesbefore your scheduled event.

Put your skates on, walk through your routine rinkside or in the lobby. Try to find a quiet spot and startmentally preparing for your performance. It isimportant to stay warm at this point in time so wear asweater and gloves or bring a blanket with you.

Prior to the posted time for your event, walk over tothe monitor and check in. They will tell you where youneed to wait and how long before it are your warm-uptime. If you are in a compulsory program event then goto the side of the rink that your event is being held onand check in with that monitor.

Your coach should have prepared you with an on-ice warm-up routine (stroke around, how many of eachjump, which spins to practice and if you want to do arun through of all or part of your program) and discussthis with your coach.

There is not enough time for coaching duringthe 3-5 minute warm-up period so use your timewisely and keep going unless there is a seriousproblem. You can refresh your thoughts andreminders with your coach after your warm-up.

When it is your turn to compete, step out onto theice, have confidence in yourself, try your best, take eachelement one at a time (one element is not your entireroutine) and most importantly have fun and smile tothe judges and audience at least once.

After your performance, your coach should give yousome brief feedback about your performance. Be proudof yourself and stay to cheer on the others in yourgroup. You can learn a lot by watching the othercompetitors.

After the conclusion of the event, the accountantwill tally the scores from the judges and the finalstandings will be posted over the starting order sheet inthe lobby. Keep your skates on since the awardceremony should follow shortly after the posting of theresults.

No matter what the final outcomeis, you should always be a goodsport.

Congratulate the winner and congratulate theothers for good efforts. There is only one winner perevent and everyone will have their good days and couldbe better days. This is the nature of figure skating soalways be proud of your performance and learn fromeach experience.

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Competition Check Lists by Cheryl Smith

Skaters Competition Checklist:Skate Bag. Clean out skate bag1. Clean & polish skates & laces (extra laces).

Towel/soakers & blade guards, screw driver2. 2 copies of music (not practice music)3. Towel or small blanket to sit on to protect outfit

& tights4. Good luck charm!

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Garment bag1. Outfit for each event/test (make sure they fit

correctly) Back-up dress in case of emergency2. (girls) Tights and extra tights, check that there

are no holes and runs3. Club Jacket or Sweater

Hair & make-up bag1. Scrunches/hair ties for each outfit2. Thread/needle/hairnet/scissors – outfit repair3. Hairbrush Gel, hairspray, (glitter)4. (Girls) Make-up, blush, eye shadow, mascara,

lipstick/gloss

Parent to Skater – When you are done, Iwill re-check everything.

Parents Competition Checklist:• Your skates (both of them), guards, soakers and

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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Code of Conduct for ParentsCodes 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 ourchild's events.

Preamble: The essential elements of characterbuilding and ethics in sports are embodied in theconcept of sportsmanship and six core principles:respect, responsibility, fairness, caring, trustworthinessand good citizenship. The highest potential of sports isachieved when competition reflects these "six pillars ofcharacter" (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 beingof my child ahead of my personal desire to win.

3. I will encourage my child to skate in a safe andhealthy environment.

4. I will inform my child's coach of any physicaldisability or ailment that may affect the safety ofmy child or the safety of others.

5. I will teach my child that doing one's best is moreimportant than winning, so that my child willnever feel defeated by the results of acompetitive event

6 I will never ridicule or yell at my child or otherparticipant for making a mistake or blame mychild's teammates for placement in acompetition.

7. I will do my best to make skating fun and willremember that my child participates in sports forhis/her own enjoyment and satisfaction notmine.

8. I will ask my child to treat other skaters,coaches, fans, and officials with respect,regardless of race, creed, color, sexual orientationor ability.

9. I will applaud a good effort in both victory anddefeat emphasizing the positive accomplishmentsand learning from the mistakes.

10. I will teach my child to resolve conflicts withoutresorting to hostility or violence.

11. 1 will be a positive role model for my child andother skaters.

12 1 will demand a figure skating environment formy child that is free of drug or alcohol abuse andagree that I will not use or provide to a thirdparty any drug proscribed by applicable federal,state, or municipal law.

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Goal Setting - Plan for SuccessSkaters need to set goals because it helps

their performance. How important is success andimprovement to skaters?

Many skaters achieve some success withoutusing formal goal setting, but virtually every greatathlete who consistently succeeds, uses someform of goal setting.

Goal setting is as necessary ashaving a good coach andsupportive parents.

Setting good goals gives a skater an “edge” inthree 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 theirprogress.

• Support- Goals keep the skaters going whenthey might otherwise give up.

Developing SMART Goals:S Specific statement of how and when the goal

will be achievedM Meaningful goal that has a specific value to the

skaterA Affirmation by skater that they believe they can

and will achieve the goalR Realistic goal that can be achievedT Task-oriented goal that clearly states what the

skater needs to do.

Suggestions on how to set beneficial goalsEffective goals are process goals verses outcomegoals. Process goals focus on “how to” accomplishsomething. Outcome goals focus solely on the finalresult.• Have a goal for the season and a goal for

each practice. Most skaters set only long-term goals. They should start with daily andweekly goals that eventually will result in theachievement of longer term goals.

• Have skaters write down a seasonal goal sothey see it everyday - on water bottles,bedroom mirrors, in their skating bags...

• Focus on the little things!

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Figure Skating Boots & Blades

There are threetypes of iceskating boots,(a) figure, (b)hockey, and (c)speed.

Skates - The figure skating boot resembles astreet boot with a heel. The front of the blade iscurved and doesn't go far past the toes. The backof the blade is mostly straight (with a slight bit ofcurve) and extends passed the heel.

Toe Pick - The toe pick is shaped like teeth atthe front of the blade. Its main use is for sometypes of jumps, as the skaters can push off withthe toe pick to throw themselves into the air.

Many figure skaters are taught not to use thetoe pick at all for spins. Some figure skaters useslight contact between the ice and the lowest toothon spins. The toe pick should not be used forstroking.

The figure skate blade has a rocker starting atthe toe pick and extending passed the boot heel.

Edges - Inside and Outside - Flat - The blade issharpened to produce a hollow with two distinctedges - 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.

Skating on the Edge - Figure skaters skatemostly on one edge of each skate. Skating on edgeslooks more graceful and gives nice curved pathsacross the ice.

Beginners will start skating flat, and learn toskate on edges as they progress. Once you learn toskate on the edge, you will notice how muchsmoother it is compared to skating flat. You willalso be surprised how quickly you can turn left orright by simply increasing your body lean on anedge. ________________________________