Life on the Edge has a great post today about how a figure skating blog turns you into the go-to guy for all sorts of questions (in fact, watch for my new email account, coming up in a few days). She poses the question-- where are our resources for these questions? Why are so many people turning to strangers on line, when there are clubs, rink management, PSA, USFS and ISI.
Over the last several weeks I've attended a major PSA event, a PSA seminar and an ISI seminar. At all, the event leaders urged the attending coaches to get involved, to bring them problems and ideas, and to use these resources to help us.
And all of these entities are great--responsive, kind, and competent-- when dealing with logistical problems of billing, registering, testing, etc.
But when it comes to accepting criticism or actually acting on suggestions, my experience has been that these same people close ranks around the upper echelons. The PSA has no place for you if you're not a Master rated coach. When I asked to get involved in the ratings committees, I was told that you have to be a Master rated coach. Lower rated coaches' voices are excluded from this process. So until and if you achieve that Master rating, you are shut out of committees and leadership roles.
ISI in my district is a closed club of rink managers. I recently attended a district meeting, out of curiosity, and because all coaches are ostensibly invited, and no one tried to introduce him or herself, or allow me to do so. The printed agenda did not include a single open discussion item, or any indication that coaches' input might be solicited, assuming any ever showed up. Coaches had not been asked for input into the agenda beforehand. I'm sure others who have attended got the same message I got, loud and clear-- we say we want your input, but we're not going to provide any mechanism to accept it. Last year when I offered free services from my day job as an experienced fundraising and marketing professional, I did not get so much as a thank you but no thank you. No response at all.
At USFS, the first question has always been whether I have students at qualifying competitions. No? Then we don't care about you. Don't even start me on the moms who run the clubs.
Many times on this blog I have urged readers to do just what I'm complaining about now-- to take your problems to rink management, to federation management and committees, to whoever is next in line for the issue. And I continue to believe that it's important for those of us out in the trenches to try to make our voices heard.
But I understand the frustration and trepidation when you feel that your input is an annoyance or a burden.
Life on the Edge points out what many have--not all information on the web can be trusted. Bloggers have no editors; some are more reliable than others. You must always check information you find on line for accuracy. Especially when young athletes are involved--with their fragile bodies, psyches and financial resources--it is the readers responsibility to make sure that the online source is responsible.
There is a perception among coaches that being a squeaky wheel won't get you greased, it will get you fired. Among parents, that they'll be labeled troublemakers and their kids will suffer from the parent's unpopularity. I don't feel safe making complaints, or respected when making suggestions, and I know I'm not alone. I feel this way because of the negative feedback from when I used to try to get my voice heard. I feel this way because of many of the rink managers I've worked for who never ask their coaches for their observations, let alone their opinions or advice. Many coaches have given up because it's not really worth the risk; there's simply no benefit to getting a reputation for sticking your nose in.
I applaud PSA, ISI, and USFS for always at least soliciting coach's input. But until I see evidence that they mean it--that my input is both protected and acted upon, that my needs and opinions as a beginners' coach are respected, I will continue to seek the wisdom of people like Allison Scott, Deb Chitwood, and Icemom on line, where I know that I'll be heard.
Oct 3, 2010
Oct 1, 2010
To demonstrate or not to demonstrate
One of the biggest challenges a coach faces is how to convey skills that he or she cannot adequately demonstrate.
This is a more common issue than you might think; there are many coaches teaching above their abilities for many different reasons-- they've lost skills you had years ago (in particular jumps and spins); they've developed a roster of students that has passed the level they were at; new skills have been introduced since they stopped training, for instance, the quad jump; or old skills that predate their own training have been reintroduced. Right now we have a generation of coaches who never took figures now having to teach the loop figure for the new Moves tests.
So what should coaches do?
Don't teach above your teaching competence.
And remember that competence at teaching is not the same as competence at skating. (Many coaches skate better than they teach. I teach better than I skate.) How do you know your competence? Be a PSA rated coach. Don't try to vet your own coaching level; you're bound to get it wrong. Imperfect as it is the PSA ratings system requires that you have teaching competence at specified levels based upon national standards. Parents need to ask their private lesson coaches what their PSA rating is. If your skater is working on double jumps and your coach is not working on PSA ratings, think twice. I cannot tell you the number of coaches that consider PSA ratings and/or continuing education "bullsh*t." If parents insisted on only hiring rated coaches, we'd see fewer injuries and attrition among recreational skaters, because the teaching would be better.
Don't demonstrate a skill that you are not absolutely confident that you are doing correctly. This does not only go for low-level skaters like me. I see a lot of funky demonstrating from high level skaters. Remember that some students are very visual learners, and can copy your mistake perfectly. If you see a skater whom you know works visually making a new mistake after you demonstrate, have another coach observe your demonstration and be prepared to accept an honest assessment. This doesn't mean you can't teach that skill. It only means you can't demonstrate that skill. If you can't do it, don't.
Demonstrate pieces of the skill
I can't jump an axel, but I know how to do a step through and I know what the print should look like (the mark that the skate blade leaves on the ice). In fact because I can't jump an axel, I set about learning the pieces-- if a demonstration is not available, coaches have to have other tools at their disposal. If you can't do the whole skill, demonstrate the parts that you can. Chances are these isolated pieces are what is going wrong anyway. No skill falls apart all at once.
Know what you're looking at
Skills progress in sequence, from simple beginner skills like crossovers which start with strong edges and good alignment over the skating side, to complex advanced skills like triple jumps, which start with strong edges and, uh, good alignment over the skating side. Hmmm. Right. There are common errors, and most skills go wrong very early in the set up. Coaches should know these common errors and how to correct them.
Have a demonstrator
Every program has junior coaches with excellent, current skills. All of the younger coaches love showing off for the kids, and the kids love it too. Use your high freestyle skaters to demonstrate; just make sure that the skater is demonstrating the skill you want in the way you want it done.
As with everything in teaching, a good coach needs not only to use all the resources available, but also to understand when which resources are appropriate.
--------------------------------
The day after I wrote this I had an adult skater ask me to show him how to do alternating three turns down a continuous axis. So I showed him-- badly! This is something that I can do rather well, but there I was botching it! I regrouped and executed it properly, but it forced me to really think about what I was doing, and to make sure that I had everything lined up-- brain, skating skills, body and blade. We had a good conversation about it, and I just thanked my lucky stars that it was an adult with a good attitude and not a kid with a parent watching!
Lesson learned-- Practice what I preach!
This is a more common issue than you might think; there are many coaches teaching above their abilities for many different reasons-- they've lost skills you had years ago (in particular jumps and spins); they've developed a roster of students that has passed the level they were at; new skills have been introduced since they stopped training, for instance, the quad jump; or old skills that predate their own training have been reintroduced. Right now we have a generation of coaches who never took figures now having to teach the loop figure for the new Moves tests.
So what should coaches do?
Don't teach above your teaching competence.
And remember that competence at teaching is not the same as competence at skating. (Many coaches skate better than they teach. I teach better than I skate.) How do you know your competence? Be a PSA rated coach. Don't try to vet your own coaching level; you're bound to get it wrong. Imperfect as it is the PSA ratings system requires that you have teaching competence at specified levels based upon national standards. Parents need to ask their private lesson coaches what their PSA rating is. If your skater is working on double jumps and your coach is not working on PSA ratings, think twice. I cannot tell you the number of coaches that consider PSA ratings and/or continuing education "bullsh*t." If parents insisted on only hiring rated coaches, we'd see fewer injuries and attrition among recreational skaters, because the teaching would be better.
Don't demonstrate a skill that you are not absolutely confident that you are doing correctly. This does not only go for low-level skaters like me. I see a lot of funky demonstrating from high level skaters. Remember that some students are very visual learners, and can copy your mistake perfectly. If you see a skater whom you know works visually making a new mistake after you demonstrate, have another coach observe your demonstration and be prepared to accept an honest assessment. This doesn't mean you can't teach that skill. It only means you can't demonstrate that skill. If you can't do it, don't.
Demonstrate pieces of the skill
I can't jump an axel, but I know how to do a step through and I know what the print should look like (the mark that the skate blade leaves on the ice). In fact because I can't jump an axel, I set about learning the pieces-- if a demonstration is not available, coaches have to have other tools at their disposal. If you can't do the whole skill, demonstrate the parts that you can. Chances are these isolated pieces are what is going wrong anyway. No skill falls apart all at once.
Know what you're looking at
Skills progress in sequence, from simple beginner skills like crossovers which start with strong edges and good alignment over the skating side, to complex advanced skills like triple jumps, which start with strong edges and, uh, good alignment over the skating side. Hmmm. Right. There are common errors, and most skills go wrong very early in the set up. Coaches should know these common errors and how to correct them.
Have a demonstrator
Every program has junior coaches with excellent, current skills. All of the younger coaches love showing off for the kids, and the kids love it too. Use your high freestyle skaters to demonstrate; just make sure that the skater is demonstrating the skill you want in the way you want it done.
As with everything in teaching, a good coach needs not only to use all the resources available, but also to understand when which resources are appropriate.
--------------------------------
The day after I wrote this I had an adult skater ask me to show him how to do alternating three turns down a continuous axis. So I showed him-- badly! This is something that I can do rather well, but there I was botching it! I regrouped and executed it properly, but it forced me to really think about what I was doing, and to make sure that I had everything lined up-- brain, skating skills, body and blade. We had a good conversation about it, and I just thanked my lucky stars that it was an adult with a good attitude and not a kid with a parent watching!
Lesson learned-- Practice what I preach!
Sep 29, 2010
What do test scores mean?
Both ISI, the recreational federation, and USFS, the competitive federation, have figure skating tests, broken down into progressively more challenging sets of skills. These test levels also generally correspond (but only generally) to competition programs.
However, the scoring on tests is very different than the scoring on competitions. For one thing, while there is a scale, the tests are essentially Pass-Retry. (The kinder, gentler, 21st century way of saying Pass-Fail. Musn't upset the kiddies or their check-writing parents, I guess.) There is a minimum passing score, for skating that meets the test standard. If you exceed the test standard, you can get a higher score; in USFS testing this is the rarer case. Most skaters pass AT the passing score because the passing standard is high and fairly universally agreed upon by nationally trained test judges.
I have heard at least two parents complain to their children that they "barely" passed a USFS test, i.e. got just the passing score. This is wrong. In USFS testing a pass is a pass. The standards are high; everyone passes with an A. Passing over the minimum score is equivalent to an A+. One parent told me she was going to make her daughter retake her test because "I wasn't happy with her score." First, this is not allowed, and second, sorry, that's the stupidest thing I've ever heard from a parent, and I've heard a lot of stupid things from parents (and said a lot of stupid things AS a parent).
Unlike USFS, which uses a descending point system (10 point scale, your score is the accumulation of your deductions), ISI uses more of a grade system, 0 through 10. The handbook describes it as follows:
0- didn't attempt
1- attempted, not recognizable
2- attempted, recognizable
3- poor
4- not passable (F)
5- minimum passing grade (D)
6- Fair (C)
7- Good (B)
8- Very good (A)
9- Excellent (A+)
10- Superior, no errors (A++)
So as you can see, in ISI, you pass with a "D" just like in school.
I really don't like to see this however; who wants their kid to pass with a D? I don't think I'm alone in this either. Because ISI makes me pass Ds, I give more 3s and 4s than I might otherwise. I also really disagree that a "5" is a "D." Coaches that I know are looking for better than a D. You can't do only 70% of an axel, after all, which would be a D. I tell my students that you should not move up a level until you have at least one, and better yet two 7s in your scores. Further, I think that a teacher who gives all 5s is not paying attention. There are six skills in each test; I find it difficult to believe that all the skills are going to be equally just 5s. I have also observed that passing with all 5s is a guarantee that you will struggle at the next level. My grading looks more like this:
0- did not attempt
1- attempted, no understanding of skill
2- attemped, cursory understanding of skill
3- completed skill, unacceptable errors
4- completed skill, minimal errors
5- good understanding of skill, passing
6- skill is good enough for competition
7- excellent
8- superior
9- professional
10- perfect
To compete in ISI competitions through Delta you must complete an isolated skills test; to compete in Free Style you must also take a program test (all skills set to music). In USFS you need to do the Moves and Freeskating tests at each level to compete at that level. You can also "skate up" a level at some USFS competitions. You cannot skate up in ISI. You cannot skate down in either system. (Deliberately skating down by not taking a test you are ready for is called "sandbagging" and is considered cheating.) In both systems, your class level has no bearing on your test level. You can take classes both above and below your test level, depending on what your program or your coach requires or tolerates.
USFS tests must be taken in front of judging panels of varying sizes and judge's levels. They do not need to happen only at Club test sessions. Your coach can arrange separate, non-club tests if needed; you just have to pay for the ice. Club test sessions are a convenience, not a requirement. Talk to your coach and club leadership to find out about this. I took my First Figures test on a public session with a single Silver level judge (it was an utter disaster because you really can't skate figures on public, but the point is, you can do this).
ISI tests through FS 6 can be taken at your home rink. It is generally frowned upon to test your own private lesson student, even in class, but is not specfically against the rules. Each rink should have its own rules about testing-- some allow students to move up just from class tests, some set up special ISI test sesssions, some allow class testing to move up in the classes, but require a separate test to qualify for ice show solos. I've worked at 5 different rinks, and seen 5 different test arrangements. Above FS6 you must take the test at special sessions with impartial judges. Coaches are judges in the ISI system, with judging levels of Bronze, Silver, Gold.
However, the scoring on tests is very different than the scoring on competitions. For one thing, while there is a scale, the tests are essentially Pass-Retry. (The kinder, gentler, 21st century way of saying Pass-Fail. Musn't upset the kiddies or their check-writing parents, I guess.) There is a minimum passing score, for skating that meets the test standard. If you exceed the test standard, you can get a higher score; in USFS testing this is the rarer case. Most skaters pass AT the passing score because the passing standard is high and fairly universally agreed upon by nationally trained test judges.
I have heard at least two parents complain to their children that they "barely" passed a USFS test, i.e. got just the passing score. This is wrong. In USFS testing a pass is a pass. The standards are high; everyone passes with an A. Passing over the minimum score is equivalent to an A+. One parent told me she was going to make her daughter retake her test because "I wasn't happy with her score." First, this is not allowed, and second, sorry, that's the stupidest thing I've ever heard from a parent, and I've heard a lot of stupid things from parents (and said a lot of stupid things AS a parent).
Unlike USFS, which uses a descending point system (10 point scale, your score is the accumulation of your deductions), ISI uses more of a grade system, 0 through 10. The handbook describes it as follows:
0- didn't attempt
1- attempted, not recognizable
2- attempted, recognizable
3- poor
4- not passable (F)
5- minimum passing grade (D)
6- Fair (C)
7- Good (B)
8- Very good (A)
9- Excellent (A+)
10- Superior, no errors (A++)
So as you can see, in ISI, you pass with a "D" just like in school.
I really don't like to see this however; who wants their kid to pass with a D? I don't think I'm alone in this either. Because ISI makes me pass Ds, I give more 3s and 4s than I might otherwise. I also really disagree that a "5" is a "D." Coaches that I know are looking for better than a D. You can't do only 70% of an axel, after all, which would be a D. I tell my students that you should not move up a level until you have at least one, and better yet two 7s in your scores. Further, I think that a teacher who gives all 5s is not paying attention. There are six skills in each test; I find it difficult to believe that all the skills are going to be equally just 5s. I have also observed that passing with all 5s is a guarantee that you will struggle at the next level. My grading looks more like this:
0- did not attempt
1- attempted, no understanding of skill
2- attemped, cursory understanding of skill
3- completed skill, unacceptable errors
4- completed skill, minimal errors
5- good understanding of skill, passing
6- skill is good enough for competition
7- excellent
8- superior
9- professional
10- perfect
To compete in ISI competitions through Delta you must complete an isolated skills test; to compete in Free Style you must also take a program test (all skills set to music). In USFS you need to do the Moves and Freeskating tests at each level to compete at that level. You can also "skate up" a level at some USFS competitions. You cannot skate up in ISI. You cannot skate down in either system. (Deliberately skating down by not taking a test you are ready for is called "sandbagging" and is considered cheating.) In both systems, your class level has no bearing on your test level. You can take classes both above and below your test level, depending on what your program or your coach requires or tolerates.
USFS tests must be taken in front of judging panels of varying sizes and judge's levels. They do not need to happen only at Club test sessions. Your coach can arrange separate, non-club tests if needed; you just have to pay for the ice. Club test sessions are a convenience, not a requirement. Talk to your coach and club leadership to find out about this. I took my First Figures test on a public session with a single Silver level judge (it was an utter disaster because you really can't skate figures on public, but the point is, you can do this).
ISI tests through FS 6 can be taken at your home rink. It is generally frowned upon to test your own private lesson student, even in class, but is not specfically against the rules. Each rink should have its own rules about testing-- some allow students to move up just from class tests, some set up special ISI test sesssions, some allow class testing to move up in the classes, but require a separate test to qualify for ice show solos. I've worked at 5 different rinks, and seen 5 different test arrangements. Above FS6 you must take the test at special sessions with impartial judges. Coaches are judges in the ISI system, with judging levels of Bronze, Silver, Gold.
Sep 24, 2010
Arguing with the coach
One takes lessons for numerous reasons: to benefit from the advice of an expert, to get an outside hand to push you to more and more advanced abilities, to get an objective opinion about your skill, talent and/or prospects, to force you to skate a certain amount, to prepare for testing, exhibition, or competition.
Private lessons, of course, are expensive, but even classes consume resources--time, effort, money.
So then why would you sign up for this torture just to argue with the coach?
I don't mean the occasional ahem discussion about cost, time, or specific technique. I'm talking about telling a coach that their technique is wrong, or that what they are asking cannot be done for whatever reason. Here are the reasons I have heard, mostly from parents and adult students this week:
Here's the reality- skating is scary and hard. You have to do crazy stuff like jump, and turn at speed, and pick up one foot. You. Are. Going. To. Fall. In 15 years on the ice, I have seen just seven or eight injuries that required a trip to the doctor. I've seen and taught thousands of people to skate. Recreational skating is not any more dangerous than crossing the street. But crossing the street is free, and you don't argue with the traffic cop.
Arguing with a coach over technique is so counterproductive as to be absurd. I have a fun job, but you're making it be kind of a drag.
Private lessons, of course, are expensive, but even classes consume resources--time, effort, money.
So then why would you sign up for this torture just to argue with the coach?
I don't mean the occasional ahem discussion about cost, time, or specific technique. I'm talking about telling a coach that their technique is wrong, or that what they are asking cannot be done for whatever reason. Here are the reasons I have heard, mostly from parents and adult students this week:
- I already know how to do that (gee, I already know how to read, so I guess I never have to do that again)
- I refuse to try what you're suggesting because numbleplup, now please tell me why I don't skate better.
- I'm having enough trouble with A, to even have to listen to a coach ask for B
- Everyone else told me to do it this way (demonstrates completely bizarre technique that they made up themselves)
- Isn't that in (name level lower than the one you think you are in, as though you will never have to do those skills again)
- I AM doing what you told me (not) and anyway it's wrong (and you would know this because of the years and years of figure skating training you've shared with me?) and anyway, no one else does it like that, and anyway if I do that I'll get hurt, and anyway, I can't. sigh.
- My arm/leg/head/tooth/hair/dog hurts (so stay home! No one cares if you miss a class, it's not going to go on your permanent record)
- I'm afraid to fall (then take up chess)
- My other coach said I don't have to do it your way (this will almost never happen plus I kinda don't care)
Here's the reality- skating is scary and hard. You have to do crazy stuff like jump, and turn at speed, and pick up one foot. You. Are. Going. To. Fall. In 15 years on the ice, I have seen just seven or eight injuries that required a trip to the doctor. I've seen and taught thousands of people to skate. Recreational skating is not any more dangerous than crossing the street. But crossing the street is free, and you don't argue with the traffic cop.
Arguing with a coach over technique is so counterproductive as to be absurd. I have a fun job, but you're making it be kind of a drag.
Sep 20, 2010
Where the movement ends
At a PSA Nationwide Seminar I attended yesterday I was so happy when the presenter gave me the opening for this post. He said, "without good extension, a skater has no power and no control."
I tell my students that extension is the end of any movement. That means that you have to find the end of each movement, and take it all the way to that point, then let it stop there for a moment.
One of the biggest "tells" of an inexperienced skater is that their movements never seem to have a "there." They'll leave a slightly bent knee, or any unpointed toe, a mushy jump set up, or step out of a landing too quickly. You can spot the strong, experienced skaters by their moments of stillness-- watch the end of a cross-over or a stroke. A good skater will wait just a hair before shifting to the next position. They're wringing every bit of power out of each push, each check, each moment at its very end.
Extension is one of the hardest things to teach low level skaters, because it's fussy and confusing. Kids today have zero muscle tone; I'm continuously astonished at the poor mid-body (core) control that children have. They're super smart these days, but they're a bunch of marshmallows when it comes to strength. And extension requires strength-- strong extension is actually a form of weight bearing exercise, focusing on proper muscle contraction (think about it-- your extended knee is caused by the flexing, not the extending, of the quad muscles).
The classic extension moves in skating are stroking, cross overs, and spirals, and every Moves in the Field test features these moves with a major focus on extension. I would like to see, and be able to spend more time on, the concept of extension in Learn To Skate/Basic Skills classes, but the set curricula of these programs neither emphasize nor support using class time for this, and the "move to the next level" mentality of coaches, parents, and management at most rinks cannot support holding someone back at Alpha/Basic 4 because of poor extension. As one cynical coach said to me "means more lessons when they start learning Moves." (Think about this, parents-- if you would stop getting your knickers in a twist over your kid passing Alpha, maybe you'd be saving money down the line in private Moves lessons. Just sayin'.)
You can teach extension from the very youngest children, though. With tots, have them stretch their hands over their heads, then run your hands just out of reach and have them stretch up as high as they can trying to touch you. With beginners, have them do "penguin walking" where the knees are stiff, the heels are together and toes apart-- this teaches them the muscles they need to contract to extend their knees as well as keeping them off their toe picks. You can also play swizzle games for extension-- doing swizzles with knees only bent, and with knees only straight; the widest and/or longest swizzle you can make and still pull back in, holding deep half-swizzle pumps. Holding half swizzle pumps and undercut pumps is also a good way to teach extension in cross overs.
Extension doesn't happen only in the legs, of course. All the extremities need to have that sense of length--arms, legs, neck. I call a nicely extended neck "snotty skater girl" position, and when I say that, every kid automatically does it right. I love using ballet arms to teach extension. Have the skaters do swizzles, with a different ballet position, one through five, for each push. With more advanced skaters try this with stroking, which then adds extension of the leg.
The best place to teach extension, however, is off-ice, where you remove forward movement as a factor. I think with recreational skaters we spend so much time telling them to bend their knees that when we suddenly say, okay now unbend it, it just does not compute.
Extension is what makes skating beautiful. Personally, I think of all the artistic athletic forms-- skating, gymnastics, ballet-- skating has the most aesthetically pleasing tradition of extension. There's none of the hyper-extended sensibility of ballet, and until recently, none of the contortionist excesses of gymnastics.
Extension in skating is simply where the movement ends. Hold that moment; it's lovely.
I tell my students that extension is the end of any movement. That means that you have to find the end of each movement, and take it all the way to that point, then let it stop there for a moment.
One of the biggest "tells" of an inexperienced skater is that their movements never seem to have a "there." They'll leave a slightly bent knee, or any unpointed toe, a mushy jump set up, or step out of a landing too quickly. You can spot the strong, experienced skaters by their moments of stillness-- watch the end of a cross-over or a stroke. A good skater will wait just a hair before shifting to the next position. They're wringing every bit of power out of each push, each check, each moment at its very end.
Extension is one of the hardest things to teach low level skaters, because it's fussy and confusing. Kids today have zero muscle tone; I'm continuously astonished at the poor mid-body (core) control that children have. They're super smart these days, but they're a bunch of marshmallows when it comes to strength. And extension requires strength-- strong extension is actually a form of weight bearing exercise, focusing on proper muscle contraction (think about it-- your extended knee is caused by the flexing, not the extending, of the quad muscles).
The classic extension moves in skating are stroking, cross overs, and spirals, and every Moves in the Field test features these moves with a major focus on extension. I would like to see, and be able to spend more time on, the concept of extension in Learn To Skate/Basic Skills classes, but the set curricula of these programs neither emphasize nor support using class time for this, and the "move to the next level" mentality of coaches, parents, and management at most rinks cannot support holding someone back at Alpha/Basic 4 because of poor extension. As one cynical coach said to me "means more lessons when they start learning Moves." (Think about this, parents-- if you would stop getting your knickers in a twist over your kid passing Alpha, maybe you'd be saving money down the line in private Moves lessons. Just sayin'.)
You can teach extension from the very youngest children, though. With tots, have them stretch their hands over their heads, then run your hands just out of reach and have them stretch up as high as they can trying to touch you. With beginners, have them do "penguin walking" where the knees are stiff, the heels are together and toes apart-- this teaches them the muscles they need to contract to extend their knees as well as keeping them off their toe picks. You can also play swizzle games for extension-- doing swizzles with knees only bent, and with knees only straight; the widest and/or longest swizzle you can make and still pull back in, holding deep half-swizzle pumps. Holding half swizzle pumps and undercut pumps is also a good way to teach extension in cross overs.
Extension doesn't happen only in the legs, of course. All the extremities need to have that sense of length--arms, legs, neck. I call a nicely extended neck "snotty skater girl" position, and when I say that, every kid automatically does it right. I love using ballet arms to teach extension. Have the skaters do swizzles, with a different ballet position, one through five, for each push. With more advanced skaters try this with stroking, which then adds extension of the leg.
The best place to teach extension, however, is off-ice, where you remove forward movement as a factor. I think with recreational skaters we spend so much time telling them to bend their knees that when we suddenly say, okay now unbend it, it just does not compute.
Extension is what makes skating beautiful. Personally, I think of all the artistic athletic forms-- skating, gymnastics, ballet-- skating has the most aesthetically pleasing tradition of extension. There's none of the hyper-extended sensibility of ballet, and until recently, none of the contortionist excesses of gymnastics.
Extension in skating is simply where the movement ends. Hold that moment; it's lovely.
Sep 18, 2010
Landings
I love to quote an old coach of mine (imagine Russian accent): "Most important part of jahmp is JAHMP"
True. But I'd almost now say that most important part of the jump is the landing. You hear more masturbatory commentary at competitions about jump landings than about any single other issue in figure skating. The figure skating world has gotten so obsessed with the so-called "clean landing" that they actually have changed the rules to parse out the turns by quarters, so that good strong jumps get credit, even if the landing is not quite "clean." Essentially, an attempted triple that is a little short will now get credit for the attempt, rather than a harsh downgrade to the double, because the skaters were starting to go for the GOE on the lesser jumps rather than risk the point loss associated with downgrades (think Lysacek and the infamously nonexistent quad).
The parts of a jump are the entry (lift off), the creation of rotation, air position, and landing. Interestingly, one of the first things you teach a beginning free style student is not the entry, but the landing, starting with the touch down and the check-out position. A classic landing touches down toe first on a straight leg, free leg in front and head turned towards the direction of rotation.
That's right-- you land on a straight leg, with your free leg in front. The misnamed "landing position"-- bent skating knee, free leg extended behind-- is actually the checkout. That's the position you hit to stop the rotation as you glide out of the jump. If you don't land correct position, you'll pitch forward, digging your toe pick across the ice, in a spray of snow, kicking out a big divot. Snowy landings are dramatic, but they indicate technical problems. A clean landing is not just full rotation. It's also a light, snow-free touch down with no rotation on the ice.
There are lots of drills to teach that moment, and here's a few:
Backward pumps to backwards outside edge glide: Strong pumps on a circle, then back outside edge glide on a straight leg, free foot in front, pull the leg through to a back extension while bending the skating knee. Arms are in an L (skating arm pointing into the circle, free arm in front) and head turned towards the center of the circle. You should be able to hold this without letting the edge get tighter for at least halfway around a hockey circle. I make my students do this in both directions, no matter which way they rotate.
Moving hops: Once a student has mastered the above, add 5 short hops to the final glide: just up and down from the landing foot, pushing off the toe. Bonus points for staying on the curve.
Stationary hops: Skater stands in a neutral position, arms and head in landing position, then balances on landing foot and does several small hops, first in actual landing pose (free foot in front), and then jumping up in landing position and doing landing-check (extended free foot behind). Again, both these exercises should be done by all students on both feet.
Rotating hops: Otherwise known as back scratch-loop. Student enters a back scratch spin from any entry- inside three or back pivot- and then does a serious of increasingly rotated hops while still rotating- half way, single loop, double loop. Arm position is optional: in checkout position, or pulled in tight.
There are also numerous moving exercises you can do using turns and both two-foot and one-foot jump combinations and sequences to help you feel the sensation of full rotation while moving at speed across the ice.
True. But I'd almost now say that most important part of the jump is the landing. You hear more masturbatory commentary at competitions about jump landings than about any single other issue in figure skating. The figure skating world has gotten so obsessed with the so-called "clean landing" that they actually have changed the rules to parse out the turns by quarters, so that good strong jumps get credit, even if the landing is not quite "clean." Essentially, an attempted triple that is a little short will now get credit for the attempt, rather than a harsh downgrade to the double, because the skaters were starting to go for the GOE on the lesser jumps rather than risk the point loss associated with downgrades (think Lysacek and the infamously nonexistent quad).
The parts of a jump are the entry (lift off), the creation of rotation, air position, and landing. Interestingly, one of the first things you teach a beginning free style student is not the entry, but the landing, starting with the touch down and the check-out position. A classic landing touches down toe first on a straight leg, free leg in front and head turned towards the direction of rotation.
That's right-- you land on a straight leg, with your free leg in front. The misnamed "landing position"-- bent skating knee, free leg extended behind-- is actually the checkout. That's the position you hit to stop the rotation as you glide out of the jump. If you don't land correct position, you'll pitch forward, digging your toe pick across the ice, in a spray of snow, kicking out a big divot. Snowy landings are dramatic, but they indicate technical problems. A clean landing is not just full rotation. It's also a light, snow-free touch down with no rotation on the ice.
There are lots of drills to teach that moment, and here's a few:
Backward pumps to backwards outside edge glide: Strong pumps on a circle, then back outside edge glide on a straight leg, free foot in front, pull the leg through to a back extension while bending the skating knee. Arms are in an L (skating arm pointing into the circle, free arm in front) and head turned towards the center of the circle. You should be able to hold this without letting the edge get tighter for at least halfway around a hockey circle. I make my students do this in both directions, no matter which way they rotate.
Moving hops: Once a student has mastered the above, add 5 short hops to the final glide: just up and down from the landing foot, pushing off the toe. Bonus points for staying on the curve.
Stationary hops: Skater stands in a neutral position, arms and head in landing position, then balances on landing foot and does several small hops, first in actual landing pose (free foot in front), and then jumping up in landing position and doing landing-check (extended free foot behind). Again, both these exercises should be done by all students on both feet.
Rotating hops: Otherwise known as back scratch-loop. Student enters a back scratch spin from any entry- inside three or back pivot- and then does a serious of increasingly rotated hops while still rotating- half way, single loop, double loop. Arm position is optional: in checkout position, or pulled in tight.
There are also numerous moving exercises you can do using turns and both two-foot and one-foot jump combinations and sequences to help you feel the sensation of full rotation while moving at speed across the ice.
Sep 16, 2010
Using Features in teaching and practicing
Pre-competition season education has started! You want to be an informed fan, if for no other reason than that you can follow the tweets (and by the way, I'll live tweet every competition I can).
If you're a skater or a coach, one of the ways you can do this is by utilizing components of the IJS (ISU Judging System) in your teaching or practice. And, no, you don't have to be Yuna to be successful at this.
A feature is simply any addition or enhancement to a basic jump, spin, footwork, or spiral position that increases difficulty and uniqueness. Unusual or difficult arm or leg positions in spins, footwork and spirals; additional rotations; the length of time you hold a single position, etc. all are features. Here's some examples of features that you can add, at any level:
Spins
Simply spinning in both directions is a feature. In today's competitive world it's a really good idea to be able to spin both directions (ballet dancers have always done this). Start at Basic 5/Beta getting the kids to spin in both directions from a stand still. Add a feature to a one-foot spin by spinning with arms over the head or behind the back. Sit spins? Try "broken leg" (foot to the side) and "pancake" (foot folded under, or to the back). Spin with arms doing a windmill. Any variation you can come up with is fine.
Jumps
Believe it or not, you can add features to jumps. I'm kind of amazed that we haven't started seeing jumping in both directions yet. ISI high level tests have required this forever, so I'm not sure why USFS is so slow to pick this up. At the very least, every skater should be able to do all of the half-jumps in both directions (waltz jump, half flip/stag, half toe-walley, scissor or mazurka, half lutz, split, falling leaf, Russian split; what else am I missing?) Then there are alternative arms-- for very secure skaters, (VERY secure) try jumping with arms behind. Then there's the "Tano" jumps-- one arm over the head, and the "Rippon" jumps-- both arms over the head.
Spirals
Edge changes (without an additional push), then variations on the 3 basic spiral positions (belly button facing the ice, the wall, or the cieling)-- waving or windmill arms, grabbing the knee or the blade, "haircutters" (blade pulled to the back of the head). Plus the Sasha spiral, leg pulled up in front, although the judges are discouraging this (get an image of this position coming straight at you on a forward glide and you'll understand why. The position has a very crude alternative name.) For low level skaters do catch foot with an upright back rather than a true spiral position, or moving between spiral, lunge and shoot the duck in various orders.
Footwork
This is the hardest thing to add features to at high level competition, because the requirement for footwork is so complex in and of itself. But you can use this for intermediate skaters, simply to get them used to the concept of "features." Have them do all the basic turns (through counters) with different arm positions, or have them jump the turns (in a jumped turn the edge and/or foot change occurs in the air, so these are essentially half-jumps). With twizzles (moving spins) no so important, and part of the Moves in the Field tests, you can easily add features-- alternate arm and foot positions, or catch foot. You can also do two-foot "twizzles" (not really twizzles but again, it starts to familiarize even beginning skaters with the terms).
In other words, get yourself and your students ready to understand what you're seeing by doing it/teaching it yourself. How fun would it be to be watching skating with an 8-year old PreJuv and have her say "Hey-- I did that thing that YuNa just did!"
If you're a skater or a coach, one of the ways you can do this is by utilizing components of the IJS (ISU Judging System) in your teaching or practice. And, no, you don't have to be Yuna to be successful at this.
A feature is simply any addition or enhancement to a basic jump, spin, footwork, or spiral position that increases difficulty and uniqueness. Unusual or difficult arm or leg positions in spins, footwork and spirals; additional rotations; the length of time you hold a single position, etc. all are features. Here's some examples of features that you can add, at any level:
Spins
Simply spinning in both directions is a feature. In today's competitive world it's a really good idea to be able to spin both directions (ballet dancers have always done this). Start at Basic 5/Beta getting the kids to spin in both directions from a stand still. Add a feature to a one-foot spin by spinning with arms over the head or behind the back. Sit spins? Try "broken leg" (foot to the side) and "pancake" (foot folded under, or to the back). Spin with arms doing a windmill. Any variation you can come up with is fine.
Jumps
Believe it or not, you can add features to jumps. I'm kind of amazed that we haven't started seeing jumping in both directions yet. ISI high level tests have required this forever, so I'm not sure why USFS is so slow to pick this up. At the very least, every skater should be able to do all of the half-jumps in both directions (waltz jump, half flip/stag, half toe-walley, scissor or mazurka, half lutz, split, falling leaf, Russian split; what else am I missing?) Then there are alternative arms-- for very secure skaters, (VERY secure) try jumping with arms behind. Then there's the "Tano" jumps-- one arm over the head, and the "Rippon" jumps-- both arms over the head.
Spirals
Edge changes (without an additional push), then variations on the 3 basic spiral positions (belly button facing the ice, the wall, or the cieling)-- waving or windmill arms, grabbing the knee or the blade, "haircutters" (blade pulled to the back of the head). Plus the Sasha spiral, leg pulled up in front, although the judges are discouraging this (get an image of this position coming straight at you on a forward glide and you'll understand why. The position has a very crude alternative name.) For low level skaters do catch foot with an upright back rather than a true spiral position, or moving between spiral, lunge and shoot the duck in various orders.
Footwork
This is the hardest thing to add features to at high level competition, because the requirement for footwork is so complex in and of itself. But you can use this for intermediate skaters, simply to get them used to the concept of "features." Have them do all the basic turns (through counters) with different arm positions, or have them jump the turns (in a jumped turn the edge and/or foot change occurs in the air, so these are essentially half-jumps). With twizzles (moving spins) no so important, and part of the Moves in the Field tests, you can easily add features-- alternate arm and foot positions, or catch foot. You can also do two-foot "twizzles" (not really twizzles but again, it starts to familiarize even beginning skaters with the terms).
In other words, get yourself and your students ready to understand what you're seeing by doing it/teaching it yourself. How fun would it be to be watching skating with an 8-year old PreJuv and have her say "Hey-- I did that thing that YuNa just did!"
What features do you like to practice or teach?
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