Group Lesson Lexicon

October 30, 2007

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When I first started teaching group lessons as a teenager, I was stiff as a corpse and about as fun as one, too. I commenced each class standing very straight, with clipboard in hand. I took attendance with the stoicism of a 1950′s schoolmarm, consulted my syllabus, then methodically went through the proscribed elements in a manner I thought exuded professionalism and demanded respect.

Well, I found out pretty quickly that this was a Recipe for Rambunctious. The more strict and serious I tried to be, the more monkey-like the kids became: I had to chase them down, stop them from crawling up the plexi-glass, and even pull a few down from the rafters. The amount of intentional falling that transpired made it look as if I was teaching a stunt class. Conversely, and surprisingly, the goofier (and more monkey-like) I became, the more they tended to pay attention, line up like little soldiers, and march obediently the length of my coned-off lane.

And, so “if my friends could see me now” on Fridays for my Snowplow Sam 3 class, they might see me on my hands and knees barking like a dog, marching through “the swamp” while growling like a Mud Monster, or ribbitting as I hop merrily along. Just about everything I say ends in an exclamation point! And the amount of obvious questions I ask – such as, “Can you count to 2?” and “Do frogs say ‘oink’?” – has convinced my young students that I am either an A-1 jokester or a certifiable idiot. Probably many of you are reducing yourself to equally humiliating tactics. And these are probably standard-issue methods for pre-school teachers, parents, or caregivers of young children, but I am none of these, so I had to get here on my own; thank heaven I did. 

A few years ago, I heard about something called the FISH philosophy, a set of workplace principles based on the wacky antics of the fish throwers at the Pike Place Fish Market in Seattle. I guess it all started because it was easier and faster to fling the fish to each other across the vast fish counters than to carry the fish all the way around. This resulted in a lot of laughs on the part of the workers and the customers. (I think it has been scientifically proven that flying fish are objectively funny, even more so when the catcher misses, or gets bonked in the head.) In short, people were HAVING FUN AT WORK and customers were responding. Someone from Minnesota took note of this and ballooned it into a whole motivational lesson for corporate America.

Don’t worry, I’m not contemplating flinging fish at any of my co-workers (though there are one or two clowns who deserve to get cold-clocked, and I think you know who you are) and I’m not going to start throwing fish at my students, either. But we spend so many hours at work, so sometimes it’s necessary to conjure the image of those fish throwers, to remember that it’s not about just getting through any particular day, it’s about enjoying it.

And if this requires making a fool of myself, then I’m obviously game. My crazy group lesson routine keeps things fun for the kids and it’s also an entertainment mechanism for me. I only teach two beginner group lessons per week, but there was a time when I taught 12. Those half hours felt like eternities until I loosened up and reverted to my child-like self. Now, I look forward to Snowplow Sam 3 as a nice oasis from the higher-level hoi polloi (the entertainment aspect for those lessons gets pulled from a different bag of tricks.)  I’ve also found that the younger students bring into my life a delightful number of non-sequitors. (Case in point: see this week’s Skater Quote of the Week, over to the right). Besides, beginners do literally bring us back to basics. There is value in watching the weeble-wobbling of four year-old boys in hockey skates beyond the comedic: they help remind us how slippery ice is, how strange, and unnatural and downright funny it is to try and balance on it, especially at first. 

The main thing I’ve realized lately is that, like many of you, I’ve pretty much abandoned all the original terminology and replaced it with my own, or an amalgam of lingo I’ve picked up from coaches in adjacent lanes, over the years. In fact, if you were to consult the Basic Skills Manual to try and follow along with me, you might not be able to decipher which class I’m teaching. I just make sure to sneak in the more traditional, “correct” terms toward the end of the series, as we near evaluation day, so that when these kids graduate onto the next coach’s class, they have some idea what is going on.

So I’ve written up my own Group Lesson Lexicon (specific to Snowplow Sam 3) in order to justify my questionable behavior on Fridays. It seems like a good document to keep in my pocket in case they storm the rink and come at me with a straight jacket. This, I believe, will Explain Things, and confirm that there is a method to my madness. (Of course, this explanation could tip the scales in either direction – it might prove my sanity or quite the opposite…You be the Technical Specialist.)

GROUP LESSON LEXICON

(Note: This terminology has not been approved, sanctioned or endorsed by the USFS, the ISU, the PSA, the director at your rink, or any other skating organization. Peruse at your own discretion.)

Tables: Arms up to the side with so much tension that a cup of hot chocolate wouldn’t topple off. For further description, see archives of Skater Quote of the Week in column to right. 

Speed Marches: Small, staccato steps with verbal accompaniment, “1-2-1-2…” This is a good opportunity to ask if students can count to two, a feat they’re quite proud to demonstrate. It nicely targets the skaters who are only picking up one foot. 

Monster Marches: Marches so giant you could travel through a swamp with them, stepping through mud, over lily pads, etc. (waders not included). This is designed to trick skaters into picking up their feet higher. Growling recommended.

Statues: Two-foot glides, “without moving one inch!” Variation for those living in New York State or those with historical leanings: Statue of Liberties with the arm holding torch way above head. Observation: If, while in either of these statue positions, coach faces students and widens eyes in a frozen, trance-like manner, 99% of students will mimic this expression.  

Frog Hops: Two foot hops. Ribbitting required. Requests to instead bark, moo, whinny, oink, or abstain from sound effects altogether during this exercise should be submitted by students, in writing, to the front office and will be considered in the order they are received.  

Combo: A dip “as low as you can go!” directly followed by a hop, “as high as you can go!” This provides an excellent chance to teach the word “combination” i.e. putting together two things, Sesame Street style. Research has proven that the word “COMBO!” is as fun to yell out before this exercise as GERONIMO! is before jumping out of a plane or CHARGE! before riding your horse into sword battle.  

Double Combo: Twice the fun, and more opportunities to ribbitt.

Swizzles: Swizzles. No need to tinker with this word, since it’s obviously silly enough. Recommendation: With magic marker, draw little pictures on the ice for them to swizzle their feet around and don’t feel self-conscious when a) your skaters mistake your moon for a banana, your flower for a sun, or your tree for a person, especially when b) the coach in the lane next to you, who is an actual artist, has quickly sketched a parade of beautiful princesses.    

Blast Off: Counting down from 5 then shoving off the boards backwards. Be sure to not laugh aloud when half of the class immediately folds forward onto their mittens.

Pineapples: Forward and Back Swizzles in place, a.k.a. Rocking Horses, a.k.a. Footballs. To Whomever I first saw draw this tropical fruit on the ice: Brilliant, truly brilliant!

Curvies: Slaloms. Most adults, let alone children, have trouble pronouncing the word slaloms. Or maybe it’s just me.

Snowplow Stops: Snowplow Stops. The imagery here is sufficiently vivid, especially during snowstorm season. Tip: Harness the collective power of your little worker bees by getting them to scrape away or “erase” with their blades your pitiful swizzle artwork, so that coaches in later classes don’t see it.  

Flamingos: One foot glides with the freeskate bent up to the height of the other knee. Observation: When you tell students that this is how flamingoes take naps and then ask if this is how they take naps, they’ll all cry out, indignantly, “No!” If you, in turn, ask them how they take naps, it’s uncanny – they’ll all simultaneously, as if it has been choreographed, close their eyes, flatten their hands together like pillows, and tilt their heads adorably upon them.

Scooter Pushes: Stroking back with one foot at a time. “One foot pushes and the other one rides!” There are about two kids left in the country who do not have Razor Scooters. If they happen to end up in your class, you’ll give them the much-needed opportunity to experience (approximately) what they’ve been missing.

Screwdrivers: A cocktail composed of vodka and orange juice…Oops! I mean: Marching around in place in a circle with arms down at sides, the result of which is a dizziness and disorientation akin to intoxication.

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Of course, none of the above terms are patented, so feel free to incorporate any ones you don’t already use into your own classes. And, PLEASE share some of your tricks with the rest of us by clicking on Comments, below.

To watch a short video about the Pike Place Fish Market in Seattle, check out: http://www.youtube.com/watch?v=-q7eRpXUUHo 

    

Ice Dance Music

October 23, 2007

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Approximately half of my business involves teaching compulsory ice dances to skaters for the purposes of testing or competing. This means that I use the rink CD player quite often to play the music designed to accompany these patterns. This week, several of my skaters tested, so our need to use the music was even more urgent. Those of you who have spent any time in a rink where there are ice dancers and ice dance coaches, are probably already chuckling knowingly. And for those of you who don’t know what this music sounds like, think carousels, think organs, think accordions and little monkeys in vests who play them. Think circuses, and stale popcorn, and the longest elevator ride you can possibly imagine.

I mean no disrespect to the composers of this music, or the musicians who performed it, or the originators of the dances themselves. And I love coaching ice dance. It’s just that, when I glide up to the music box and turn off the latest hip hop song the skaters in my rink are warming up to, so that I can instead play the Willow Waltz for my lesson, I receive a number and intensity of annoyed glares that renders me necessarily apologetic. I press the ‘play’ button with a good-humored shrug, an, “I know, I know, the difference between these two types of music is infinite” demeanor and I try to somehow detach myself from it. But really, who am I kidding – after all these years, this music now pretty much represents me, is associated with me…I wear this music as obviously as my oversized down-feather coat.  

The thing is, I am a fan of music, in general. I’m no aficionado, but I consider music of all kinds – from jazz to folk to trip hop to funk to alternative rock to classic rock – to be as essential to my daily existence as coffee. In other words, I have some kind of music playing at all times. Nonetheless, I took my first ice dance, the Dutch Waltz, at the age of 8, so you could probably estimate that, despite the breadth of my musical interests, over the years, more compulsory ice dance music has probably traveled through my ear canals than any other genre. You could say that ice dance music is the soundtrack of my life.

This is the kind of realization that’s liable to prompt (or further encourage) an identity crisis. Likewise, I scared myself once by saying out loud to one of my dance teams that I’d like one of the versions of the Hickory Hoedown to be the ringer on my cell phone, and I wasn’t kidding; I might have even implemented this, if I could have figured out the technology.  

There was an attempt a few years ago, on the part of the USFS to update some of this music. Among other things, they added Marc Anthony’s steamy “I Need to Know” to the Cha Cha roster, and the iconic Kermit and Fozzie Bear duet “Movin’ Right Along” for the Hickory Hoedown. However uncomfortable it is to watch a 16 year-old Juvenile Ice Dance boy skate to The Muppets, I am largely in favor of these upgrades. And I would support or even spearhead a movement to continue this trend. But it isn’t easy to find modern music that fits compulsory ice dance requirements. This music needs to have a regular rhythm, a certain number of beats per minute, and should reflect the character for each type of dance, be it a tango, a foxtrot, or a waltz. I found this out the hard way a few years ago when I tried to identify some popular songs for the purposes of a group ice dance class. Nope, there aren’t a lot of waltzes and foxtrots or marches in the Top 40. And truthfully, there is something to be said for the timelessness of ice dance music and the continuity over the years. Some traditional part of me appreciates that the Paso Doble music I play for my students is the same Paso Doble music I myself once practiced to.      

As I stood at the test session this weekend, listening to those same songs over… and over… and over… again, I realized that the biggest thing ice dance music has against it, is repetition. I’m a believer in the wise adage, “Everything in moderation” and that’s not really possible when you can’t get your student to decipher the beat in the Swing Dance, no matter how loudly you clap or call out the counts or stand by the CD player with her and tap out the beat on her shoulder. Sometimes, as a coach, you just have no choice but play that song one thousand times. Let’s face it, there are more than a couple freestyle programs in every rink that suffer from similar overuse. There is a fine line between diligent training, and skating to your music in lieu of anything else. It’s like that person in class who speaks up just to hear herself talk.     

Truth be told, ice dance is flourishing in this country. As many kids who roll their eyes when I put on that Willow Waltz (and by the way, many of those same skaters have already passed that dance or will be skating it with me later in the afternoon), I have just as many who are thrilled to be skating to any kind of music as long as it takes time away from practicing those silent Moves in the Field (the other half of my business). Perplexingly and endearingly, many of my students are propelled forward in the testing process simply by the desire to skate to the “next song.” I taught the Dutch Waltz in a summer camp class this year to very beginner skaters. Even after a few lessons of them following around behind me like ducklings, they still weren’t quite ready to skate to the music, but they were anxious to hear it, so I obliged. As we skated, en masse, over toward the music box, one little boy of about 7 years old looked like he was going to jump out of his skin with excitement. He asked, “Does it sound like Dutch music?”

Anyway, I’m obviously a big bundle of ambivalence; I don’t know what to make of this music, and my weekly, daily, hourly involvement with it. On the one hand, I’m fairly certain that when I go insane, the theme music will be the European Waltz. On the other hand, it’ll probably be the first dance at my wedding. On one hand, I’ll cringe today as I press that ‘play’ button. And on the other, I genuinely think some of the music is downright catchy, especially for some of the new International dances. (I’ll occasionally glance across the rink and see a fellow coach unwittingly tapping her foot to the Silver Samba. “I saw that,” I’ll say, gliding by.)

I asked the ever-charming Igor Shpilband (coach of, among others, Tanith Belbin and Ben Agosto and Meryl Davis and Charlie White) what his thoughts are on this subject. He said, cryptically, that, “Compulsory ice music is like perfect music for compulsory ice dances,” which we can take as either serious, or sarcastic, or revealing of his actual opinion of compulsory dances. 

Sometimes, when I’m really struggling with something, I make a list. If I’m having trouble making a decision, I compile a Pros and Cons List. When I’m feeling disorganized: To Do List. This week, I was on the market for a little perspective. I needed to remind myself that, really, it could be a lot worse, so I composed the following list, which I’ve found to be quite a comfort:

TEN SOUNDS FAR MORE DISTURBING THAN ICE DANCE MUSIC

  • A duet of car alarms timed so that while one is taking an intermission, the other gets started.
  • Radio static at full volume while you tweak the dial back and forth, trying to find a station worth listening to.
  • The shriek of the dentist’s drill as it bores a hole into your third molar, accompanied by the aroma of hot metal and burnt tooth.
  • Several fire truck sirens directly behind your car indicating that you should move out of the way, except you’re packed in like a puzzle piece and you need to decide whether to drive on top of the car in front of you or inside the pharmacy to your left.
  • An infant still crying after it’s been fed, burped, changed, dressed in the cutest possible sleepwear, rocked, sung to, cradled, and driven in circles around the neighborhood for three hours.
  • A yappy dog so humiliated by his sweater and the handbag he’s getting shuttled around in that all he can do is bark in a rhythm that spells out HELP in Morse code.
  • Opera.
  • A bird outside your window who believes that if he has to be awake, then you should be, too, and he’ll chirp himself hoarse if that’s what it takes.
  • A team of jackhammers determined to make way for the Second Avenue subway line by breaking through several blocks of sidewalk at a time, and, as a bonus, dusting your skin with a layer of pulverized cement.
  • The car horn of a fellow driver who disagrees with your parallel parking technique and makes this known for the duration of your three-part attempt to fit into a space that is definitely big enough for your car, give or take a few bumpers.

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To listen to a sample of an old favorite, the Swing Dance: http://www.ncassociates.com/icednce/mp3/SDObject_30.mp3

 Thanks for reading and happy listening…

Jury Duty

October 16, 2007

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I’ll start off by acknowledging that I am a very bad citizen. Over the past year, I have been ignoring the jury duty notices I was receiving in the mail, thinking I’d somehow slip under the radar, and they’d eventually give up on me. True, shirking my civic duty like this was not just ethically uncool, it was downright wrong. However, I was worried about missing work – what if I were to get placed on a trial that lasted a few weeks?

I am fortunate to have a great business and I am far from claiming “financial hardship,” but let’s just say that living in the exorbitantly expensive New York City (my choice, of course) means that I’m not exactly…overflowing with reserves. As a skating coach, not only do I work for myself, but I do so for an hourly wage during specific hours of each day (i.e. when sessions are offered, so I can’t come home and work all night, instead). To put it simply, however crass: when we don’t work, we don’t get paid. This is true when we go on a vacation and when we get sick. This is true during the holidays and on those snowy days when it’s just too risky to charge toward the rink. And this is true during jury duty.

Probably lots of other professionals have similar issues, or worse. And don’t get me wrong, coaching skating is a wonderful career with many perks, but, unless you’re a skating director at your rink, or on salary for some other reason, there is very little built-in security: no benefits, no healthcare, no 401ks, no stock options, no yearly bonuses, no paid time-off whatsoever for maternity leave, etc.

So, last spring, I eventually got a subpoena stating that if I didn’t present myself to the New York County Courthouse by a certain date, I would be subject to a rather large fine. I can’t remember how much this was, but I was convinced that I should shimmy on down to the courthouse pretty much immediately, if not sooner. There, after being questioned about my negligence and getting my hand proverbially slapped, I was told that I would be scheduled for jury duty sometime in the next several months.

Sure enough, I was slated to show up this last Tuesday. No matter what your career is, fulfilling this commitment is never going to seem convenient. Since our Regionals were going on, I was planning to serve as a substitute teacher for my brother (a fellow coach) who would be away. Furthermore, I have several students who will be testing this coming week. Nonetheless, I reminded myself that skating lessons are “non-essential” in that they are not heart surgery or necessary to the continued success of the water or sewer systems, or in any way related to the security of the nearest nuclear power plant. “My students will be okay,” I assured myself. “They’ll be fine.”

Still, I told everybody I know to keep their fingers crossed that I wouldn’t get picked for an actual trial, and, in turn, lots of people offered advice on how to not get picked. This included everything from standing up during the selection process, pointing across the room, and yelling out dramatically, “Obviously GUILTY!” to claiming that I hate cops, to waving my hands in the air like a crazy person. I don’t think anyone was serious about any of this…or were they?

On the first day, I took the subway downtown during rush hour, an adventure that I know well enough to generally avoid. (I opt instead for the joys of metropolitan car travel to get to the suburbs.) If you’ve never experienced this rush hour subway phenomenon in New York, I can tell you that it puts me in mind of those terrifying soccer match stampedes you hear about in Europe. You enter the subway car as part of a herd and get packed in tightly from every angle. If you aren’t close enough to reach a pole to steady yourself when the train starts and stops, no matter: you get propped up by people on all sides. You couldn’t fall down if you wanted to. And forget any notions of personal space because now you’re sharing yours with about six other commuters.

“Wow,” I thought, “this is what so many people in this city, and many of my friends, go through every single day.” I was forced to share somebody’s egg sandwich (practically! It was right by my face, and it wasn’t very good.) And I was also forced to think about Alternative Paths. For example, there was a point when I was deciding between becoming a skating coach in the ‘burbs and taking a job I’d been offered at a mid-sized advertising agency on Madison Avenue as a copywriter. I’m glad I chose to become a coach, but I often think about what it must be like to spend your work life in a more mainstream office job, that world of high heels, briefcases, watercooler chats, and after-work Happy Hours. Sometimes I even fantasize about having my very own cubicle, in which to place a fake plant, a few snapshots, and a joke-a-day calendar.

Sometimes friends send me e-mails during the day regarding that night’s dinner plans – a change of location, for example – and, after I’ve arrived at the original destination (and no one else is there), I’ll have to reiterate the uncommon fact that I don’t sit at a computer while at work. Likewise, I can’t really take or make any calls, even short ones, for several hours at a time while in lessons. And if I don’t lug at least 15 layers of clothing into my workplace, even in the summer, I’m liable to contract hypothermia. These are just a few things that underscore for me the ways our job is unique. (Though, to that latter point, many contend that the air conditioning systems in many office buildings create temperature conditions that would rival any rink.) 

Anyway, I arrived at the courthouse on time and relatively unscathed. I joined 149 other people in a large room to await further instructions. Many wise folks advised that I pack lots of good reading material, and this is what I intended to focus upon. But as the morning passed, I found myself instead latching onto a mantra, of sorts. I’ve been telling my students about mantras, lately, encouraging them to talk to themselves while they skate, just to help them keep their so-called “thinking caps” on as they practice. For example, on a Bracket: Knee-Bend, Knee-Bend…Or on a Three Turn: Twist-Check, Twist-Check. While I was waiting, I was looking at the novel I’d brought, but instead of reading, I couldn’t help repeating the words: Don’t pick me, Don’t pick me…

A friend gave me that bestseller book, The Secret, by Rhonda Byrne, which I’ve admittedly only perused. It’s about the law of attraction. A lot of the content is intriguing, but the structure is strangely disjointed – it reads like a book of quotes and I can’t seem to get into it. The upshot is that positive thoughts yield positive results. And the reverse is also true: by merely thinking about what you don’t want, you can bring that unwanted fate upon yourself. 

In this light, I suppose I should not be surprised that when the judge telephoned our holding room to request 70 jurors and they spun that bingo-style wheel of misfortune, my card was one of those picked. I should also not be surprised that my card was again randomly picked down in the courtroom when they went through the same process to whittle that group down to 18.

At this point, we took our places in the actual jury box and were asked a series of questions by the Judge, the District Attorney, and the Defense Attorney. I did not, at this juncture, fake a seizure, blab rudely on my cell phone, or curse directly at the judge (other tactics that had been suggested). I told the truth, as instructed, and ended up getting immediately Chosen. My Juror ID card says on it, “Juror #1″, a fact I find myself weirdly proud of. What getting picked first says about me, I don’t really know. Perhaps I exude fairness, or impartiality, or maybe I’m just neutral and bland, the human equivalent of oatmeal. Probably it doesn’t mean anything at all. And truthfully, I’m the kind of person who, when all is said and done, would probably have been hurt if I hadn’t been chosen. I probably would have wondered, why didn’t they like me?  

From there, we were quickly plunged into the details of the case, including testimony from the victim. Suddenly, it was necessary (and easy) to forget about all those hours of missed work and the frustration at getting picked. All of us jurors had other obligations this week, but now we had to concentrate on a crime scenario and the serious nature of our task.  

When I started writing this installment (Sunday night), I didn’t know how much longer the case would last. I wasn’t sure if I’d get to have one final lesson with my skaters before they test. I was wondering if I’d have to dip into my savings to pay my rent. Well, surprisingly, the trial already ended today (Monday). This afternoon we deliberated and reached a decision. As the jury foreman, I nervously delivered this verdict a few hours ago.

So I’m heading back to the rink for the rest of the week and I’m happy about this. Despite my anxiety, stepping out of my regular routine for a few days for this purpose has been far from tragic. It sure isn’t as bad as being a victim of a crime. Or being accused of one. It has been a good reminder of how fortunate we are to live in a country with a fairly workable judicial system in which people are innocent until proven guilty. Taking part in this process has been educational, to say the least, and, in the end, as desperately as we all want to avoid it, it’s certainly as much an honor as it is an inconvenience.

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Thanks to everyone for reading. Your responses continue to thrill and inspire. And, to you many kind souls who are e-mailing comments to me: I love you! But won’t you please leave your comments here on the site (below) so that others may love you, too?

By the way, notice the newest CSOM feature over there to the right: Skater Quote of the Week.

   

PSA Seminar: Time Travel

October 9, 2007

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(Warning: Some content in the following installment may be highly sentimental in nature.)

There are about 450 things I’d rather do on my days off than sit in traffic on the New Jersey Turnpike and sit in a rink for 8 hours absorbing information on the topic I already think about all week: skating. But it’s pretty clear our sport is undergoing a metamorphosis, and whether you think today’s skaters look like they are floating like butterflies or flitting around out there like nervous moths, the fact is that, due to the International Judging System, biomechanics, and a whole host of improved training methods, skating is changing, and we coaches best stay informed.

This is why two friends and I threw our overnight bags in my trunk and headed over the George Washington Bridge toward the Professional Skaters Association National Seminar held at the Philadelphia Skating Club and Humane Society (PSCHS) in Ardmore, Pennsylvania. In addition to keeping my PSA accreditation up to date (this now requires 28 credits every three years), I was interested in getting some survival tips on IJS, some new coaching techniques on specific elements, and maybe just some new ways of explaining the methods I already teach, all useful to my future in coaching. I ended up getting all these things, but I also took an unexpected stroll into The Past… both into my own and into the history of skating.

This started the night before at my mother’s house in Delaware (where we moved to train when I was 14) and where, for the purposes of shameless show-and-tell, I busted out my first dress: pink, and approximately the size of my adult hand. (I was so delighted to obtain this garment that I twirled around in it on my driveway wearing sneaker rollerskates.) This dress elicited from my guests appreciative oohs and ahhs then descriptions of their own first dresses, which, whether we still have these tucked away in our closets or not, we tend to remember with remarkable detail. This led me to drag out my last skating dress, the unveiling of which understandably resulted in quizzical giggles and my contention that, “Really, it made sense in context, I swear.”

This backward glance continued the next morning when we arrived at the PSCHS where, over the years, I commenced many a season by competing at Challenge Cup, and where I was honored to perform in a few Saturday afternoon Tea Exhibitions. Most notably, however, this is where I gave the Funniest performance of my career (and I realize this is not necessarily a category most competitors carry in their catalogues.) Suffice it to say that there was a good deal of “audience participation” in the form of laughter, a reaction that reached my ears all the more directly due to the fact that there are no boards, or plexiglass, around this ice surface.

But my own memories of this place are only the tip of the so-called ice…berg. The building was erected in the late 1930′s but the club itself has been in existence since about 1850 when skating took place on rivers and lakes and people regularly fell through the ice. Club members carried twine as a rescuing device, and hence, the humanitarian or “humane” aspect of the club’s name (which has managed to confuse more than a few kind locals who have carried stray dogs and cats through the front doors.)

Upstairs, where the Seminar’s off-ice portion took place, the club’s long and venerable history was in evidence at every turn: the large, curved mural depicting outdoor skating; plaques honoring the club’s Gold testers; a quaint glass case displaying “The McConnell Collection” of skating figurines; and last, but not least, the wall of windows overlooking the ice surface itself – the ideal perch from which to watch skaters perform whilst sipping tea on a perfectly civilized Saturday afternoon.

Maybe I have an over-developed tendency to let an environment infuse meaning into an event, but it seemed like this setting set a tone for the Seminar. Directly, or indirectly, much of it was about getting back to our roots. And this seemed especially fitting on the cusp of the competition season, with Regionals occurring around the country over the next few weeks, the winter months heralding increased group lesson enrollment, and all of us, in one way or another, getting “caught up in it all.”

So I was already in a contemplative mood when Sandy Lamb stood up to speak about Basic Skills. She started off by acknowledging that some of her first competitive students, Robbie Kaine and Tommy Kaine, were in the room and how lucky she felt to have students like them to start off her coaching career. She proceeded to embellish her Power Point presentation with anecdotes from her own experience, enthusiasm for promoting skating at the grass roots, and ways to keep it all Fun. I thought back to my own group lessons in the studio rink at the Madison Ice Arena, where the ice was the most pleasing color of royal blue, (well, it was the floor underneath that was painted blue, but it took a while for me to realize this.) My delight in these lessons was only mildly tempered by my brother’s mastery of that elusive Mohawk turn long before me (and in hockey skates). My aggravation with his speedier improvement was, however, pretty much forgotten by the time my first ice show rolled around: this event included costumes, a printed program with a picture of me in it, and…I could hardly contain myself…Spotlights!

Kat Arbour’s presentation on Periodization was excellent. Her and her colleagues’ cutting-edge work in Biomechanics and Exercise Physiology at the University of Delaware has contributed greatly to the science of this sport. I was fortunate to train in that program in the years after Ron Ludington first moved to U of D, over 20 years ago. It was exciting for me to participate as a subject in several studies, the nature of which I barely understood. It is (and was) great to see that most of what we achieve on ice can be quantified, therefore repeated, and improved upon, ideally with minimal injury. 

Doug Haw (coach of, among others, Brian Orser and Jenny Kirk) started his presentation by harkening his grandmother and her encouragement of his figure skating back in Canada, though he started in hockey. He also detailed his own background with the PSA and American figure skating, despite being Canadian. He explained that much of his education has been derived from analyzing skaters, both live, and on video. He struck me as a true student of the sport, and for this reason, also a true educator. I was impressed, and inspired, to say the least, by his verbal creativity, including a whole host of catchy aphorisms and poems, and an evident commitment to also keeping skating Fun, an aspect of this gig all of us can stand to be reminded of.

Later, for the on-ice portion, with microphone in hand, Haw encouraged us to keep coming back to the tracings on the ice, to look closely at jump take-offs and spin entrances. It was a clear, bright day and sun reflected off the ice through the backdrop of glass brick, so even from the bleachers, it was possible to see the tracings of the demonstrators. I’m not someone who laments the termination of Figures, but I understand why people do, and respect those who had the patience and talent for them. As I gazed at that gleaming ice surface, I could almost make out a phantom figure eight, or a whole line of them, running the length of the rink. I was reminded that Figure Skating didn’t originally include jumps and spins; it was named for the figures, or the intricate marks left on the ice.

Okay, so obviously the almost surreal beauty of this rink and this day had, by this point, put me in an altered state, a state of severe sentimentality. But who could blame me, sitting under that gracefully curved ceiling, with a wall of mirrors on the far end, a pair of banners touting home-rink Olympic Champs, Dick Button and Scott Hamilton, and that conspicuous absence of boards, providing an unfettered view of it all? Let’s face it, most new rinks in this country are about as interesting as warehouses, so it’s nice to be in one that has a little personality. Of course, I wasn’t always such a purist. When I was younger, I probably would have said that some of my favorite local rinks now – Playland Ice Casino in Rye, NY, Harvey School Rink in Katonah, NY and EJ Murray Rink in Yonkers, NY – were “old,” “beat-up,” and “dirty.” But something has been happening to me lately, and I think it might have something to do with maturity. (After all, I’ve even found myself listening to jazz music with some regularity.)

During Cheryl Demkowski-Snyder’s presentation on IJS Choreography, we were treated to a quick performance by elite ice dancers Kim Navarro and Brent Bommentre, skaters Cheryl coaches with Robbie Kaine. After a few earnest but low-level freestylers showcased their footwork sequences, Kim and Brent seemed, in comparison, to re-define “edgework” (and they did so in blue jeans after standing around all day…) I am a big fan of theirs, in part for their incredible basic skating skills and, even more so, for what always comes across as their real, honest enjoyment of what they’re doing. I think it’s important to remember and try to impart to our students that, while our seasons are planned around those precious and nerve-wracking moments of competing, it all starts with and comes back to something very simple: a pair of blades, a body (or bodies), and a sheet of ice, just like it did on the rivers and lakes of Philadelphia and on frozen surfaces around the world.

Later that night, as we sat at a standstill on the NJ Turnpike, I had to smack my own cheeks a few times to keep myself awake. Then, slap-happy in a rest stop parking lot, I even tried a few flying sit spins, employing the Doug Haw method (and absolutely no muscle control whatsoever). Back on the road, with the traffic finally moving, I had to admit to myself that, tired as I was, I was also excited to get back to work the next day. It’s like I was somehow getting nudged forward by everything that has happened before.  

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Please share: What rinks bring out the Skating Purist in you? Any fond memories of PSCHS? Click on “comment” below.

To read more about the history of PSCHS, check out:http://www.pschs.org/Set_About_main_history.htm

To see the schedule of upcoming PSA educational events, check out: http://www.skatepsa.com/Calendar-of-Events.htm

       

        

  

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I think the DVD is one of the more splendid modern inventions. (Perhaps only second to…the blog.) Not only do I appreciate the sleek design of these discs and their ability to swiftly arrive in my mailbox via Netflix every few days, I just can’t get enough of the Special Features, a.k.a. Extras, a.k.a. Bonus Material.

Even when I don’t particularly like a movie, I still immediately click around the DVD menu to find out how it was made or find some interviews with the cast. And when I really enjoy a film, I’ll often re-watch it right away while listening to the director’s commentary. On one recent occasion (Little Miss Sunshine), I was so enthralled by the screenwriter’s comments that I was strangely compelled to take notes. I’ve just always marveled at how great it must be to work in movies. I suppose, like any job, there are pressures (like an actor’s need to always look 25 years old, or a writer’s need to be ultra-creative then ultra-accepting when they completely change everything you wrote, or a director’s need to pull it all together) but, even if it isn’t all fun and games, it’s downright fascinating. At least from where I sit.

I was at a party recently with a friend whose boyfriend is a NYC fireman, and, as I’ve witnessed on previous occasions, everyone he met there had approximately 1,000 questions about his job: his hours, the frequency of fires, his smoke-filled adventures in the NYC subway tunnels, etc. I have found, as a skater and as a skating coach, this happens to us quite a bit as well. As much as I’d like to blab on about writing, the book I’m currently reading, my last vacation, or that crazy thing I witnessed on 2nd Avenue the other day, most people I meet tend to rope me into the topic they are most curious about: the world of skating.

This used to bother me and I’d try to skirt the issue by telling people ambiguously that I was a “teacher” or by answering the where-do-you-work question by naming a town. After all, I’d like to literally and figuratively escape from the rink every once in a while. But I’ve realized that it’s futile to resist the pull of widespread intrigue and might as well just embrace skating as the ultimate conversational piece that it is.

Many members of the general public claim that they can’t even hold their ankles upright (of course, we all know this is probably because they’re trying to skate in boots that are about as supportive as tissue paper). Therefore, they can’t fathom how we perform such acrobatic tricks on such skinny little blades. They do seem to vaguely understand, however, that it takes an insane amount of work and whole bushel loads of that clichéd skating commodity known as sacrifice. And it does.

People like to watch sports because athletes play out the human drama: the Us against Them, the Winners and Losers, the Triumph Against all Odds. We empathize with the struggles, the joys, the hopes, and the dashed dreams that sports demonstrate and figure skating has all of these things in spades. Besides, it’s beautiful, it’s sexy, and sometimes scary (especially pair skating and some of those ice dance costumes, my own collection included). To use one of Chazz Michael Michaels’s words, in Blades of Glory (when he’s on the treadmill and referring to a raunchy, nonsensical song he’s suggesting for a program), skating is Provocative. And this is one of the many reasons why Blades of Glory got the so-called “green light” (see all the lingo I’ve learned?) then became a box office hit, ranking first in U.S. ticket sales for two weeks running and remaining in the top 10 for 7 weeks.

As I mentioned in my last installment, the DVD Extras for Blades of Glory are worth watching. It’s entertaining to see these Hollywood stars trying our sport, loping around out there with the help of harnesses: I could watch hours of this footage. What I think is missing from these Extras is even more background on how they made the actors look like they are actually skating. Obviously, there was a lot of fancy footwork on the part of computers and digital editors, but there were also many skating stunt doubles doing real skating.

Since I wasn’t satisfied with the amount of insider information provided, I was thrilled to catch up with one of the stunt doubles, Tiffany Scott, who did the skating for Amy Poehler, the actress who played Fairchild Van Waldenberg. The questions I asked her are below. Tiffany Scott is a United States pair skater who, among many accomplishments, was a U.S. National Champion and a 2002 Olympian with partner Philip Dulebohn. 

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Jocelyn Jane Cox: How were you chosen for the part? 

Tiffany Scott: I was at 2006 Nationals, and Judy Blumberg came up to me and randomly asked me how tall I was. I had no idea why, so I told her, and went about my day.  Later that night, just as I was running out my hotel room door to catch a bus to the rink to compete in the short program, I got a phone call from the casting people (apparently I was tall enough).  It was such a strange phone call that I didn't really believe it, so I asked them if they could call me back the next day.  They did, and I got more details.  From there, I flew out to CA for some photos (to see how well I matched Amy Poehler).  I was literally there for 2 hours, and flew back home.  A few weeks later, I got the call that I was a match!

JJC: Where did the shoot take place? 

TS: My part was shot in L.A.

JJC: How long were you on the set?

TS: I was there for 7 weeks last summer.

JJC: What kind of skating tricks did you have to do? And, in the final cut, what scenes include your skating?

TS: The tricks that we did were really not technically difficult.  Actually, a lot of my skating was cut (because there wasn't enough time to include it all). Originally, we had a whole routine in the Marilyn Monroe/ JFK costumes at the end. As far as what was me in the final cut, it is hard to say.  There was such high-quality editing that they were able to use a face replacement technique.  They placed Amy's face onto my body!  They did such a good job that it is really difficult to tell when it is her skating and when it is me. In a few spots, they didn't have to use this technique because we look enough alike that it didn't matter.

And since I am a lefty, I have always done everything rotating to the right. But the skating double for Will Arnett, Patrick Hancock, was a righty, so I had to learn everything the other direction!  I even did a headbanger in the opposite direction.  No throws or jumps, though.  When I came back home and tried to skate lefty again with Philip, it felt really weird.

JJC:  What was it like wearing the hilarious hip hop costume of Fairchild's?

TS: The costumes were amazing.  The designer (Julie Weiss) was incredible. Also, because we look so much alike, I got to try on all of Amy's skating costumes and model them in front of the directors and cameras so they could figure out the lighting, and the look.

JJC: What was it like working w/ Amy Poehler and the rest of the cast? 

TS: I can't say enough about how great Amy is (and all the actors).  She was so sweet, funny, down-to-earth.  The first thing she said to me when we met was how much she admired my skating.  This really meant a lot to me. And all of the stars were so talented.  Will Farrell, John Heder, Will Arnett- they were all fun to work with.  Will Farrell was so funny - everyday he made so many people laugh that the camera men and crew, and everyone else backstage had to be careful not to laugh out loud when they were filming!  A lot of the lines he came up with on his own. I have no idea how he comes up with what he says, but it is really hilarious.

John Heder was really motivated when it came to learning how to skate. He learned a waltz jump and a toe loop.  I even taught him a bracket. He definitely has potential!

JJC: What was the best part about this experience? 

TS: The best part was learning about what life is like as an actor, and what goes into making a movie.  It is very interesting, and I am so grateful that I had the opportunity to learn about it.  I never realized how much detail goes into movie making - every angle, every segment, etc.  They could spend an entire day setting up and filming for a 3-second shot!  The directors were so good that they captured every possible angle, and never missed even the most minute detail. 

JJC: What are you up to these days? 

TS: These days I am really busy coaching, going to school at the University of DE (I graduate in May), coaching the University of DE Collegiate team.  I am also producing a skating show at Longwood Gardens during the holiday season. (Yes- Philip and I are coming out of retirement for that one!)

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Thanks so much to Tiffany for her time and thanks to you, for reading. If you are still itching for more behind the scenes info from Blades of Glory, watch a great interview with Chad Brennan, the skating stunt double for Will Ferrell, at:  http://www.youtube.com/watch?v=IwVpF65yY20 

And check back here next Tuesday when I will regale you with my impressions of the PSA Seminar at the Philadelphia Skating Club and Humane Society (possibly the most scenic rink in the country).