Off-ice training for figure skaters: Why, What, When and How

Our guest columnist today is Lauren Downes (see right), founder of Sk8Strong Inc. Lauren has a MSPT (Master of Science in Physical Therapy), and is also a physical therapist, skating professional, and off-ice trainer who has worked with figure skaters since 1994. She wanted to share her thoughts about the importance of off-ice training, which some of us skaters (me included) seem to put aside when the season begins.

Off-Ice Training for Figure Skaters: Why, What, When and How
by Lauren Downes, MSPT

Off-ice training is a much buzzed about topic in the world of figure skating.  Many skaters do it, many coaches and trainers teach it, but do people really know how the details of how it should be done, and what it really is?  I’ve written this article to help skaters have a better understanding of the proper forms of exercise, how often exercise should be done, who should instruct the exercise, and why off-ice training exercises are important.

WHY should a skater do exercises off-ice?

Figure skating is a sport that puts significant strength and flexibility demands on the body. Athletes in other sports may say that figure skating is not a "sport" and it is more artistic performance, but they are quite wrong! Skaters are some of the strongest athletes in the world.

Some skaters have natural strength, balance, and core strength that will take them through the lower levels of skating quickly, but the majority of skaters need to improve upon each of those attributes in order to progress to higher levels. Once the "naturally talented" skaters reach a level at which double jumps and difficult spins are required, that natural ability will only take them so far. The core strength and plyometric strength requirements of the sport are significant, and at some point, a skater needs to build strength beyond what he or she naturally has. By completing an off-ice training program at least twice a week, skaters will progress their on-ice skills at a faster pace, and be able to handle the strength demands of jumping, spinning, and longer programs.

Below are some examples of the attributes a skater needs to succeed in the sport of figure skating.

• Core strength and stability: Core strength originates from the abdominal and back muscles. These muscles work together to act as a "control center" for the body’s balance and stability. In the sport of figure skating, skaters need exceptionally strong core muscles to maintain balance, check rotation and maintain a tight air position for jumping, control the center of spin rotation, and control the upper body position during footwork, stroking, and crossovers. 

• Balance: Think about how much of skating is done on one foot: almost everything! Some people are blessed with natural balance, but the majority of us need improvement through exercises. There are several factors which affect the sense of balance in our body. First, our vestibular system (the inner ear) helps us sense the body’s position while we are moving. Second, the eyes help us detect our surroundings. Third, and most important for skaters, the balance receptors in our feet and lower extremities tell us where our bodies are in relation to the ground.

• Strength and power: Without muscle strength, a skater would skate very slowly, have small jumps, have shorter and slower spins, and would tire easily in a program and in practice sessions. Strength creates power and can improve endurance, and is the number one necessity for a skater to improve and become consistent. Through exercise, a muscle’s fibers become tighter and stronger, and can withstand more repetition for longer durations when asked to contract.

• Flexibility: Spirals, biellmans, split jumps, spread eagles...just to name a few elements that require extraordinary flexibility. Muscle flexibility controls the angle of the knee, hip, and ankle joint on a jump take-off and landing, and a small deficit in muscle length can affect the quality of a jump. Joint position and motion, controlled by the surrounding muscle length, also affects the angle of the joints in the lower extremity during basic stroking, crossovers, spins, and footwork. Each joint in your body needs a balance of flexibility on all sides to move in the proper range of motion.

WHAT kind of exercise should a skater be doing?

In the past ten years or so, sports training has progressed from solely using weight machines to using an athlete’s body weight as resistance in exercise. Many functional exercises incorporate the use of several muscle groups at one time, instead of exercises focusing on the contraction of a single muscle. How is this more beneficial? In every sport, an athlete moves his or her body in various planes of movement which require several muscles to co-contract at the same time. Each joint requires the strength from several muscles to stabilize it for the action it performs. Functional exercises train the body in these planes of movement to mimic the motions performed in sports. Many sports require a high degree of strength that an athlete may not have naturally; that strength needs to be created through additional training. Figure skating is no exception.

WHEN should a skater do off-ice training exercises?

Each skater’s training routine and requirements are different, depending on the skater’s level, schedule, and goals. A national competitor may do off-ice training five days per week, as opposed to a recreational skater’s program of one day a week. It is recommended to complete two to four days of off-ice training per week, depending on your level. Even if you choose to complete an off-ice training routine per week, you will show gains in strength, flexibility, and on-ice consistency. You take your training into your own hands, and control your own progress. You can find sample off-ice training periodization schedules through usfigureskating.org or in the Sk8Strong Off-ice Training for Figure Skaters Manual.

HOW do I start an off-ice training program?

There are several resources available to guide you through an off-ice training program specific for figure skaters. Sk8Strong has produced DVDs specific to each level of skater, and there are several off-ice training manuals in circulation. It is always recommended to consult with a health professional to evaluate the need for certain exercises and determine if a skater is using proper technique. If you are working with a trainer, make sure that the person has a degree in a health related field, ideally a physical therapy degree. There are also several respectable strength and conditioning certifications available from the NSCA and NASM, such as the "Certified Strength and Conditioning Specialist" and "Performance Enhancement Specialist" designations. It is important to work with someone qualified, to avoid injury and receive the maximum benefit from your training.

About Sk8strong
Under the direction of Stephen Conca, a strength and conditioning specialist, Lauren and Sk8Strong have produced four different strength and conditioning DVDs specifically for figure skaters, from beginner, to competitive, to adult. Each DVD provides detailed instruction, demonstration, and progression of each exercise appropriate for a skater's level. Click here to read Lauren's article entitled Functional training or gym machines: Which is better for skaters?

Hands: Classical hand training

Our guest columnist is Annette T. Thomas, a dance teacher and choreographer, who has trained at Carnegie Hall, the San Juan Ballet Company, and the Connecticut Regional Ballet Company under world class instructors. With 30 years of dance and figure skating experience behind her, Annette is certified in Russian Method Classical Ballet, and is a member of the Professional Skaters Association, U.S. Figure Skating, the International Association for Dance Medicine and Science, and the Wisconsin Dance Council. Annette began working with figure skaters in 1998 and has conducted numerous off and on-ice workshops in the areas of conditioning and artistry. She is also the author of Fundamentals of Alignment and Classical Movement for Figure Skaters, which has received international acclaim from ice and roller skaters and their coaches.

Hands: Classical Hand Training
by Annette T. Thomas

Previously I wrote about hand articulation and finger grouping. This article focus a little more on the ballet influence of hand training that is integral to becoming a more graceful and aware figure skater.

Your hands say a lot about you. They show the audience either tension or affectation (just flipping around and keeping occupied), or that you truly understand the music and the intention of the piece you are skating to. Training the hands to say exactly what you want them to say is part of what classical ballet teaches.

It is difficult today to find a ballet school which teaches correct classical hands and it is evident in many of today’s ballet performances that “hand training,” as it is called, has been fairly ignored. The result being stiff, merely stylized hands that are “stuck on” instead of being an integral part of the entire body line as well as expressing the quality and temperament of the character being portrayed.

The hand is the termination of the arm outline; it is what makes the arm dimensionally complete. …The leading role in the movement of the arms as they go from one position to another, or as they are opened and closed, is played by the hands. They give a colouring and direction to the whole movement, and concentrate in themselves the whole "life" of the arm.

[Original text translated from: V. Morits, N Tarasov, A. Chekrygin. “Techniques of Classical Dance Training”.  Moscow-Leningrad, 1940, p.14]

There are two basic hand positions initially taught in classical ballet: Arrondi (rounded) and allongé (elongated). At the beginning of training “Arrondi” is taught with the thumb held firmly against the 2nd phalanx of the 3rd finger in order to ingrain the correct finger groupings. Later, “scenic” hand positions as they are called are taught in conjunction with various roles being studied in the more advanced classes.

One of the most important factors in hand training is that the movement of the hand and arm itself is to be initiated from the fingernail tips and pads. [From Leonid Zhdanov, Margarita Yussim. “The Perfection of Dance” .1994, p.45 &p.47.] Training for sensitivity in every joint of the hand ensures that classically trained hands will “speak” to the audience as eloquently as each note is played in the music.

Figure 1 below: Arrondi from the preparatory position (beginning study):

Figure 2 below: Arrondi from second position:

Figure 3 below: Arrondi from third position (Cecchetti 5th):

Figure 4 below: Allongé 

Head, eye and hand training is an essential part of classical ballet training and should be introduced at the very first lesson. As the skating arena is so large, it may seem rather unimportant for figure skaters to learn the minutiae of this area of training, but an ingrained vocabulary of head, eye and hand training will provide such grace and articulation of expression as to travel with eloquence to the topmost bleacher.

In today’s skating scene of multiple jumps and contorted spin positions, hands are often left to flick around with little or no connection to the movement, music or character being portrayed. And never are they integrated into the entire body movement as a complete “composition” throughout the entire program. But times may change and those who work on hands as a language of communication in their current training will benefit both now and then. 

For additional information on feet, posture, movement, and pretty much everything else that figure skaters should concentrate on, please check out Annette's website Ballet for Figure Skaters.

Article and photos are copyright 2009 by Annette Thomas. Material may not be copied or distributed without the consent of Annette Thomas.

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Hands: Finger groupings are key to graceful movement

Our guest columnist is Annette T. Thomas, a dance teacher and choreographer, who has trained at Carnegie Hall, the San Juan Ballet Company, and the Connecticut Regional Ballet Company under world class instructors. With 30 years of dance and figure skating experience behind her, Annette is certified in Russian Method Classical Ballet, and is a member of the Professional Skaters Association, U.S. Figure Skating, the International Association for Dance Medicine and Science, and the Wisconsin Dance Council. Annette began working with figure skaters in 1998 and has conducted numerous off and on-ice workshops in the areas of conditioning and artistry. She is also the author of Fundamentals of Alignment and Classical Movement for Figure Skaters, which has received international acclaim from ice and roller skaters and their coaches.

Finger Groupings
by Annette T. Thomas

In my first piece on Hands, I discussed developing awareness and articulation in your hands to become a more complete skater. Today's post is all about finger groupings.

Hands are an extension of your entire body line so they should be artistically integrated with your arms, head, and torso movements. Ultimately this takes much more than just choreographing hand movements into a program. In classical ballet, Carriage of the Arms (Port de Bras) is considered to be the most difficult part of training, and hand training in particular to be the most painstaking and subtle part of work on the arms.  

Finger groupings (think:“The Creation of Adam” by Michelangelo Buonarroti, see right) are taught from the very beginning lesson in classical ballet as they make the hands look organized, graceful and free of tension. Precise finger groupings are acquired by years of daily practice in hand training and the result looks elegant and deceptively unstudied - freeing the accomplished artist to express the subtlest nuance of music and emotion.

Have you ever noticed how when you’re working hard on a skating element, your hands either get stiff and stick straight out or just flop around, or your fingers gnarl and spread into what I call “Frankenstein” hands? The problem lies in a number of factors beginning with the very natural difficulty of simultaneously trying to concentrate on the movements of legs, feet, torso, arms and head!

To help train the hands into the basic classical finger groupings, my Russian ballet teacher used to suggest a trick which has been passed down for generations in the Bolshoi School and that is to have the student hold a coin between the thumb and second finger throughout certain combinations done in the center of the room. I have used this in my classes for most of my teaching career with much success and have modified it in the past few years to include the below “fun” exercise with my skating students. First, you need two medium-sized lemons per student or for younger students, a bag of the large “LifeSavers™."

Hold the lemons primarily with the thumb and two middle fingers, leaving the first and little fingers free. For smaller hands, try holding the big LifeSavers™ between the thumbs and second fingers with the rest of your fingers stretched out. (see right) 

Place your arms in ballet “Second Position” (arms out to the sides, slightly rounded at the elbows and a little lower than shoulder height) with lemons “aimed forward.” Also try to keep your ears aligned with your shoulders and your neck “long.”

Stroke around the rink a few times in each direction while holding the lemons (or LifeSavers™) and stretching your arms out from your center. Try to feel a relaxed extension from the sternum and upper spine as well as your finger positions as you skate. You can also try practicing your Moves in the Field this way. 

Now put the lemons/LifeSavers™ down at the boards and stroke around again maintaining the same feeling throughout your neck, upper torso, arms and fingers. You will see an instant improvement in the appearance of your hands as well as your entire upper body line.

For additional information on feet, posture, movement, and pretty much everything else that figure skaters should concentrate on, please check out Annette's website Ballet for Figure Skaters.

Article and photos are copyright 2009 by Annette Thomas. Material may not be copied or distributed without the consent of Annette Thomas.

**CLICK HERE FOR MORE GREAT ADVICE FROM PROS!**

Hands: Developing awareness and articulation

Our guest columnist is Annette T. Thomas, a dance teacher and choreographer, who has trained at Carnegie Hall, the San Juan Ballet Company, and the Connecticut Regional Ballet Company under world class instructors. With 30 years of dance and figure skating experience behind her, Annette is certified in Russian Method Classical Ballet, and is a member of the Professional Skaters Association, U.S. Figure Skating, the International Association for Dance Medicine and Science, and the Wisconsin Dance Council. Annette began working with figure skaters in 1998 and has conducted numerous off and on-ice workshops in the areas of conditioning and artistry. She is also the author of Fundamentals of Alignment and Classical Movement for Figure Skaters, which has received international acclaim from ice and roller skaters and their coaches.

Hands: Developing awareness and articulation
by Annette T. Thomas

We often neglect our hands and fingers during training. They seem too small to matter, but stiff uncontrolled hands are a sure sign of uncontrolled tension throughout the body, just as elegant and expressive hands are a sure sign of total control. Hands are very much a communication device; they speak to the audience as much as your facial expressions do. Developing awareness and articulation in your wrists and hands will help you not only to communicate with confidence and style, it will also help you to integrate your hands into your entire body line and flow of movement.

Here are some basic exercises to help you work on awareness, strength, flexibility and articulation. Work each movement to its limit. From left to right: Fists, Splayed, Claws, Bowed back

You can find additional hand exercises in Annette's workbook Fundamentals of Alignment and Classical Movement for Figure Skaters. Article and photos are copyright 2009 by Annette Thomas. Material may not be copied or distributed without the consent of Annette Thomas.

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Point my toes? Don't you mean point my foot?

Our guest columnist is Annette T. Thomas, a dance teacher and choreographer, who has trained at Carnegie Hall, the San Juan Ballet Company, and the Connecticut Regional Ballet Company under world class instructors. With 30 years of dance and figure skating experience behind her, Annette is certified in Russian Method Classical Ballet, and is a member of the Professional Skaters Association, U.S. Figure Skating, the International Association for Dance Medicine and Science, and the Wisconsin Dance Council. Annette began working with figure skaters in 1998 and has conducted numerous off and on-ice workshops in the areas of conditioning and artistry. Below is an excerpt from her book Fundamentals of Alignment and Classical Movement for Figure Skaters, which has received international acclaim from ice and roller skaters and their coaches.

Pointing your toes
by Annette T. Thomas

In ballet, the command to "point your toes" is really inaccurate. The accurate command is to "point the foot" or extend the ankle joint straight down (plantar flexion) and then further extend the toes (not "crunch") in order to feel that you are stretching and lengthening the entire foot.

Crunched toes in a boot can cause foot and lower leg cramps and greatly increase the risk of injury. Crunched toes will also make it very difficult to straighten your knee as the calf muscle will be contracted. It is difficult enough to feel a pointed foot inside a skating boot, so I tell the skaters to push the ball of the foot and toes down into the floor of the skate until the heel begins to rise off the floor of the skate.

In the illustration below, you can see that when the toes are "crunched" (right illustration), the calf muscle shortens pulling the femur towards it. Extending and pointing the foot correctly (left illustration) allows the knee to straighten with ease.

(Mary Gainer illustration copyright 2006. Used with permission.) 

Annette currently teaches workshops in Russian Method Classical ballet, Folk and Character Dance, and works with skaters at the Wisconsin Figure Skating Club and the Kettle Moraine Figure Skating Club. For additional information on feet, posture, movement, and pretty much everything else that figure skaters should concentrate on, please check out Annette's website Ballet for Figure Skaters.

Article and content are copyright 2008 by Annette Thomas. Material may not be copied or distributed without the consent of Annette Thomas.

**CLICK HERE FOR MORE GREAT ADVICE FROM PROS!**