PERSONAL TRAINING/COACHING

 
 

 

FIGURE SKATING

 

THE SKATING CLUB OF BOSTON

FIGURE SKATING

 

BIOGRAPHY

When a young person commits to the serious training required to become a classical ballet dancer, it is understood that you are making a ten year commitment to mastering your instrument. This instrument is the human body, and the way in which the body can be used depends almost entirely on how it has or has not been trained. As a student in ballet you train individually mastering your own body before you train attached to someone else. There is a very sound reason for this progression: you must first achieve a knowledge, awareness and control of your own body, an understanding of your own strengths/weaknesses, and a mastery of your own momentum.

When I first began working with skaters 24 years ago, it was apparent that a ten year commitment to training before performing and competing was not possible. In fact, it was apparent that little time was allotted to such individual training before the pressure to produce and achieve was demanded.

Unlike foreign competitors, especially the Russian skaters, who come to competition with many years of training and knowledge of their bodies (as well as bodies selected for natural talent and compatibility for skating), American skaters do not have the luxury of time or money to devote to the necessary prerequisite training; in short, American skaters enter competition without fundamental knowledge and understanding of their own bodies. I realized that an efficient off-ice training system was crucial.

I trained as a professional ballet dancer, and had subsequently applied the understanding, process and training of ballet to athletics. Ballet is a wonderful complement to athletic training, but unless you have the ability and time to translate ballet technique to the ice or a pro that can do this for you the investment in such technique can be ineffective with the potential to lose interest and abandon the effort, wasting valuable time and expense.

An off-ice training program is ultimately most valuable when it remains an ongoing and consistent part of a skaters total training program. I concluded that in order to teach and achieve the most in the shortest period of time I would have to translate the ballet technique to skating for the skater. Balletics for the skater was created to teach skaters how their bodies work and how to get the most out of their bodies, as well as protecting them from the potential injuries associated with training and performance. In my opinion, the relative lack of knowledge and application of biomechanics in the training process is a basic weakness in this process, but such knowledge is the core of balletics from which all evolves and develops.

My goal has always been and will always be the pursuit of each individual's joyful excellence through knowledge and discipline: to set them free through discipline and knowledge and to see them fly.

 

ON THE WEB