Periodization: A Framework for Dance Training

Description

The training of elite dancers has not changed in the last 60 years; it is often only those that have survived the training that go on to have a career, not necessarily the most talented. It is time to challenge and change how we train tomorrow’s professional dancers. This book brings you the reasons why and all tools to implement change. 10 years ago, Matthew Wyon and Gaby Allard introduced a new pedagogical approach to training vocational dancers: Periodization. This ground-breaking new methodology provides an adaptable framework to optimise training - it’s goal-focused, fits to performance schedules, and is highly sustainable for the dancer. It is the future. For the first time, Wyon and Allard have put their discoveries to paper. Periodization provides clear context to why change is needed, and explores the theoretical underpinnings of this new approach and how it can be effectively applied to a dance environment. Cover Halftitle page Title page Copyright page CONTENTS FIGURES TABLES PREFACE Introduction FIT FOR A REASON, MOTIVATION OF THE CONCEPT OF PERIODIZATION FOR DANCE TRAINING Gaby Allard’s story Matthew Wyon’s story PERIODIZATION FOR DANCE EDUCATION: FIRST INTRODUCTION A SHORT HISTORY OF THE COLLABORATION: HOW DANCE EDUCATION AND APPLIED SCIENCE MET HOW TO USE THIS BOOK ON A PERSONAL NOTE: ‘ARE YOU AWARE OF THE RISKS YOU’RE TAKING?’ APROPHETIC WARNING OR DISCLAIMER? PART ONE Explanation of the concept 1 From the educational/didactical perspective ArtEZ School of Dance: periodization for dance education The curriculum outlines Design principles One four-year training cycle; four annual plans Learning tracks and cycles Circle of Guides Periodizing theory and practice Making it all fit 2 Periodization: A sport science perspective Importance of planning Development of the biomotor abilities Coaching teams Athlete education 3 Periodization: A psychological perspective Introduction Theory The complex system of training successful dancers Bronfenbrenner’s Bioecological Model Gagné’s Integrative Model of Talent Development Self Determination Theory and motivational climate 4 Developing a coaching philosophy for talent development Indicators of coherence Diversity of coaching styles within the coaching team Coach development Summary 5 Getting the most out of class: Motor learning in a person-centred dance education curriculum Derrick Brown Introduction Cognitive stage Associative stage Autonomous stage The interwoven, integrated process of learning PART TWO Culture change: more than a schedule – a radical turn around 6 The start One for all, or all for one? Finding the end goal Identifying the (new) end goal 7 Who does what? Back to the origin of the (dance) class 8 Train the trainer Intensity vs. difficulty 9 Beginner’s mistakes Dancers just want to dance: the importance of feedback and feedforward From the teacher’s perspective From the student’s perspective PART THREE Applying the science 10 Periodization Goal-setting Annual phases In-phase priorities 11 Macro- and micro-cycles Timetable priorities A note about guest teachers and choreographers Be flexible 12 Goal-setting revisited 13 Training load Fatigue and technique Technique emphasis Training intensity and load Preparing for rehearsal and performance Monitoring the training load by dancers/students PART FOUR Curriculum change: it doesn’t happen over night 14 The influence of the external Working with guest teachers and/or choreographers within a periodized programme 15 The risk of relapse: Look who is stressing now Resisting relapse: old habits die hard 16 The power of self-regulating students Empowering the students’ voice 17 The teachers’ perspective Erin Sanchez Introduction What was your previous knowledge of periodization at the start of the project? What do you see as the key moments in the process of the innovation of periodization? How has periodization changed your current teaching practice? What’s the most rewarding part of working with periodization as a method for structuring the education programme? What’s the most difficult part of periodization? How do you inform the students about what you expect? What do you see as the benefits that are measurable from periodization? What has changed in the build-up of your classes? What has changed in how you see your contribution to the curriculum? How could an outsider recognize an ArtEZ dancer in relation to the system of periodization? Is there anything else you want to share about your experiences with periodization? PART FIVE Other things to think about 18 Physical fitness training Cardiorespiratory components Muscular training Plyometrics Core training Flexibility Warming up and warming/cooling down Fitting it all in Rest and holidays Fitness testing Training programme examples REFERENCES APPENDICES INDEX