Methods of Stretching

Dance UK information sheet. Warming Up and Cooling Down. By Helen Laws, Caroline and Matthew Wyon.

Static Stretch-
Static stretching is a very popular stretch and is one of the safest methods of stretching, static stretching can also be very popular for dancers recovering from an injury. Current research has been aimed towards static stretching, and it is not proven to prevent an injury but is an essential part of cooling down. This includes all types of stretching methods, all muscles should be warm before starting to stretch, so cooling down is a perfect time for deeper range stretches.
With static stretches you need to place yourself or a student into the correct position, gently move (not push) deeper into the stretch, the dancer should feel the stretch but it should not be causing pain. You then breathe slowly and evenly while holding the stretch for 30+ seconds during a cool down. If you are stretching during a warm up you should hold it for 10 seconds just for the muscles to relieve stiffness.
With static stretches if the dancer or dancers are completely warm you can then release for holding the stretch but then return to the same position and hold it again.

PNF Stretch-
This type of stretch is aimed to improve your flexibility and should only be carried out when dancers are fully warm. PNF stretching is a popular name for this stretching method but it stands for 'proprioceptive neuromuscular facilitation' the small sensors that identify muscle tension (proprioceptors) are used to achieve maximum elongation of the muscles without initiating the stretch reflex.
PNF stretching works in the way of finding a position that you can feel the stretch and again the dance should not be feeling pain. After holding the stretch for 10 seconds you apply resistance to the chosen muscle for 10 seconds, this stretch is often used when in partners. After 10 second you relax the muscle and gently increase the stretch to the point of feeling the stretch, not pain. Try and repeat this another 2 times.

Plate 17. Anatomy and Kinesiology for Ballet Teachers. By Eivind Thomasen and Rachel-Anne Rist (1996) PNF stretching technique, a partner assisting with a hamstring stretch.

Dynamic Stretch-
Dynamic stretching is often used during an effective warm-up, this type of stretching involves moving a muscle or joint through its full range, I slightly disagree with this part, as I believe full range stretches should be performed nearer the end of the class when the body is completely warm and supply, a cool down is perfect for full range stretching. But anyhow dynamic stretching is full range movement in a slow and controlled manner, you should not hold this stretch but continuously keep moving.

For example: if you wanted to stretch the hamstring muscles, you could use a slow grand battement, extending the leg devant, side and derriere. I believe less and less teachers are using this technique to stretch, after more research on different types of stretching most teachers know not to use full range stretches during a warm-up or the beginning of class.

 

Ballistic Stretch-
This type of stretching is similar to dynamic stretching, the only difference between these two is ballistic stretching is bouncing in a stretch, this means the speed of starching is fast and can be forceful. This type of stretching is rarely used, I can not say I use this type of stretching in my classes, you need to be sure all students are completely warm, warm enough for jumps, leaps and energetic movements otherwise this will lead to injuries and harming you or your students.
I think this type of stretch is becoming less and less popular. I think this is a dated technique which was very popular but after more research I believe there are better methods to stretch.
This type of method would be finding a full range stretch and bouncing or swinging at a fast speed, normally with your body weight pushing down to deepen the stretch.

Anatomy and Kinesiology for Ballet Teachers

This professional source has helped me a lot! 'Anatomy and Kinesiology for Ballet Teachers' written by Eivind Thomasen and Rachel-Anne Rist in 1996 (published by Dance Book Ltd.) Recently I have re-read section 3: The Dancer in Action I found the beneficial stretching, warming up and warming down, breathing and balance sections (found in contents) really helped me in my topic of interest. It has also lead me to research more into stretching and flexibility. Stretching was already a big part to my topic of warming up and cooling down, but researching into factor that affect flexibility and how a child's body develops and becomes less flexible around the age of 10 or 11 (dancers may improve their flexibility throughout adolescence.) After warming your body up dancers tend to perform mid range stretches and save full range during the cool down when the body is completely warm but I want to research more into this.

I trained at Tring Park School for the Performing Arts and during my time at this school the Director of Dance was Rachel-Anne Rist. She was one of my many ballet teachers and I also took dance A 'level and again Rachel-Anne Rist was one of my teachers on this subject. This was one of our books we revised for our exams so we spent many classes reading through and taking notes. Having one of the authors of this book teach and train me at college and having the opportunity to study this book together has really helped me and motivated me. I have also seen Rachel-Anne Rist name when reading 'ISTD Foundation in Dance Instruction' in the acknowledgements they thank ISTD staff for their contributions.

ISTD Warm-up

ISTD Warm up

I have recently been reading a source written by Hazel Fish MSc BSc(Hons) CertEd(PCET) MCSP SRP AISTD DipHSW and it has been posted on the formal ISTD website, but was first published for DANCE magazine, Summer 2002.

Why should we warm-up?

The majority of dancers that injure themselves when dancing is normally the case of not warming up correctly or not warming up at all, your body needs to be prepared and your mind needs to be focus which is why we need to warm-up, I know some injuries are unavoidable and this is not always the case. From a young age of being at school during PE lessons and elite athletes both know it is important to warm-up before exercising, this is what makes your exercise programme successful, and prevents injuries.

A large amouth of dance teachers and students do not understand what a successful warm-up should consist of, especially in ballet. Most ballet lessons start at the barre with plies, tendus, rond de jambe and so on, but your body should already be warmed up before any set exercise take place in the studio, this will ensure all students are prepared for class and the least likely chance of any injuries.

A good warm-up is a handful of exercises performed at the beginning of class, a dancers body needs to be fully warmed up before any activities. A warm-up is designed to improve performance standards, focus the mind mentally, and reduce any chance of injuries.

A warm-up should benefit a dancer a number of ways such as:

·         Increased elasticity of the muscle/tendon unit

After performing a good warm-up a dancers should feel greater flexibility in their joints, which reduces the risk of any injuries. Muscle elasticity depends on blood saturation, so when the muscles are cold (before a warm-up) with low blood saturation the muscles are much more vulnerable to damage. Your muscles are very alike a blog of Blu-tack, when Blu-tack is cold it snaps apart easily, but if the Blu-tack is warm it is able to stretch much more, this is how our muscles work too. During a warm-up all the warm blood travels through your muscles warming the muscle fibres to make them more elastic.

 

·         Breathing becomes faster and deeper

This allows the dancer to breath in deeper breath of oxygen and breath out carbon dioxide.

·         A rise in the heart rate

Oxygen and glucose travel to your muscles for energy production.

·         A rise in the internal body temperature

In our skin we have capillaries which open up when we start warming up, the dancer will begin to sweat.

·         More efficient transmission of signals along motor nerves

Muscles to contract smoother and react quicker, even our muscles have to coordinate with each other.

·         Improved proprioception

Proprioception is the body’s ability to sense movement within joints and feel a certain position, this enables a dancer to know where their limbs are in space without looking. Being able to feel the position on your body, and knowing you are in the correct position with the correct posture.

·         Time to focus

Allowing the dancer time to focus herself, being distracted and not having their full attention on the class will only lead to injuries or an unsuccessful class.

 

·         Increased joint range of movement

During the warm-up there will be an increase in the extensibility of tendons, muscles, ligaments and other connective tissues.

·         Change from parasympathetic to sympathetic control of the autonomic nervous system

Allowing your body to rest for small breaks and then exercising again

·         Redistribution of blood 

Your body is an incredible instrument, when warming up your blood is directed away for certain areas (for example the gut) and pumped towards other areas such as muscles etc.

·         Release of energy fuel from storage

Glycogen turns into glucose with the help of hormone glucagon.

The warm-up should be specific

When performing a warm-up you need to make sure the standard fits the dancer’s ability and especially their age. A 5 year old would be exhausted after warming up for a couple of minutes, but a full time dancer or student need about 10-15minutes to be completely warmed up and prepared for class. Many people forget or do not realise the fitter you are as a dancers the longer your warm-up should be, making sure it has the same effect on your body.

The warm-up should gradually increase muscle and body temperature without causing tiredness or reducing energy stores, it should not include technical steps or exercises, a warm-up should be easy to follow.

It is very important to remember who your warm-up is aimed towards, you need to take in to consideration what age are they and their level of fitness and relating the warm-up towards what they will be doing in class on that specific day. Concentrating on movements and exercises that will warm-up the correct muscle for what they will be using in class, relating a warm-up if you are planning on practicing grand allegro compared to partner work (both men and women would need different warm-ups in this case) or adage etc. Also being aware of which style of dance you are teaching, a ballet warm-up would be very different to a tap warm-up.

When warming up for a performing or just in general, the teacher needs to be aware of long rest periods, if you spend time on costumes, hair or makeup the body might lose the benefits of a warm-up they carried out earlier in the day. Many dancers spend a lot of time sitting around a theatre if they are not rehearsing their section or getting ready backstage, this is a mistake many dancers make.

Never let your kids sit in the 'W' position!

http://www.davidwolfe.com/kids-w-sitting-position/

I found this little article really fascinating. It is slightly off my topic of inquiry but I found it an interesting read. I have since then researched more into this sitting position. I always told my students not to sit in this position but I did not know it had this many bad effects to it.

12 TRAITS...

12 Traits of a Terrific Dance Teacher

By Nichelle (January 2015) personal blog.                     

“Apart from my parents, my teachers have done the most to shape my life.” George Lucas, filmmaker

This quote started her this specific blog off, which I really like. It really made me think about the responsibilities a teacher has, we help a child grow and improve in the topic you teach them. You need to have control over the class and most of all you want them to enjoy it. I like the quotes she has added in between subtitles, I think they add more emotion to the piece, I find this source more personal and it is her own blog.

1.    Love of dance- Every source I have found so far all agree on the passion and love of dance. I think you need to love dance to teach it every day, otherwise you would dread every day you wake up.

2.    Love of teaching- You have to enjoy being surrounded by children for many hours each day, which is not for everyone. You need to be full of energy all the time, fun, loud, discipline and lots more.

3.    Has been there and keeps going- I liked this bullet point, teachers need to remember more often what it is like to be a student. This comes back to understanding and listening to your students.

“A man should first direct himself in the way he should go. Only then should he instruct others.” – Buddha

This quote could also be applied to having the professional experience of a dancer before becoming a teaching, this is what my inquiry is about.

4.    Supports you- Every child needs to know they are supported by their dance teacher, they need to feel safe and having someone who believes in you and pushes you to your full expectation.

5.    Motivates you- All children need to see your love for dance which hopefully transfers to all your students, they should want to come to class and want to dance.

6.    Respects you- Respect works both ways. I think if they enjoy the class and feel comfortable with the teacher it will come naturally. You need to respect and listen to each other.

7.    Shows empathy- You need to understand each child is going through their own battle, some worse than others. But being there for a child, having someone to talk too or just time away from their problems, time to relax means a lot.  

8.    Can adapt and be flexible- A good teacher is always willing to try a different teaching method if they see the class have not fully understood the meaning or cannot undertake a new step. Sometimes it comes down to practice a step over and over again but also a new direction can help refresh a student’s mind. A teacher should have patience’s, time and the effort and be willing to go above and beyond to help her class achieve their goals.

“You can’t direct the wind but you can adjust the sails.” ~ Anonymous

9.    Cares- Having the right physical and mental health is both very important for the students and the teacher. Teachers should be able to give their students a safe area in which the students can try, fail and grow, which is the process of learning. Also being aware and understanding what a child is going through, being aware of all situations and supporting that child.

10.  Leads a process of discovery- All teachers need to bring something mad to the studio, something that makes it interesting for the students. Teachers need to be able to create a journey for their students but also questioned it. Making the children more involved, make them think about it, instead of the teacher breaking it down let the students help they will contain the knowledge more. Exploring and problem-solving makes the class fun.

11.  Speaks to every student- Translating difficult concepts of movement to students is a gift, and being able to explain it in lots of different ways until the whole class understand that movement, what it should feel like and what it should look like. It is important that a teacher takes in every student, and makes surely they all understand not just the majority.

12.  Creates a community- Creating the right atmosphere that children feel safe to explore and take risks, a teacher just not just teach their topic but teaches life lessons, motivating and pushes a child to do better!  

 

What Makes a Great Teacher Great?

 

 

 

Conclusion on ‘What makes a Great Teacher Great?’

Cheryl Jackson, Cindee Karnick-Davison, Mary Kooy and Richard Gerver are discussing what makes a great teacher great. This clip was uploaded on YouTube on 10^th May 2010. I found this video and I feel I really connected to it. This is based on all types of teaching so it is very open and not based on dance teachers but I think any teacher can connect and agree with this video.

The fact children are intelligent, they pick up on vibes from the teacher. You need passion! They need excitement, exploring and taking the correct journey helps children understand more. It is not just about vocabulary or learning from a text book etc. But the quality of progression, all teachers have high demands they need to succeed in, and it does not always come down to test results. I do think this is slightly different to dance teachers, good results are very important, but depending on what that exact class is aiming towards, sometimes it is better if they just enjoy some physical exercise, and have time to relax from home situations or school. Another reason why children start dance classes are for making new friends outside of school, I find I am closer to my friends at dance than I am to my friends at school, you have more in common but I am sure that is not the case for everyone. 

Children need to enjoy their classes and want to come, they need to be motivated, normally if a teacher enjoyed teaching and have passion for that topic, it comes across to the children.

All teachers need to emphasize, not always sympathising with a child, but understanding their situation, some will need to talk about it and some will come to class and be able to breathe if they are being bullied, or troubles at home, or just having a bad day. Teachers need to care, it cannot just be a job, and you are shaping their lives, like I said it is not about learning the facts from text books. But learning life lessons, teaching them to explore, create and motivate themselves, will go a lot further than copying from a text book. Experiments and storytelling from past experiences etc. helps teaching also.

Bringing all aspects of teaching into a classroom or studio, smell, taste or touch? In dancing it’s slightly harder but touch the muscles you are trying to work, look at the muscles working. Also this reminded me when I was at college we had improvisation, and using different emotions, seasons, food, and lots more as an idea for some chorography, to open your mind to a whole new level you had never thought about before.

Connecting to each and every one of your students is important, knowing what makes them tick? Which teaching method they best react to? They need to feel comfortable, protected, and cared for, each child is individual, and their backgrounds, culture, and families’ situations are all different. That need to feel special! They need this if you want them to trust you and build a good teacher student relationship. I think some teachers have too much control over the class sometimes, which sounds unnatural but it is a two way pull, I think a teacher needs to listen to their students just like the students need to listen to them. I think this comes back to respect but I know I have learnt a lot from my students also, sometimes weird animal facts but life lessons as well.

Some teachers lose their passion after a few years especially when they are pushing towards high exam results and all the other high demands a teacher needs to push for. Classes need to have a relaxed feel to them, and children should not feel too much pressure, or feel they are being rushed this is when they stop enjoying your class. But on the other hand you need to set high expectations for each student, they do not want to feel they have been forgotten about, and the class needs some sort of pace to it, otherwise it becomes dull and uninteresting. When discussing all of these skills it sounds literally impossible to fulfil all of them all in one class, but I think this comes down to preparing each class, if you have a set plan and know what you are aiming towards.

 

Literature Sources

I have been re reading one of my sources, which gave me a slightly different perspective after the summer break. I want to look into this more and find more sources and create a different angle to my topic. I still want to collect the same data and information but take a slightly different journey to get to my outcome. I still want to follow my plan of inquiry (module 2.)

http://www.telegraph.co.uk/education/educationopinion/11347131/You-dont-need-a-qualification-to-be-a-good-teacher.html