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Periodization: A Framework for Dance Training [Mīkstie vāki]

(National Centre for Performing Arts), (University of Wolverhampton)
  • Formāts: Paperback / softback, 256 pages, height x width x depth: 216x138x16 mm, weight: 340 g, 26 bw illus
  • Izdošanas datums: 13-Jan-2022
  • Izdevniecība: Bloomsbury Academic
  • ISBN-10: 1350194522
  • ISBN-13: 9781350194526
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Periodization: A Framework for Dance TrainingPalielināt
  • Formāts: Paperback / softback, 256 pages, height x width x depth: 216x138x16 mm, weight: 340 g, 26 bw illus
  • Izdošanas datums: 13-Jan-2022
  • Izdevniecība: Bloomsbury Academic
  • ISBN-10: 1350194522
  • ISBN-13: 9781350194526
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Keywords:

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.

Recenzijas

Its real strength is the equal value placed on the input of different voices The text fully acknowledges complexities, while providing a clear and thorough explanation of concepts, their cross-connections, and applications; aided throughout by the useful inclusion of case study examples. This is a must-read for all involved in dance education and training; from administrators and management, to educators, varied practitioners, applied scientists and researchers. * One Dance Magazine *

Papildus informācija

This book introduces a new pedagogical approach to training dancers that has been adapted from the periodization concept, which is fundamental to training elite sportspeople.
List of figures
xi
List of tables
xiii
Preface xiv
Introduction 1(22)
Fit for a reason, motivation of the concept of periodization for dance training
1(1)
Gaby Allard's story
1(4)
Matthew Wyon's story
5(4)
Periodization for dance education: first introduction
9(2)
A short history of the collaboration: how dance education and applied science met
11(5)
How to use this book
16(2)
On a personal note: `Are you aware of the risks you're taking?' A prophetic warning or disclaimer?
18(5)
Part One Explanation of the concept
1 From the educational/didactical perspective
23(18)
ArtEZ School of Dance: periodization for dance education
24(2)
The curriculum outlines
26(1)
Design principles
27(2)
One four-year training cycle; four annual plans
29(2)
One study year; four phases, meso-cycle
31(2)
Learning tracks and cycles
33(4)
Circle of Guides
37(1)
Periodizing theory and practice
37(2)
Making it all fit
39(2)
2 Periodization: a sport science perspective
41(8)
Importance of planning
44(1)
Development of the biomotor abilities
45(1)
Coaching teams
46(1)
Athlete education
46(3)
3 Periodization: a psychological perspective by Erin Sanchez
49(16)
Introduction
49(1)
Theory
50(1)
The complex system of training successful dancers
51(1)
Bronfenbrenner's Bioecological Model
51(2)
Gagne's Integrative Model of Talent Development
53(3)
Self Determination Theory and motivational climate
56(9)
4 Developing a coaching philosophy for talent development
65(6)
Indicators of coherence
67(1)
Diversity of coaching styles within the coaching team
67(3)
Coach development
70(1)
Summary
70(1)
5 Getting the most out of class: motor learning in a person-centred dance education curriculum by Derrick Brown
71(14)
Introduction
71(2)
Cognitive stage
73(4)
Associative stage
77(2)
Autonomous stage
79(2)
The interwoven, integrated process of learning
81(4)
Part Two Culture change: more than a schedule - a radical turn around
6 The start
85(8)
One for all, or all for one?
85(3)
Finding the end goal
88(1)
Identifying the (new) end goal
88(5)
7 Who does what?
93(2)
Back to the origin of the (dance) class
93(2)
8 Train the trainer
95(2)
Intensity vs. difficulty
95(2)
9 Beginner's mistakes
97(4)
Dancers just want to dance: the importance of feedback and feedforward
97(1)
From the teacher's perspective
98(1)
From the student's perspective
98(3)
Part Three Applying the science
Introduction
101(2)
10 Periodization
103(6)
Goal-setting
103(1)
Annual phases
104(2)
In-phase priorities
106(3)
11 Macro- and micro-cycles
109(6)
Timetable priorities
111(1)
A note about guest teachers and choreographers
112(1)
Be flexible
113(2)
12 Goal-setting revisited
115(2)
13 Training load
117(16)
Fatigue and technique
117(1)
Technique emphasis
118(1)
Training intensity and load
119(6)
Preparing for rehearsal and performance
125(4)
Monitoring the training load by dancers/students
129(4)
Part Four Curriculum change: it doesn't happen over night
14 The influence of the external
133(6)
Working with guest teachers and/or choreographers within a periodized programme
133(6)
15 The risk of relapse: look who is stressing now
139(6)
Resisting relapse: old habits die hard
140(5)
16 The power of self-regulating students
145(6)
Empowering the students' voice
145(6)
17 The teachers' perspective by Erin Sanchez
151(32)
Introduction
151(3)
What was your previous knowledge of periodization at the start of the project?
154(1)
What do you see as the key moments in the process of the innovation of periodization?
155(4)
How has periodization changed your current teaching practice?
159(2)
What's the most rewarding part of working with periodization as a method for structuring the education programme?
161(4)
What's the most difficult part of periodization?
165(3)
How do you inform the students about what you expect?
168(1)
What do you see as the benefits that are measurable from periodization?
169(2)
What has changed in the build-up of your classes?
171(3)
What has changed in how you see your contribution to the curriculum?
174(1)
How could an outsider recognize an ArtEZ dancer in relation to the system of periodization?
175(2)
Is there anything else you want to share about your experiences with periodization?
177(6)
Part Five Other things to think about
18 Physical fitness training
183(32)
Cardiorespiratory components
185(4)
Muscular training
189(5)
Plyometrics
194(2)
Core training
196(1)
Flexibility
197(2)
Warming up and warming/cooling down
199(4)
Fitting it all in
203(2)
Rest and holidays
205(1)
Fitness testing
206(3)
Training programme examples
209(6)
References 215(14)
Appendices 229(1)
Annual training plan 229(1)
Macro- and micro-phase goals 230(1)
Index 231
Matthew Wyon, PhD, is a Professor in Dance Science at the University of Wolverhampton, UK. He is a founding partner of the National Institute of Dance Medicine and Science, UK and was the President of International Association for Dance Medicine & Science between 2015-17.

Gaby Allard, PhD student, conducts research on dance, both in the professional field and in dance education. She trained as a classical dancer at the Royal Conservatory in The Haque and had an extensive career as contemporary dancer at Danceworks Rotterdam. During her time as director of the ArtEZ Faculty of Theatre and Dance in the Netherlands, Allard initiated several research studies in support of designing a radical new philosophy on 21st Century learning.