Periodization: A Framework for Dance Training

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