Possibilities and desires by Mikhail Radchenko

By Mikhail Radchenko

We and our bodies have certain possibilities. Also there are our desires. And these desires (achievement of a certain result) are above our possibilities. The task of the athlete on training to increase level of the possibilities that “the level of possibilities” appeared above “a level of desires”. Then the desirable result becomes achievable. Then the level of desires rises by new level, levels of possibilities are again higher and work on new possibilities begins.

And here is how them to improve? Unfortunately, even work on trainigs for 100 % doesn’t give real increase in “a level of possibilities”. Such work only allows to come nearer to the top borders of our possibilities, but not to recognize them. And only the hard work more than for 100 %, that is work “over yourself” gives the chance to learn borders of possibilities and to expand them.

Let’s consider one of auxiliary methods for improvement of the possibilities.

Effective improvement can be reached only at a combination of ideomotoric and physical training.

So, a brain – body where the program of future movement is formed, and other systems of an organism, first of all the musculoskeletal device, carry out the planned program. From that, programming and executing systems, and from that how successfully function, how well they are interconnected, quality of the end result of our activity depends.

In order that fancies of future movement were embodied extremely effectively, it is necessary to use them correctly. And to use absolutely meaningly, actively, instead of it is simple to rely on those processes with which the nature presented our organism. Representation as mental process, submits to certain laws.

Visualizations can be “visual”. In this case the person sees itself as though from outside, as if on the TV screen. It is necessary to understand well that such “visual” representations possess very small training action. After all in this case the impulses which have been given rise in a head brain, almost aren’t transferred to muscles which should carry out the conceived movement. Therefore work goes as though empty, there is no sufficient activity in the corresponding muscles. To gain due effect, all these “visual” images should be passed through yourself.

The effect of impact of visualizations considerably increases, if invest them with the accurate verbal information. It is necessary to represent not simply this or that movement, and at the same time to pronounce its essence inside yourself or in a whisper. In one cases of a word it is necessary to say in parallel with movement representation, and in others – directly ahead of it. How to arrive in each case, – practice prompts.

Starting to study a new technical element, it is necessary to represent its execution at the slowed-down speed how we it see at demonstration of the film, photographed slow motion method. The slowed-down cogitation of a technical element will allow to present more precisely all subtleties of studied movement and in time will eliminate possible mistakes.

Some words about so-called imitations. Simulating, carrying out as though in a hint real movement or a part it, the person helps formation of clearer idea of the technical element necessary to it, going, so to speak, from the periphery, from muscles, to the center, to a brain. So imitation of the most different movements which can be seen during warm-up – good help in preparation for performance of this or that difficult element.

But, simulating, it is necessary to connect executed movements with their fancy meaningly. If imitations is carrying out formally or in thoughts about something different, simulating actions won’t bring advantage.

So, in ability directly ahead of performance of movement to present it ideomotoricly and precisely, to call executed movement by the corresponding exact words – the essence of “an ideomotoric principle of creation of movements” consists.

So, to reach high precision of movement, it is necessary:

First, to create extremely exact fancy of this movement, at the beginning at least the visual;

Secondly, to translate this image, keeping its high precision, on rails  of ideomotorics, that is to make movement such, that after its fancy began (let hardly considerably) to function the relevant muscular groups;

Thirdly, to pick up programming verbal registration at least for the main – basic – elements in fulfilled movement.

To the fourth stage – physical execution of movement – can pass only after the previous conditions after the ideomotoric image of movement becomes exact and steady will be satisfied and muscles to which should execute the planned movement will be limbered well up”.

Observance of such principle of creation of movements as practice shows, relieves of many complications and yields the necessary result much rather, than a usual method “tests and mistakes”.

At last, it is a little about “a level of desires”, that is about results.

It is wrong to think of the end result directly ahead of competitions and during them. It is one of enough widespread mistakes.

When in consciousness the leading position is occupied by care of result, it forces out the most important – idea of how to reach this result. Here also leaves that, for example, the shooter thinks that to it is necessary to get to “ten”, this thought starts to disturb exact ideas of those technical elements without which performance to get to “ten” it is simply impossible. Therefore it also doesn’t get. “Overdid, very much wanted”, – speak in such cases, forgetting that for achievement of desirable result it is necessary to think not of it, and to lean on fancies of those actions which conduct to this result. And for the dancer here will be actual not only the technical moments, but also images presentation himself and an emotionality.

Mikhail Radchenko

Contributor
Ruud is a Dance Educationist & Psychotherapist www.dutchdancelab.com
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