Mechanically Advantageous Endgaining Report

* The bending of the knees and the use of the leg muscle groups to perform the skill.

Besides ensuring increased academic achievement, the use of instructional strategies should not produce affective loss. Moreover, the instructional strategy that produces positive affective results is the most effective teaching strategy. In order to achieve effective teaching fully, vital understanding of the effective teaching practices, the students, teaching contexts, coherent decision making and learning environments is significant (Dahlberg, Moss & Pence, 1999).

what they are learning, but after a long day of learning other concepts in different classes, they

*John Guido and Sherry Werner make a point that “The stride leg functions to dynamically stabilize the hip and knee joints in a single leg stance to maintain standing posture for

Extend your left / right leg behind you, and bend your front knee slightly. Your heels should be on the floor.

I am a dancer who learns by seeing the movement being taught step by step then I expose myself to the new step procedure. I have difficulty with copying and mirroring because my mind cannot process different directions. It gets easily as I continue the step and actually slowly do it myself, but I build up the pace as I actually get the steps myself. I also notice my body is stiff and that has always been one of the challenges I noticed being a dancer. When I learn something new I create this tension that stiffens my spine and it only becomes relaxed once I clearly know the passages myself.

This should be possible by lying on back and lifting the leg, when the pelvis begins to tilt in reverse and the back levels to the floor stop. The leg ought to go to around 80 degrees.

Students may become more interested in the object than the lesson that is being presented.

While keeping your heel at your buttocks, gently arch your back so your head, shoulders, and hips line up.

Paulo Freire says, “The student records, memorizes, and repeats these phrases without perceiving what four times four really means.” A student only grasps what the teacher has taught them. An example of my own would be in English class when we learn about grammar rules and pun cation. We learned about the grammar rules and how they could affect your paper if you do did not know them. We never actually learned what they meant. A problem posing class in math would be the teacher and student trying to come up with a way that the student can understand how to do problems. Also, the student asking the teacher questions about different ways they could solve the problem successfully.

As a direct entry into the second year at Central School of Ballet, it is fair to say that my approach to my training has altered significantly since leaving my previous school. Reflective practitioner Donald Schon states that “A practitioner’s reflection can serve as a corrective to over-learning". I believe this directly links back to the mindset I had adopted in my previous years of training, which was to constantly acquire information on various approaches to classical technique, in order to progress my training in unrealistic time frames which I set for myself. Whilst, it is important to keep an open mind to the wealth of information available to dancers today, I also feel an equal amount emphasis should be placed on honing and refining the technical skills, already been obtained through years of daily training.

Moreover, assimilators usually like to evaluate pros and cons, enjoy lectures, use logical and detailed thinking to learn as they prefer thinking to acting. Soylu et al, (2009) noted “students having assimilator and convergent learning styles have common ability to organize and use the information they acquire from the text.” (p.47). Therefore, utilizing suitable teaching techniques and methods is an important factor in their success.

Begin by squatting with your feet as close together as possible, keeping your heels on the floor if you can; otherwise, support them on a folded mat.)

Breathe in, while slowly lifting your lower back, middle back and upper back off the floor. Gently roll in your shoulders. Touch your chest to your chin without bringing the chin down. Support your weight with your shoulders, arms and feet. Feel your buttocks firm up in this pose. Both your thighs should be parallel to each other and to the floor.

It is a common phenomenon for there to be a correlation across seemingly unrelated disciplines. In particular, Edward Warburton’s research blurs the lines between the arts and STEM. His paper, “The Cognitive Benefits of Movement Reduction: Evidence From Dance Marking”,1 analyzes how marking in dancing — minimizing movements to reduce physical strain during long rehearsals — can also be cognitively beneficial to performers. The paper1 questions if performers are able to perform a better routine by practicing it “full out” or utilizing marking techniques. He calls this the “embodied-cognitive hypothesis” which challenges the general consensus that more body movements equals lighter cognitive load, by instead suggesting that full-body movements could cause more cognitive strain than previously thought.