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PRINCIPLES OF DANCESPORT COACH

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In order to solve problems of any kind of relationship in the world of DANCESPORT, in the training process and professional career, it is important to handle as much information as possible about the interests of each of the parts of that system. For a coach, it is important first of all to see his own position on different aspects of sports dancing, and to see it in the most objective way possible.

Most conflicts and problems arise, generally, due to the wrong point of view about the interests of the process participants and their degree of responsibility for the results or problems.
So, what is the interest of the coach and his position in sports dancing.
As a general rule, the coach’s main interest is his recognition as a specialist among the students, their parents, work colleagues, judges, landlords of the place where he works, and in general in the great society of the dance world. And that recognition is not only achieved based on the results of their students. Equally important are the following components:
• the methodology of teaching;
• the psychological environment created by the coach at the club;
• the ability to build relationships with parents;
• the ability to build relationships with the dancers;
• the trainer’s income that is reflected in his appearance and way of life;
• the ability to plan and promote the career strategy of their students;
• the ability to support struggling students and encourage the less ambitious;
• the ability to normalize the relationship within the dance partner;
• the ability to build relationships with his aides and colleagues with whom the coach collaborates;
• the ability to defend the interests of its dancers within the competitive scope of the tournaments.
These elements and many other smaller details are what make a coach successful and competitive. Talented and experienced coaches have those skills in each of the areas named, and younger teachers are forced to learn from their own mistakes or to use the help of their more experienced colleagues or specialists in the fields of Psychology business, organizational advisors, relationship advisors.
I would like to clarify here the notion of «effective behavior». In Gestalt therapy, the terms «correct behavior model» or «incorrect behavior model» are not often used, because those notions depend a lot on the context. It would be more correct to accept that there are behavioral models that lead the individual to reach their objectives and satisfy their needs, ie effective models, and, on the contrary, there are other behavioral models that disorient or create obstacles, that is, not effective.
We return to the interests of the coach.

Of course, prestige, competitiveness, recognition are not the only interests of the coach in their work. The second very important interest is financial compensation, your salary. Teachers who overestimate their services are at risk of losing their jobs. On the other hand, those who establish very low prices or make discounts for their personal interest in working with certain dancers, risk creating a situation in which their work is not going to give them great results, because they allow the dancers and their parents to underestimate his expertise It is important to set such fees that reflect objectively both the professional level of the coach, as the specific quota of people with whom you work. And it must also reflect that concrete situation in which the professor finds himself in the current stage of his professional development.
With the «specific quota of people» I mean those types of athletes with whom that particular coach works in the most effective way. For example, one teacher works excellently with the children of the first three years of study, and another works best only with the dancers of classes D – B. The third one gives very well group classes, and the fourth is effective working with dancers individually or with few couples at a time.
Each teacher must realize what he or she knows best, and what is their weak point. The third interest of the coach is their personal, private relationship with the students and their parents. That is the most difficult, most complicated point of the job of coach. The problem is that most of them find it difficult to find the limit where the business ends and private, intimate contact begins, without destroying one thing or the other. In this area there are no unique tips for everyone, because that issue is very individual, as are individual personal and professional requirements of the coach to each of their students and their parents in each situation in particular. Here only their own experience and work with a psychologist can help them.
And the coach’s fourth interest, but no less important, is the possibility of growing and developing artistically in his work. If your work with the dancers seems like a routine with no opportunity to apply your creative ideas about the dance (if you have them), then you will most likely never feel comfortable in that environment. And even more difficult will be if in that situation of non-creativity will be forced to solve relationship problems. The main difficulty here is that, if the coach himself has a non-creative spirit in his work, then a certain psychological phenomenon is «turned on» that prevents him from seeing any creative initiative that comes from the dancers or their parents.
Many teachers will know from their own experience that the development of a relationship with many doubts, reticence, unreasonable expectations, sooner or later leads to misunderstandings and conflicts. And then the main thing is not how to resolve those conflicts, but how to prevent them, taking into account that the teacher, like any other person, is at work with many people of different opinions and points of view. Thus, the way to build relationships with people and prevent the emergence of conflicts becomes very important.
First of all, the coach must have a clear stance on his pedagogical role. I propose here a certain conception based on the Gestalt method. That conception has already proved its effectiveness several times.
In Gelstat there is a theory that combining several social roles in the relationship with the same person, does not allow to achieve effectiveness in any of them. For example, the combination of the roles of the coach and the father with the same child, or even with an adult.
Firstly, the combination of roles is not effective because it disorientates all participants in the relationship about their mutual rights and obligations. And that, as a consequence, creates many unreasonable expectations, transfers of responsibilities to one another, and in the end, the appearance of reproaches.
It would be wrong to think that this happens to the greatest extent with parents trying to get involved in the training process. With the same frequency we can see coaches spoiling their students as if they were their children.
Another mistake would be to believe that such a position of the coach would help the dancers to achieve better results or increase their appreciation. I think your own experience in that is even more convincing than my words.

Therefore, the main task of the coach in trying to build an effective relationship, is first and foremost not to confuse the roles himself. Then their own behavior will help to avoid creating precedents, not provoking parents, dancers and co-workers to inappropriate behavior, not to follow irrational behavior models, both alien and their own.
Of course, to be strictly within the framework of the role of coach and not to be partly nanny, partly a badly raised child for their students, parents and co-workers, the teacher must understand how the role of coach is different fromother roles.
Characteristics of the trainer role.
The coach is, first of all, a seller of their services. He clearly knows how much each service costs him and only accepts the payment in money, since money is a universal measure for any good or service. A barter is an exceptional solution for a trainer, because in a barter it is highly difficult to measure the equivalence of the mutual services. And here there is the danger of paying the land for unreasonable expectations.
In addition, a coach is a person who has a very specific professional qualification, limited specification and quite high, in that field of services offered.
The coach’s competence includes:
• the knowledge of sports demands towards the dancers of those age categories and qualification classes with which they work;
• knowledge of psychophysiological particulars of the dancers according to age;
• knowledge of the teaching methodology taking into account the above mentioned conditions;
• the determination of the regime and schedules of training, competitions, sports meetings;
• the organizational skills of the training process.

That means:
• no parent can teach him how to work with one or another class or age;
• the coach knows exactly what reaction can be caused by one or the other exercise;
• their teaching methodology is the most effective for each specific age;
• your training chart is calculated to get the best results;
• knows perfectly how to organize the training process and manages to fully organize it.
Everything that may be other than that, such as the charisma or the personal style of the teacher, is not part of the level of professionalism that allows you to work with dancers.
The coach’s competition does not include:
• determine the emotional or health status of the dancer;
• forecast the development of the dancer’s sports career;
• solve problems of a family, financial, academic or personal character of the dancer.
That means that the coach:
• must not be held responsible for the state in which the dancer comes to training;
• you should not know if that particular dancer is going to be a champion;
• should not be concerned with solving problems mentioned above of the dancer or family.
Taking into account all the points and conditions, the coach clearly marks his position and figure in the club in relation to each of the other participants in the system.


Author: Nina Rubshtein
source: Dancesport Dancers Channel

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ADJUDICATORS

Why go to a Training Camp and Which International Training Camps are the most famous for Dancers?

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In addition to daily training, specific preparation for a Competition or for a season is essential for an athlete. Usually, before the competition season starts, there are several Training Camps organized by great dancers or clubs. What is pursued by attending a Training Camp level is to closely observe other couples how they execute their technique and also receive valuable details of the main international coatches in thematic group classes, and in case you choose a particular class, get the «tailor-made» advice of a coach specifically understood in what you want to improve.

The aim of the Training Camps is therefore to help each athlete to become a better dancer through mastery of the technique and learn the key principles of Dancesport from the best teachers.

In recent years, we have seen a significant change in the Dancesport Approach. Currently you have the opportunity to be observed, analyzed and corrected by the world’s leading specialists. You just have to know what you want to improve and which teacher is ideal for you.

La imagen puede contener: 2 personas, personas de pie, calzado e interior

La imagen puede contener: 2 personas, personas bailando, calzado e interior

A level Training Camp must be well planned, structured. Group classes must touch different aspects and each teacher must contribute that subject or aspects in which it is more specified. The role of the organizer is essential by selecting the most suitable and elite International Coaches Panel. Not only choose specialists in Latin and Standard. There are coatches specialists in pure technique, others in the artistic manifestation, others scan you and tell you clearly in which aspects of the many that there are more lazy and you should improve, or in which dance you are below the others, perhaps because the choice of some figures that are not correct for your characteristics as a dancer. Sometimes the characteristics of the boy as a dancer are not ideal for dancing with the girl with whom he dances or vice versa. This happens because there are different «types» of dancers and sometimes in the couple «he is not for her and vice versa».

This has two solutions: that someone who understands you say it – difficult because it is a delicate matter – or be in the hands of a great specialist who knows how to look for the right figures and the correct execution of them to try to «join the water with the oil».

There are international teachers like Ilya Danilov who is a living Scanner. That is why they call it «ORACULUS». If he wants and you ask him, he can revolutionize your life in an instant. I could tell you: he is not for you or you are not for her. In 1 minute of your dance vision, he will know more about you than you can ever imagine. I could also tell you which figures are not for you and configure a program according to your characteristics. But be careful if you ask for maximum sincerity: you can leave a class confused with him.

La imagen puede contener: 2 personas, personas bailando, calzado e interior

https://www.facebook.com/ilya.danilov.7

It is better that you go with the very clear ideas of what you want to ask the teacher. The 45 minutes run very fast and are very expensive. The best thing is something specific, convey what you need in a specific way in the first minutes of the class. Before you, you must have made a reflection of the most important thing you need and the exhibition begins must be clear and concrete.

If you do not go with the concrete ideas, the teacher will give you a generic class that may be more successful or less, and you will know little by little. It’s up to you that the class is worth it.

A great international coach (not everyone) knows how to do this, but of course, it will not be easy to be offered or offered at the first. It is something that goes out of the ordinary, you will need an approach to that teacher to enter that field.

The normal dates to attend a Training Camp is in summer to prepare the competition season that begins in August-September. Also at Christmas-New Year. But there are other Training Camps at other times of the year that are very interesting to attend.

In a few years, we have moved from a few closed camps, focused on training, to several camps each month with the best teachers and couples from around the world.

So you understand that you can get a good Training Camp. I mention below the pros and cons of a Training Camp point of view of a dancer:

PROS
1. Time saving
You can have lessons with many teachers in the same place. You save money and time, compared to the previous system in which we needed to fly or drive each teacher separately.

2. Increased motivation
You can find a larger group of dancers to train. Your presence will inspire you and motivate you to do better. You will hardly find elsewhere the same adrenaline and energy you get during resistance training in a training camp.

3. Expand your device
You can expand your group of favorite teachers. In fact, it can sometimes happen that I book a lesson with a teacher just because he / she is on the training camp list. But in the end, you can get an unexpectedly surprising lesson. Then you wonder why, until that moment, you have never considered studying with that teacher.

You can also read our other article on how to find the right teacher for you here.

4. You will be noticed
Compared to competitions, the atmosphere in a training camp is generally more relaxed. The people around you have more time and will look at you with different eyes. If you really are a good dancer, but you still don’t have a large audience, during training camps people will notice you and start taking you into account.

5. Make friends
In a training camp, dancers can let others see how they really are in normal life. Teachers and other dancers can sometimes have a distorted idea of ​​you if they only met you during competitions. During a training camp, you have a good chance to turn your enemies into friends.

6. Level up!
It is very common to see a couple improve their level day by day during a training camp. Be it the amount of information, the quality of the lessons or the contagious emotion, the truth is that the training fields help you grow and improve. The truth is that it happens often and that is one of the main reasons why so many dancers attend training camps.

CONS
1. A training camp can be really expensive
A training camp can be quite expensive. If your budget is not large enough to be free-minded and simply take and leave, try to plan ahead. Start saving money!

2. Overprice
The actual price you will pay per lesson may be higher than usual. In fact, most of the time, you will have to pay an additional price that goes directly to the organization … This surcharge allows organizers to pay for plane tickets, accommodation and transportation for teachers.

3. The energy level.
The quality of the private lesson you get can vary greatly. As teachers are working up to 12 or 14 lessons per day. At the end of a long day, your teacher may not be able to give his 100%.

4. It will affect your program
As a training camp is generally not planned for weekends and lasts several days, it can be a problem for those who cannot easily get free time or reorganize their schedule.

5. Contradictory information
The amount of information you are going to get is huge and everything happens in a very short time. This will usually create some problems. Sometimes the information you receive is contradictory. A teacher will say one thing, and the other exactly the opposite. The funny thing is that both things may be true, but it is difficult to combine the information. You have to let the knowledge be absorbed.

In addition, it may not be easy to practice all the knowledge you acquired before starting the next lesson. Therefore, you can easily forget what you just learned.

6. Too easy? Too hard?
Very often you will see that there are different levels of participants, from juniors to seniors, from beginners to advanced. The teacher has to find a way to run a workshop that is interesting for everyone. But, this is going to be a problem for you.

Sometimes, they organize different groups for younger students or for older people. However, sometimes this is not happening and the group lesson ends up not being useful. For example, if you are a beginner and the teacher is playing a topic that is too difficult to understand or, conversely, if you are a high-level couple and the topic is too simple for you, time and money are you investing It won’t be worth it.

Once analyzed what can be useful to attend an International Training Camp, we will mention below the main International Training Camps both WDC and WDSF.

1. THE CAMP – Wuppertal, Alemania

But what makes this Training Camp so good?

First, it has some of the best teachers in the industry and the location, the Historic City Hall, is absolutely stunning. Everything is very well thought out and the purpose is to leave Wuppertal inspired and focused.

Here is the list of teachers of the 2019 edition

¿A qué campos de entrenamiento de Dancesport debes ir?

https://www.facebook.com/thecamp.cc/

2. Dancing Superstars Festival – Bremen

In 2019, the Dancing Superstars Festival will be in its sixth edition and is announced better than ever. The coaches who will organize the workshops are some of the greatest legends: Slavik Kryklyvyy, Catia Vanone, Fabio Selmi or Julie Fryer, to name a few.

https://www.facebook.com/DancingSuperstarsFestival/

3. Summer Dancecamp – Dinamarca

What is a summer without this Training Camp? Well, the perfect one would be Summer Dancecamp. Why is it perfect? They are, as they say on their website, an «independent dance camp for federations, dance schools, clubs and organizations: all are welcome regardless of their affiliation.»

World champions Kristina and Peter Stokkebroe and Frank Høgh are in their eighth year organizing this camp for all dancers of any level to come and learn from the best. For us, it seems the perfect environment where every dancer will feel welcome.

NOTICIAS ¿A qué campos de entrenamiento de Dancesport debes ir?

https://www.facebook.com/DanceCamps.dk/?tn-str=k*F

4. Edita Daniute International Training Camp – Trakai

It is organized in Lithuania between July 14 and 21, this Training Camp is organized by Edita Daniute, one of the best names in the world of Standard, is intended to develop all aspects of the Standard. You will have morning jogging, aerobic exercises and stretching, conferences and resistance practice.

Coaches: Edita Daniute, Mirko Gozzoli, Fabio Selmi, Pietro Braga, Salvatore Todaro, Catia Vanone, Alexey Silde, Alessandro Firmo, Marek Chojnacki, Michele Bonsignori, Anastasia Titkova.

5. Team Vivo Latino with la Grande Orchestra Italiana – Italy

Between July 19 and 21, in Italy, Team Vivo Latino is organizing the largest Training Camp for international training and competition in southern Italy. The Training Camp and the sson competition in Mariotto, which is 30-40 minutes away by car or transfer from Bari-Palese airport.

The Vivo Latino Team Training Field has one of the best coach selections.

6. S&F Camp – Moscow

The Training Camo S&F is organized by Alexey Silde and Anna Firstova, mainly dedicated to Latin. It is held at the Crocus Expo usually in early January and the second time is at the end of August and lasts 5 to 6 days. During these days, the schedule looks like this: in the morning you have stretching sessions, around 4 PM you will have general physical preparation and in the evening there are practice sessions.

https://danceimperia.ru/s-f-camp

7. ZK Camp – Moscow

The ZK camp is organized by Dmitry Zharkov and Olga Kulikova and is dedicated only to standard dancers. Like the S&F Camp, it is celebrated in Moscow at the Crocus Expo. The first ZK camp is in early January and the second time is in September and usually lasts 3 to 4 days.

The schedule of the day is divided into two parts: physical preparation and practice sessions at night. In addition, there are separate groups for children up to Junior II and separate groups for young people. In charge of these groups are the teacher assistants: Matteo del Gaone, Evgeny Nikitin and Anton Besedin.

🔵🔴⚪️ZK SUMMER DANCE CAMP ⚪️🔴🔵Every Tuesday 10:00-2:00pmAge 3-6 WelcomeHoly Cross Church Hall, CH49 7LS£10 per child Contact Zacc for more information ZK SMASH THE SUMMER 2016 ☀️☀️☀️

Posted by ZK Studios – School Of Dance on Monday, July 25, 2016

8. International Championships Preparation Quality Camp – Warsaw

It is organized by Lukasz and Aleksandra Tomczak from September 13 to 16 in Warsaw, Poland. As the name implies, this Training Camp is dedicated to those who are preparing to do their best in the International Championship that normally takes place in October of each year.

https://www.facebook.com/lukaszaleksandratomczak/

9. Mabo Training Camp – Italy

The third week of September you can usually participate in the Mabo Training Camp and receive valuable information from some of the biggest legends in the industry.

¿A qué campos de entrenamiento de Dancesport debes ir?

https://www.facebook.com/mistermabo/?__tn__=%2Cd%2CP-R&eid=ARBfHNKDb8B-feN2kUu99xMrKrSw9pbDe2y8ZamUtQ16pFiDYGm5jtNlsL_FuTbkf6tlJIA47qwPQzJ2

10. Transylvanian Grand Prix

The Transylvania Grand Prix is one of the most important dance events in Romania. The best WDSF couples from around the world attend and fight for a place in the final. The best thing about this event is the Transylvania Training Camp, which brings together teachers such as William Pino, Pietro Braga, Barbara Ambroz, Giordano Vanone, Colin James and many others.

https://www.facebook.com/TransylvanianGrandPrix/

11. Royal Dance Summer & Winter Camp Spain

Organized in the first week of January in winter, and in the first week of August in summer, the famous international coatch Karina Rubio organizes one of the most outstanding Training Camps, which also advances in prestige at times.

The cast of teachers that come is fantastic. It is a Training Camp especially prominent for Latin dances and very well organized.

La imagen puede contener: 14 personas, personas sonriendo

https://www.facebook.com/royaldance.cat/

12. Master Evolution Benidorm -Spain

Organized by a group of teachers such as Piegro Braga, Valeri Ivanov, Frederic Mosa, etc. (Dance Sport Team), a very special Training Camp is organized in Benidorm in January, just before the prestigious DANCESPORT CUP International Competition.

The organization works to create 2 specific events within the Training Camp itself: Mater Evolution Latin and Master Evolution Standard.

The cast of top-tier coatches is spectacular.

https://www.facebook.com/DanceSportTeam/?eid=ARDMbjRBj5U-OD_Zj6h3wD6S3vSAAF_CBOvUH1pPMctD4cXNNMCpQPo05R6OerOltmacM88xqqxfShyY

La imagen puede contener: 11 personas, personas sonriendo, texto

La imagen puede contener: 10 personas, personas sonriendo, texto

La imagen puede contener: una o varias personas y texto

13. Gold Camp Bilbao -Spain

In the middle of October of each year the Bilbao Dancesport Cup International Competition is held in Bilbao- Spain.

Just a few days before, a prestigious Training Camp is also organized, which every year enjoys a presence of couples and category.

La imagen puede contener: 18 personas, incluidos Mirjam Zwijsen, Barbara Nagode Ambroz, Ilya Danilov, Larisa Davydova y Raimonds Pisevs, personas sonriendo

https://www.bilbaodancesport.com/eng/

Por Frank Gascón – DancesportNews.info

fuentes:  dancesportlife

photos facebook.

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DANCESPORT

Do You Know How Many Hours Should You Practice?

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In this article, you’ll discover what to consider when planning your practice hours, taking your skill level and goals into consideration.

Practice What You Learn

As with any sport, your time spent practicing is as important as the information you receive from your teachers. It’s unreasonable to expect great results if you neglect training with a coach, but you can neither expect to reach the top position in a competition if you don’t practice further on your own.

This, though, is the only generalized statement I can make on the subject; the following advice is personalized.

Recreational or Competitive

First things first: define your approach to dancing.

Do you dance only for the fun of it? Perhaps you like to attend a few classes per week just as a recreational hobby.  If that is the case, then the program you find at your local dance school is perfect for you. With a couple of lessons per week, you’ll receive basic notions that will introduce you to different dances at your own pace.  You can enjoy time away from your everyday routine.

If you’ve moved further and have begun more regular practice, maybe you’re thinking of participating in competitions in the future… If dancesport is your primary activity, keep reading!

Different Levels, Different Needs

Let’s outline what I mean by the four following competitive stages:

  • The beginner is a dancer who—no matter the age group—is at the starting point of their competitive career.
  • Intermediate is the stage when you’ve danced in several competitions and have started to receive good results. You practice regularly.
  • An advanced dancer dedicates all their time to dancesport, apart from school or work. They’re aiming for very high results.
  • Pro dancers have made dancesport their life—it’s as simple as that.

Beginner 

For the beginner dancer, it’s very important to avoid overload. The body and the mind are not yet ready for a huge amount of technical information or physical hours on the dance floor.  Keep it simple and work gradually.

At first, you mostly need to develop your coordination and learn the basic principles of each dance. Thus, just a couple of hours of dance per day, 3 or 4 times a week is a good starting point.

Estimation: 6-8 hours per week

Intermediate

The intermediate dancer must surely practice more than a beginner.  At this stage, your confidence on the floor makes the biggest impact on your performance.  By now, you should have the correct technique, physical endurance, good floor craft, and a relatively good connection with your partner.

You can only achieve these skills through many hours of practice, including stamina training and specific group lessons intended to make your skills more competitive.

Estimation: 8-12 hours per week

Advanced

For the advanced dancer, there is nothing else but dancing. Of course, you attend school or to work, but otherwise, your focus is on the development of your dance career.

It’s difficult to estimate how much time you should spend practicing if you’re at this stage; it looks different for everyone.  Nevertheless, I can say that you should practice every day, with only one day off per week—ideally about 3-4 hours per day.

Your program should include:

  • private lessons
  • practice sessions
  • stamina practice
  • group lessons

How you use this time and how effective it will be for you is up to you and your coaches.  Ask for suggestions and try to find which kind of practice gives you the best results.

Estimation: 15-24 hours per week

Pro

The pro dancer really needs no suggestions. If dancesport is your life, you basically eat, sleep, and breathe dancing. Everything rotates around it; the schedule of your lessons is the schedule of your day. You eat when you have a break and you sleep when you aren’t in the dance studio.

At this point, what matters most is the effectiveness of the training. Choosing the right kind of practice, working out the correct concepts, and establishing the perfect relationship with your partner are much more crucial than the clocked time.

Estimation:  hours per life

Every dancer has different habits and different needs. Take the time to find what works best for you!

by Matteo Del Gaone
Original DANCESPORT LIFE.com article
You can read the whole article in the following link:

https://dancesportlife.com/blog/practice-hours/

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Interview to Mr. Andrius Kandelis international trainer, and organizer of INTERNATIONAL SUMMER CAMP KANDELA

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interview: Mr. Frank Gascón/ www.DanceSportNews.info

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