Post by coda on Jan 8, 2010 12:34:05 GMT -5
Peace and Blessings,
Below I have posted pieces of a book which I have been writing for the past 7 years of my life as a Bboy. I am blessed to know all of you and hope that some of this knowledge that I have attained through life and this dance I love so much can be carried over into your own lifes and applied individually to the next generations after you. I felt that I should put pieces of it up instead of entire chapters. This way it will give you a sense of what the entire book is going to consist of.... Its more than just battle strategies and teaching methods. In its totality it will be more like an autobiography of a Bboy.
An Organized Lesson Plan For Breakin-
It is proven more efficient and interesting to devote time to only one or two simple techniques/movements/freezes at a one-hour session than to have many unrelated and disorganized techniques crammed into it. The simple techniques being taught should be related to the preceding one in a progressive manner, and the breakin instructor should clearly define the technique/freeze/etc. and manipulate it in different situations with various rhythm, speed, and/or distance, or combine it with other simple techniques/movements/freezes/transitions/etc.
Students should learn something new in each class period, but one or two new techniques are enough for one session until the student begins to battle then he/she will stop searching for the accumulation of techniques; rather he/she will devote the needed hours of practice to the simple technique/footwork/freeze/etc. for its proper execution. It is not how much one learns, but how much one absorbs what he/she learns. The best techniques are the ones executed correctly. When battling occurs, stress the above thought and the students themselves will realize it is futile to search for more and more new creative techniques/freezes/transitions/steps/etc. Rather, they will devote the needed hours on practicing the correct execution of techniques.
Like Poppin and Lockin, Breakin is a step-by-step project which each maneuver must be repeated many times. First of all, help the student see what he/she is trying to achieve; encourage him/her to practice next, the same drill should be varied so that it will not become a chore. Show him/her different practice methods. Such as with a partner or using other matter.
Give rest periods, but during these short breaks, try to talk and/or demonstrate, but better yet, ask questions. The student will then think for themselves and solve their own problems. They will be involved with the technique rather than repeating it constantly, without thought. They have to be involved.
Give recognition where it is due. Compliments definitely stimulate more effort and desire to improve. Recognize and compliment each student accordingly to stimulate his/her desire to improve. Be generous with honest praising.
-True, we as teachers are holding the standards of breakin high. But, definitely not out of reach. As each new skill is perfected, raise the goal. Grow with the student. This is how the dance itself grows with respect.
A successful breakin instructor gains the confidence of his/her students. The method of gaining their confidence is by commanding their respect. You will win your students’ respect by your sincerity, integrity, determination, sense of justice, energy, self-confidence, and force of character.
A breakin instructor should exemplify the things he/she seeks to teach. It will be of great advantage if you yourself can do all you ask of your students and more.
Motivation-
A successful bboy training program requires the full cooperation of all the students. Bboy training must be done accurately and intensively if it is to be of value to the students. One of the best incentives to encourage greater effort on the part of the students is participation by the breakin instructor him/herself. Whenever a student performs with exceptionally good technique or results, commend him/her for his/her good performance as quickly as you could censor his/her bad. It is equally important that you praise the less-skillfull performers when the occasion merits. As a breakin instructor, you must be able to distinguish between poor performance caused by lack of ability or aptitude on the part of the student and poor performance caused by indifference or lack of effort. You should treat the first with patience and the latter with firmness. You must never apply sarcasm and ridicule.
Leadership-
The success or failure of the training program depends on the quality of its instructor. The best results in any breakin training program can be obtained only if the students are motivated to extend themselves completely in strenuous practices and to make every effort to perform all exercises, form, and techniques in the prescribed manner. Only the best leadership can inspire the students to cooperate to this extent.
The Instructor-
The most essential quality of a breakin instructor is the possession of abounding energy and enthusiasm. Students of the dance form invariably reflect the instructor’s attitude, whether it be positive or negative. As a breakin instructor, you must have complete mastery of each lesson and subject. Not only must you be able to explain and demonstrate the techniques/moves/etc, but you must know the best methods of presenting and conducting them. Mastery of the subject matter is the first step in developing confidence, assurance, and poise. As a well-prepared, confident breakin instructor, you will gain respect and cooperation from your students.
To be a successful leader, you as an instructor, must understand human nature. You must appreciate each student’s physical and mental difference and accept it for what it is. The better you understand your students the more successful your breakin instruction will be.
Communication-
The importance of proper communication in bboy/bgirl training cannot be overestimated. In reality, the performance of the students directly reflects the instructor’s communication. As a breakin instructor, you must listen just as much as the students. This is the key to good communication between you and your students.
Personal Teaching Philosophies-
3 Stages of B-boy Cultivation (My Goal For Every Student)
1. Learn the Fundamentals
2. Liberate from the Fundamentals
3. Return to Freedom
The ultimate goal of breakin is when learning gained is learning lost. This is the totality of a b-boy/b-girl.
Stress the use of manners just as much as the subject being taught. (“To be a TRUE respectable Bboy, you must first be a respectable person.” –Ken Swift)
A few simple techniques, well presented, and an aim clearly seen, are better than a tangled number of disorganized techniques. (Successful method of communication)
3 Stages of B-boy Knowledge (My Method of Teaching)
1. Understanding of Move: Name, Visual, Technique, Vocab.
2. Understanding of History: Creation and Evolution of Move.
3. Understanding of Reason: Importance and Compatibility of Move.
Repetition is the greatest preservation of learning. Practice slow to be able to execute with speed and precision.
In most cases the same tactics for each move must be drilled on the opposite side of the body for the proper balance in efficiency.
Freezes-
Should be focused clearly and distinctly, and should have the ability to be held for atleast 3 seconds each. Be able to execute each individual freeze from any angle or distance. Develop a sense of focus that will enable you to control and direct each freeze.
Its important for every student to understand that music itself is the true teacher. Meaning, the relationship between the music and the dancer is the true learning process.
The greatest student holds the “Need” to dance. Not the “Want” to dance.
Learning moves without inward experiencing can only lead to superficiality. This is why originality is of such importance because it flows from the learners true self.
Not every person can take lessons to be a good bboy/bgirl. One must be a person who is able to relate the training to the music and experience. Self-actualization is the important thing. My personal message to students is that I hope they will go toward self-actualization rather than self-image actualization.
In the artform of breakin, you must not be afraid of the floor. The floor is a bboy/bgirl’s greatest friend and is just as much as your body than the feet you dance with. Become one with it!
Peace,
Coda
Weaponz of Rhythm
Universal Zulu Nation
Below I have posted pieces of a book which I have been writing for the past 7 years of my life as a Bboy. I am blessed to know all of you and hope that some of this knowledge that I have attained through life and this dance I love so much can be carried over into your own lifes and applied individually to the next generations after you. I felt that I should put pieces of it up instead of entire chapters. This way it will give you a sense of what the entire book is going to consist of.... Its more than just battle strategies and teaching methods. In its totality it will be more like an autobiography of a Bboy.
An Organized Lesson Plan For Breakin-
It is proven more efficient and interesting to devote time to only one or two simple techniques/movements/freezes at a one-hour session than to have many unrelated and disorganized techniques crammed into it. The simple techniques being taught should be related to the preceding one in a progressive manner, and the breakin instructor should clearly define the technique/freeze/etc. and manipulate it in different situations with various rhythm, speed, and/or distance, or combine it with other simple techniques/movements/freezes/transitions/etc.
Students should learn something new in each class period, but one or two new techniques are enough for one session until the student begins to battle then he/she will stop searching for the accumulation of techniques; rather he/she will devote the needed hours of practice to the simple technique/footwork/freeze/etc. for its proper execution. It is not how much one learns, but how much one absorbs what he/she learns. The best techniques are the ones executed correctly. When battling occurs, stress the above thought and the students themselves will realize it is futile to search for more and more new creative techniques/freezes/transitions/steps/etc. Rather, they will devote the needed hours on practicing the correct execution of techniques.
Like Poppin and Lockin, Breakin is a step-by-step project which each maneuver must be repeated many times. First of all, help the student see what he/she is trying to achieve; encourage him/her to practice next, the same drill should be varied so that it will not become a chore. Show him/her different practice methods. Such as with a partner or using other matter.
Give rest periods, but during these short breaks, try to talk and/or demonstrate, but better yet, ask questions. The student will then think for themselves and solve their own problems. They will be involved with the technique rather than repeating it constantly, without thought. They have to be involved.
Give recognition where it is due. Compliments definitely stimulate more effort and desire to improve. Recognize and compliment each student accordingly to stimulate his/her desire to improve. Be generous with honest praising.
-True, we as teachers are holding the standards of breakin high. But, definitely not out of reach. As each new skill is perfected, raise the goal. Grow with the student. This is how the dance itself grows with respect.
A successful breakin instructor gains the confidence of his/her students. The method of gaining their confidence is by commanding their respect. You will win your students’ respect by your sincerity, integrity, determination, sense of justice, energy, self-confidence, and force of character.
A breakin instructor should exemplify the things he/she seeks to teach. It will be of great advantage if you yourself can do all you ask of your students and more.
Motivation-
A successful bboy training program requires the full cooperation of all the students. Bboy training must be done accurately and intensively if it is to be of value to the students. One of the best incentives to encourage greater effort on the part of the students is participation by the breakin instructor him/herself. Whenever a student performs with exceptionally good technique or results, commend him/her for his/her good performance as quickly as you could censor his/her bad. It is equally important that you praise the less-skillfull performers when the occasion merits. As a breakin instructor, you must be able to distinguish between poor performance caused by lack of ability or aptitude on the part of the student and poor performance caused by indifference or lack of effort. You should treat the first with patience and the latter with firmness. You must never apply sarcasm and ridicule.
Leadership-
The success or failure of the training program depends on the quality of its instructor. The best results in any breakin training program can be obtained only if the students are motivated to extend themselves completely in strenuous practices and to make every effort to perform all exercises, form, and techniques in the prescribed manner. Only the best leadership can inspire the students to cooperate to this extent.
The Instructor-
The most essential quality of a breakin instructor is the possession of abounding energy and enthusiasm. Students of the dance form invariably reflect the instructor’s attitude, whether it be positive or negative. As a breakin instructor, you must have complete mastery of each lesson and subject. Not only must you be able to explain and demonstrate the techniques/moves/etc, but you must know the best methods of presenting and conducting them. Mastery of the subject matter is the first step in developing confidence, assurance, and poise. As a well-prepared, confident breakin instructor, you will gain respect and cooperation from your students.
To be a successful leader, you as an instructor, must understand human nature. You must appreciate each student’s physical and mental difference and accept it for what it is. The better you understand your students the more successful your breakin instruction will be.
Communication-
The importance of proper communication in bboy/bgirl training cannot be overestimated. In reality, the performance of the students directly reflects the instructor’s communication. As a breakin instructor, you must listen just as much as the students. This is the key to good communication between you and your students.
Personal Teaching Philosophies-
3 Stages of B-boy Cultivation (My Goal For Every Student)
1. Learn the Fundamentals
2. Liberate from the Fundamentals
3. Return to Freedom
The ultimate goal of breakin is when learning gained is learning lost. This is the totality of a b-boy/b-girl.
Stress the use of manners just as much as the subject being taught. (“To be a TRUE respectable Bboy, you must first be a respectable person.” –Ken Swift)
A few simple techniques, well presented, and an aim clearly seen, are better than a tangled number of disorganized techniques. (Successful method of communication)
3 Stages of B-boy Knowledge (My Method of Teaching)
1. Understanding of Move: Name, Visual, Technique, Vocab.
2. Understanding of History: Creation and Evolution of Move.
3. Understanding of Reason: Importance and Compatibility of Move.
Repetition is the greatest preservation of learning. Practice slow to be able to execute with speed and precision.
In most cases the same tactics for each move must be drilled on the opposite side of the body for the proper balance in efficiency.
Freezes-
Should be focused clearly and distinctly, and should have the ability to be held for atleast 3 seconds each. Be able to execute each individual freeze from any angle or distance. Develop a sense of focus that will enable you to control and direct each freeze.
Its important for every student to understand that music itself is the true teacher. Meaning, the relationship between the music and the dancer is the true learning process.
The greatest student holds the “Need” to dance. Not the “Want” to dance.
Learning moves without inward experiencing can only lead to superficiality. This is why originality is of such importance because it flows from the learners true self.
Not every person can take lessons to be a good bboy/bgirl. One must be a person who is able to relate the training to the music and experience. Self-actualization is the important thing. My personal message to students is that I hope they will go toward self-actualization rather than self-image actualization.
In the artform of breakin, you must not be afraid of the floor. The floor is a bboy/bgirl’s greatest friend and is just as much as your body than the feet you dance with. Become one with it!
Peace,
Coda
Weaponz of Rhythm
Universal Zulu Nation
