Teaching People to SHRED. AASI Level 1 Squaw Valley Alpine Meadows Course Material

Transcription

1 Teaching People to SHRED AASI Level 1 Squaw Valley Alpine Meadows Course Material

2 Introduction As a team member of Squaw Valley Alpine Meadows you have chosen to brave harsh weather, slick roads, and seasonal paychecks, all in the pursuit of greater access to these mountains and their communities. You understand the culture of snow sports; you use it to breathe challenge, excitement, and camaraderie into your life. You are here because you have made a connection to these mountains, a connection so valuable that you leaped from vacation to vocation in an industry that more often than not yields dividends in smiles rather than dollar signs. You get it, and now you want to pass it on. The only way our sport will have vibrant future is through enthusiasts like you who understand the value that Snowboard recreation can bring to a person s life. Without your desire to create likeminded riders snowboarding could very well find its way into obscurity. I love my sport and my job, thank you for loving it to. Sincerly, Joshua Thompson-Bourrie AASI-W Team Member and Course Leader jthompsonbourrie@squaw.com

3 Understanding Snowboarding Topics *Snowboard Design *Board performance concepts *Movement Concepts *The four ranges of motion *The three phases of a turn *Load and release *Movement analysis Snowboard Design Snowboards can vary greatly in materials and construction, but most are made with a wood core steal edges, and a blend of synthetic materials a polymers. *Top sheet. This is the top of the snowboard usually a slick fiberglass surface. *The base. This is the area on the bottom of the snowboard that comes into contact with the snow. Bases are made of P-Tex a polyethylene plastic, and can vary in many different ways. *The edges. These are the metal strips that run down the side of the board. Edge material is usually steal but can vary from one board to another in temper and thickness. Edge grab or traction can also be effected by the sharpness and bevel of an edge*inserts. This is where the snowboard bindings are connected *Contact point is where the curve starts and finishes. *Toe edge is the edge corresponding to your toes. *Heel edge is the edge corresponding to your heels. *Side Cut. The shape/curve of the snowboard. The side cut radius is responsible for determining the size of turn we make. The radius can be adjusted by flexing the board.

4 Camber Profile refers to the shape the snowboard makes when viewed from the side. Different Camber profiles provide a different riding experience. Traditional camber, when a rider stands in the middle weight is distributed to the contact points for better edge control. Reverse camber, the riders weight is distributed to the center for ease of pivot and a looser feel on the snow. Flat Camber, the rider is responsible for distributing weight, Most universal. Camber Combination, many combinations exist and results vary. Board performance concepts (what our board can do) *Tilt. Tilt is a synonym for edging. (side cut adjust turn size) *Twist, (Torsional flex). Twist is a synonym for a snowboard s ability to flex torsionally; i.e. the front of the board is tilted toward the heel edge while the tail is tilted toward the toe edge. *Pivot. Pivot is a synonym for our board s ability to rotate on a variety of axis; i.e. pivot on the nose, pivot on the tail, pivot from the center. (edge bevel and rocker profile can make this easy) *Pressure, (Longitudinal flex). Pressure is a synonym for our board s ability flex nose to tail. Pressure is commonly thought of as the spring or pop of a board. Movement Concepts (what our body can do) *flexion and extension. Some joints in our body can flex/close and extend/open, like our elbow. Learning what muscle groups contract to make a joint open or close can aid in describing movements. *Rotation. Some joints in our body can rotate, like our shoulders. Knowing their limits and where a joint naturally lies when at rest can aid in describing sensation. *Isometric Contraction. Muscles can flex and apply pressure against a joint without moving it. This is commonly known as tensing up.

5 The four ranges of motion (how our body and board move together) *Foot to foot. This refers to our ability to move the core of our body over one foot, or move our board under our body resting dominantly on one foot. The common result is a weight shift followed by a flexing of either the nose or the tail. *Edge to edge. This refers to our ability to move the core of our body over one edge or the other of our board, or actively move the edge of our board under our core. The common result is a weighting of the edge accompanied by a tilt of the board. *Up and Down. This refers to our ability to move our core vertically above our board, or actively move our board vertically underneath our core. The common result is either a hop, (when the core rises through an extension of the ankles, knees, and hips) or a drop, (when the board leaves the ground as a result of a quick flexion of the ankles, knees, and hips). *Rotation. This refers to our ability to rotate our body over our board, or rotate our board under our body. The common result is an upper and lower body separation where the shoulders are aligned perpendicular to the board. (Note that each range is meant to focus on the relationship between a board performance concept and a movement concept. Note that multiple performance and movement concepts are taking place at the same time.) The three phases of a turn *The initiation. Here we make our first move resulting in a new turn. *The control. Here we actively redirect our momentum in a new direction. *The finish. Here we begin to release the leading edge, moving out of the turn. Turn shape *The three phases and the shape. The amount of movement make along with the shape (side cut) of the board has a dramatic effect on the shape of the turn. *Example A, closed turns. 1. Initiation. The rider twists the board as their core moves toward the nose and the inside of the turn. 2. Control. The rider is balanced evenly over both feet and the board is tilted the same throughout. 3. Finish. The ride twists the board slightly in the other direction as their core moves out of the turn. *Example B, open turns. (Faster) 1. Initiation. The rider tilts the board slightly while their core remains relatively centered over their board. 2. Control. The rider moves their core from the center of the board slightly back resting over the back foot. 3. Finish. The rider moves back to the center and flattens the board. *Example C, box turns (Beginner Turns). 1. Initiation. The rider starts with their board flat an in the fall-line, then twists the front of the board to engage the front contact point, the tail is still flat and the board pivots. 2. Control. The rider engages the tail of the board by tilting it, reducing the pivot, creating a controlled skidded traverse. 3. Finish. The rider twists the front of the board to flatten it out releasing the nose to seek the fall-line, as the board moves downhill the rider flattens the board releasing the tail.

6 Load and release *Snowboard load. This accurse when our board is flexed in a way that it stores energy. This can happen from the movements we make, or external forces like the takeoff of a small jump. *Snowboard release. This accurse when stored energy in the board is released and the board returns to its manufactured shape. *Snowboard L & R in turns. When we flex our board in the control phase of a turn we use body movement and momentum to load the board, the release occurs as we lessen the edge pressure often accompanied by a weightless sensation as we move from one edge to the other. *Snowboard L & R on jumps. As we ride up the transition of a jump gravity and the weight of our body push down on the board flexing it to the shape on the transition. As our snowboard s nose looses contact with the lip of the jump the stored energy in the board is released. Movement analysis *When we watch our students ride we can look at the picture in three parts; first the overall picture, second the snowboard performance, and third the body alone. Using the above concepts we can analyze movement and performance patters and pin point what if anything could use adjustment. (Watching from more than one angle can be beneficial to getting a clear picture)

7 The Beginner Experience SB Topics *The beginner profile *The Teaching Model & ATS *Hands on Teaching *Class Handling *Professionalism *The Beginner Lesson The beginner profile *The beginner snowboarder is the future of our sport, without a constant flow of new snow enthusiast our lifts will shut down and the lifestyle we hold in such high regard will fade into obscurity. Our job is to develop new riders so that they identify with snowboarding and see a future in the sport. *How to identify a new rider 1. Clothing, a new rider frequently will have very little knowledge on how to dress for the elements, and how to wear their boots properly. If you see someone who looks uncomfortable in the elements, be proactive, your knowledge could change their outlook of the sport. 2. A confused or frustrated look, the traffic flow and positioning of facilities in a mountain environment can be overwhelming at first. Offer assistance, give clear direction, approach and be approachable. *Expectations. To get to the slopes the first time can be a seemingly massive undertaking, both in physical effort, and monetary investment. Guests have a lot riding on the experience they hope to have, it is important that we identify their reasons for being there and align the recreation of snowboarding and the resources of the resort to support their individual expectations in a way that is achievable. Not many will make effortless turns on their first day. The Teaching Model & STS *Components of the Teaching Model 1. The Snowboard Teaching System (The Image Below) 2. Student Centered. Focuses on each student s individual needs. 3. Outcome Based. Sets achievable goals and measures success by those milestones. 4. Experiential. Trial and Error learning. 5. Service Driven. Focuses on certain expectations that guests brings with them, meet those expectations. *Service Considerations: The ABC s 1. Achievement. Point out progress; recognize your student s accomplishments no matter how small. 2. Belonging. Actively integrate your students into the group; make individual achievement a group effort. 3. Contribution. Actively listen to your students input, and involve them in the development of the lesson. Opening a forum for your students to contribute creates ownership of personal and group accomplishment; this is a key step in developing an identity within the group and the sport.

8 *The Student Profile 1. Characteristics and background. Inquire about previous experience with snowboarding and other sports, physical attributes and challenges, ability level, expectations, goals, motivations. 2. Learning Preference. Doer, thinker, feeler, take students learning preference into consideration when developing a plan and giving feedback 3. Motivation and desire. What prompts your students to learn? 4. Emotional State. Values and attitude play a large part in your student s willingness to learn, be receptive to fears, and anxieties, dismissing either can derail the entire experience. *Instructor behavior and the learning partnership. What we invest in the lesson combined with the student profile creates the greater experience. *The Teaching Cycle 1. Introduce the Learning Segment, This is when we learn about our students and develop a rapport individually and as a group. We also define the overall process and outcome of the segment. 2. Assess the Student, Use the student profile, and decide whether to focus on the process or the outcome. 3. Determine Goals and Make a Plan, Work with students to determine realistic goals based on individual and group abilities and expectations. 4. Teach to the Objective or Goal, Choose activities and exercises that help achieve the end goal. 5. Utilize the Principles of Learning, Anticipate; get students stoked on what they are going to learn. Transfer; use small learning steps based on skills your students already possess. Modeling; show and tell students what you want them to do. Focus; focus on the most important part of the activity. Check for Understanding; ask your students questions about what they are learning. 6. Monitor and Adjust, Movement Analysis; carefully watch the students movement patterns. Reinforcement; provide positive feedback directed at what the student is doing correctly. Adjust; Have your student make any necessary changes by either redirecting their focus or utilizing a different exercise. (If your students fail at a task more than two times you need to make an adjustment) 7. Provide Closure, Review how the activities led to end goal. Inspire a future by providing practice exercises and direction within the sport. Invite students back and make a plan for the next Hands on Teaching *Guiding your students through an Exercise. Physically holding your students hands through an exercise can be a great method of directing movement and overcoming fear. Always ask before touching a guest. When grabbing a guests hands grab the outside (pinky side) of the hand so you can easily let go. Give clear direction before you start moving so that your student can focus on their movement not your voice. Most importantly, keep yourself out of harm s way if there is a possibility of getting injured LET GO!!! 10

9 Class Handling *Order and flow. Especially with larger groups, having a set plan for when, to where, and in what order your students will move is imperative to the overall safety of your group. Always stop so you can see uphill and can be seen from above, watch for skiers/riders who may pose a threat to your group. *When stopped and talking. Arrange your group so all members are safe, can hear you, and can ask questions. Below are several examples. Semi Circle, You are the center of attention. Line Up, Safest way to stop on a run, stop near the side with your group above looking uphill for oncoming traffic. Circle, Allows for better eye contact between members of the group, which encourages conversation. *Getting moving. Snowboarding is moving downhill! Clear succinct directions will keep your group moving; include a stopping point, and inform students on any obstacles that may lie ahead. Here are a few examples of how to move your group downhill. 1. Call Down. You demonstrate a task, stop, and then wave students down one at a time. This allows for immediate feedback and for the rest of the group to observe each other. (Can be time consuming) 2. Follow Me. You demonstrate a task and your students follow. Good for active demonstration and keeping the group moving, however it is difficult to watch what your students are doing. 3. Partners. Partner students, and allow students to follow each other to a clear destination exploring a task or a movement concept. 4. Ride By. With your group stopped in a safe place, ride by from above so your students can view from multiple angles, and regroup downhill. (Try to save discussions for natural stopping, such as the top of runs and the bottom of lifts) *Keep lessons somewhat regimented. Especially with large groups, having students line up vertically and move one at a time allows students to watch each other and allows you to give immediate feedback. Don t line up across the hill, this is very dangerous. Always stop so you can see uphill, watch for skiers/riders who may pose a threat to your group. *Keep the lesson moving according to plan. Be the leader and stay on task. Take note of how long it takes to complete an exercise/run and adjust your plan accordingly. Always allow time for a wrap up at the end. Instructor Presence and Professionalism *Appearance and Posture. More than half of what we communicate comes from our body language. We want to tell people that we care from the way we wear our cloths to the expression on our face. *Show your enthusiasm. Get engaged, be sincere, and have fun with your group. *Be a leader and a friend. Talk to your students, not at your students, your honest investment has a direct effect on the way they remember their first time snowboarding. *Eye Contact. When speaking to your students lift your goggles. Don t talk to students while riding or walking away from them. 11

10 From Never-ever to Linked Turns 1. This lesson outline is meant to be a guide only. The exercises listed below are simply options and not every exercise needs to be performed; a good lesson is built around the student s expectations, and the conditions of the day. Please pay careful attention to each necessary skill and how the supporting exercises address that skill. Only when a skill is performed consistently and safely is it time to move on to the next. Lesson Introduction *AT THE LESSON MEETING AREA Here we make our first impression, we don t want assumptions made of us and likewise we shouldn t make assumptions of others, so get to know your group. Below is a checklist to help get things started. 1. Introduce yourself and get to know your students, learn and use their names. 2. Check equipment and clothing make any necessary adjustments before you leave the meeting area. 3. Decide on goals, outline the lesson, and open a forum for any questions. 4. Review the Safety considerations of the day. 5. Thank them for giving the sport and Squaw a try. Skill #1, Board Orientation, Discovering Balance Rider can demonstrate a basic understanding of their snowboard and how stand and move with it attached on flat ground. Rider knows how to self-arrest (bail), and how to stand back up. * FLAT GOUND 1. Find a centered stance (both feet strapped in). Assist as necessary in getting your students feet strapped in, check boots and bindings for proper tightness. Address the parts of the board. Find a good posture with hips, torso, and shoulders aligned and stacked. Move up and down, hopping and dropping (soft landings), then side to side body over board and board under body. Discuss the nose/tail and discover your rider s preference. 2. Toe/Heel edge balance. Toe edge; the rider flexes their ankles and knees then moves their center of mass over the toe edge, the rider should feel pressure against the tongues of their boots. Heel edge; the rider flexes their ankles and knees then moves their center of mass over the heel edge, the rider should feel their toes touching the tops of their boots. (Build angles slowly) Address bailing/falling in regards to each edge, how to spread the impact and protect common areas of injury. 3. Edged step and skate (front foot in only). The rider picks their entire board up with their free foot in front; they then spin in a circle and repeat with the free foot behind. Toe edged steps forward, heel edged steps backward. Practice stepping on the board, (back foot pressed against the back binding) then skate small pushes at first. 4. Skate and glide (front foot in only). The rider pushes with their back foot then steps on the stomp area while moving. (Remind students to look where they are going!!) 5. Glide to edge initiation (front foot in only). The rider starts gliding, once in motion they edge slightly to create a direction change. Start with a toe edge initiation then move to the heel edge. 6. Ollies (optional). The rider starts in a neutral stance with the front knee bent slightly more than the back 12

11 knee, they then slide the board underneath their body by extending the front knee and flexing the back knee. Now with the spring of the board loaded they extend the back knee releasing the stored energy, leaving ground a little. In the air the rider bends both knees progressively to pull the board back underneath them. *Watch for a staked upper body, and work toward looking forward* 7. Hopped 90 s and 180 s (optional). The rider starts by rotating their shoulders 90 degrees away from the board while keeping their hips in line with the board, they then hop and allow the tension in their torso to release, practice both ways of rotation. Work up to 180 s. Skill #2, Balancing in Motion, Changing Direction Rider can demonstrate good balance and posture while gliding at low speed. Rider can demonstrate a controlled change in direction (left and right). * GENTLE SLOPE WITH A FLAT RUN OUT 1. Strait glide (One or two feet in). The rider starts with their board pointed parallel to the fall line, the instructor checks for proper body positioning. The rider will come to a natural stop in the flats. Watch for over weighting of the tail, this is a visible sign of fear, if so start the student lower on the slope. 2. Strait glide with a hop or ollie (optional). Near the end of the glide add a small hop or ollie, this encourages good balance and adjusting to change. 3. Traverse. The rider starts several feet up a gentle slope with their board perpendicular (sideways) to the fall line. Have students flatten their lead foot slightly, twisting the board, this will release the leading edge and the student will start moving across the slope with their lead foot forward. 4. Glide to edge initiation. The rider starts several feet up a gentle slope. The rider practices the movements necessary to edge the board static first (assist if necessary). The rider will then edge their board once in motion and hold the edge till they come to a controlled stop. Practice both edges. See that the turn is a result of the board tilting rather than a large upper body rotation. (Making yourself a target can give your students a focal point) Skill #3, Moving Downhill, Speed Control Rider can demonstrate good balance with equal weight over both feet while moving in the fall line. Rider can perform a controlled stop on either edge. *THE MAGIC CARPET LOADING AND UNLOADING. At the loading point your students can either have their front foot in or both feet out holding their snowboard. Step or skate onto the carpet and remain still while on the carpet, make sure to space your students out, leaving enough room between riders so each person has ample time to unload and move away before the next person arrives at the top. *THE CHAIRLIFT LOADING AND UNLOADING. 1. Loading. If possible, watch people load the chairlift before you get in line with your group. Direct students to stop at the designated loading zone with their boards parallel to the direction the chair is moving. Discuss the dangers of loose clothing and jewelry. Direct students to look back, grab the chair and sit down. Remind students to keep their board strait until it breaks contact with the snow, and to sit back fully against the backrest of the chair. 13

12 2. Unloading. Review unloading procedure before you board the lift. a. Step. Scoot to the edge of the seat and position the back foot over the stomp area. b. Slide. Turn the board parallel to the direction of travel and let it slide on the top ramp. c. Push. Stand up with both legs at the unload zone and push away from the chair. d. Glide. Look ahead and glide down the ramp, stop once you are clear of the unloading zone. (If possible board the lift first so you can assist in the unloading of your group) *MELLOW OPEN SLOPE 1. Sideslip. (Review bailing so your students are comfortable self-arresting if necessary) Riders start with their board sideways to the fall line and balanced on their uphill edge. To start moving the riders releases their edge by slightly flattening their board. To to stop riders will flex their legs while increasing the angle of their edge to the snow, making sure to keep equal pressure on both feet, shoulders and hips parallel with the board. Start assisted then unassisted, practicing the sideslip can be taxing try to blend with other exercises. 2. Traverse to a stop. The rider starts with their board sideways to the fall line. The rider slightly flattens their front foot to release the edge and start moving across the hill. To stop the rider re-engages the leading edge by tilting the board and looking either uphill (toe edge) or downhill (heel edge). Practice both edges but keep movement directed toward the front foot. 1. Garlands. The rider starts in a traverse, once moving have they flatten their feet slightly (starting with the front foot), and turn their board toward the fall line, they return to the original traverse by tilting the board and looking across the hill. Like the previous exercise but without stopping. Make sure that your students have equal weight on both feet when gliding downhill, most new riders have a tendency to weight the tail more than the nose. 3. Falling leaf. Like Traverse to a stop, but when the rider comes to a stop they change the lead foot to direct the tail of their board across the hill. Skill #4, Controlled Linked Turns Rider can demonstrate a sequence of controlled turns on easy green terrain. *MELLOW OPEN SLOPE 2. C Shaped Turn. The rider starts in a traverse, once moving they flatten their feet, look downhill, and then across, tilting to their other edge (front foot moving slightly before the back), this is followed with a controlled stop. Practice starting from a stop on both edges. 4. S Shaped Turn. The rider performs two C Shaped Turns without stopping between. Make sure they keep their head and eyes up, and that they travel across the hill between turns. Start on both edges. 14

13 Lesson Conclusion, the wrap up At the end of every lesson we make our final impression, and we inspire our guests for the last time to return for another day/lesson. Below are several key points to remember when wrapping up your lesson. 1. Outline what they have learned, and how different exercises led to the end goal. 2. Inspire a future by providing practice exercises and direction within the sport. Suggest a plan for each student to keep them involved, outline future lessons and what they might learn. 3. Open a forum for any last question. 4. Thank each student for snowboarding with you. 15

14 Teaching Children Topics *Maslow s *The CAP model *Ages 3-6 *Ages 7-11 *Ages Maslow s hierarchy of needs For our students to perform their best we need to give make sure they are in a good physical and mental state to learn. Maslow s gives us a reference of what needs must be met before they are truly ready to be taught. The CAP model *Cognitive. How we think. *Affective. How we feel. *Physical. How we move 16

15 The CAP model applied; ages 3-6 *Cognitive. 1. Child is egocentric, individual, not part of the group. 2. Child has little sense of personal vs. outer space. 3. Child has little understanding of cause and effect. 4. Child learns best by look and feel. 5. Child can process only one instruction at a time. *Affective. 1. Humor is slapstick and silly. 2. Play is individual not group oriented. 3. Identity is self determined. *Physical. 1. The Child s center of mass is higher, their head is disproportionately large. 2. Child possesses little muscular strength, it is hard to get up, this age group uses skeletal strength for support and balance 3. Motor control is less developed, this age group moves larger muscle groups and is not capable of separating the smaller muscle groups. 4. Visually this age group can only focus on things close by. Aurally they cannot isolate one noise from many. The CAP model applied; ages 7-11 *Cognitive. 1. This age group can understand hypothetical ideas, visualization, and imagery to explain movements. 2. They know the difference between real and make-believe. 3. They can sequence 3 or more directions 4. They can reverse movements, they understand direction. *Affective. 1. Humor; knock-knock and fart jokes, riddles. 2. Play is more cooperative, group-oriented; rules and competition begin to appeal. This can be useful, try to create games that have multiple winners. 3. This age group identifies as part of a group and realizes that adults not infallible. *Physical. 1. Center of mass is around navel. 2. This age group begins to develop more muscular strength. 3. This age group is developing fine motor control; they can separate small muscle groups from large ones The CAP model applied; ages *Cognitive. 1. This age group is able to process information as easily as adults. 2. Can follow a complex series of directions. 3. Their attention span is shorter than most adults. *Affective. 1. Humor is more sophisticated, they will appreciate adult jokes and sarcasm. 2. Play can be more competitive; they expect rules. 3. Their identity is peer-driven. *Physical. 1. Adult-like strength and motor control. 2. During adolescent growth spurts they may experience regression of coordination. 3. Fatigue can be more pronounced than in adults. 17

16 Play, Drill, Adventure, Summery (A framework for building a child centered lesson) *Play. Have fun, play age appropriate games, and make the lesson interactive. Creating a team name and mission can help build a group identity. *Drill. Build one skill at a time; use age appropriate exercises. *Adventure. Make time to explore and utilize newfound skills in varied ways on varied terrain. *Summery. Review and highlight newfound skills and experiences with both the child and the parents. 18