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Walter & Group...
[GH] These messages are in answer to Dennis Grant's last question:
WHERE TO WE GO FROM HERE ?
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[GH] From Mark Roberts :
Hi Gordy
i agree with Dennis's sentiment that we must build both an understanding and confidence in the client but there is an assumption here that the client learns by feel and many don't.
The manner in which we can help identify how the client learns may well be expressed by the client themselves i.e. 'I see what you mean', indicating a visual learner,' I hear what you say', an audio learner, 'I can feel that work', a tactile learner or by simply asking them.
Some may need a degree of all three or lean towards a style of learning.
The other point that the coach/instructor needs to acknowledge is to pass the information in a manner that is both supportive and simple to follow which could include use of diagrams/drawings and other teaching aids. The key is to develop a trust and a safe learning environment where the client can learn both quickly and with the appropriate support.
hope this may help
best wishes
mark
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[GH] Mark,
Right on ! All accomplished teachers learn to assess their students either by simply asking the student, or by observation and listening to them.
Most of us learn by a combination of 4 methods :
1. visual (seeing)
2. Auditory (hearing)
3. Kinesthesia (feeling)
4. Cognition (understanding; reading, analysis, logic, etc.).
As Mark said, some lean toward a style of learning. Simply put, it is how they learn best.
Gordy
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[GH] Where to go from here, from Gary Davison, as he gets into teaching by SIGHT and FEELING. He also adds REPETITION which is needed to build "muscle memory" :
[GH] From Jerry Puckett.....
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[GH] Jerry...
I was there and remember it well. You relaxed and things went a lot better after that.
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[GH] From Mark Milkovitch :
Gordy,
I’m joining the party late. I like the following about this caster: he stops the rod tip high in the back, pauses, and works to accelerate on the forward cast. Based on Dennis’ adjustments so far, my next task would be to get him to stop higher in the front: 1. higher rod angle - closer to 450 above horizontal rather than horizontal, and 2. higher hand positions – hand travel more head to chest range than chest to waist.
Here’s my Demo & Explanation to him: “In the next two hours we want to give you as many good repetitions as we can. So rather than doing presentation casts where the line actually falls to the water and we have to stop and strip line to recast, we are going to do some false casting where we pick the line up off the water and then make three false casts keeping the line in the air. Your back cast and pause will remain exactly as they are. The one adjustment we will make is stopping the rod higher in the front on the false casts. Then, when the line straightens, but before it falls to the water, you will start your next back cast. Let’s pantomime this together standing side by side; I’ll use my left hand alongside your right hand to give you a feel for this.”
The first pantomimes we do together would make both height adjustments without any comment that we are doing that. As far as the caster is concerned we are making one adjustment. I would then ask him to pantomime it on his own. If he makes both adjustments on his own we can grab the rod. If not, I at least want to get the first adjustment: rod attitude. If need be I will hold my hand or some other object out as the stopping point for his hand while doing his pantomimes. Until he can do that, we don’t touch the rod. Once he does, we will do a run through with the rod but without any line just to be sure the basic mechanics including pauses are in order.
Mark
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[GH] Great tact is required to avoid the caster being insulted, I think.....even though he wouldn't have gone to Dennis if he didn't think he needed help. Jim Chestnut brings up this point and has some following suggestions :
"We, as instructors, need 2 things to happen here. 1. We want the student to break an old habit (change the muscle memory) and 2. We want the student to have confidence in us and in our instruction. BOTH are necessary to progress.
Ok ! He's got the control bit, now what ?" I think with this caster, a tactful approach is best so as not to risk a bruised ego. So I would tell him that the best way I’ve found to tune up a cast is to break it into components in the order they occur in the cast, and refresh each component individually. Now I would tell him that we would like him to really concentrate on this next most important part of the cast, the backcast. I would then pantomime a backcast, starting from the pickup, pulling my elbow into my side while accelerating to a hard stop with my forearm – hand just behind my ear at the stop. I would do this several times gently rocking back while doing so. Then I would pantomime what this will cause the rod to do by holding my arm straight out in the position of his rod, palm down and demonstrating (not talking about) a straight line path – ending by rapidly flicking my fingers out with the palm up. I would describe how the rod tip will then “flick” the line out in a narrow loop in the direction the tip was going when it “snapped” out straight again. I think those words are often associated with a physical “feel” and we need him to “feel” the unload, counterflex and loop unroll. I would then have him pantomime the cast with me as well, making sure that he was accelerating to a stop sufficient enough that he gets a “rebound” with his forearm. I would tell him to watch his forearm as he does it and notice the rebound. Now I think it is time for a short demonstration with the rod. This will have the additional advantage of proving that you can actually do what you are telling him to do and, further, that it works much better than his way (without you ever having mentioned anything about what he was doing). Have him watch first the line and loop so he can see what a tight loop looks like and make sure he saw it by asking him quesions. I’d do three anyway, letting the line fall to the ground after each. Then have him watch the rod tip, calling out “ stop” at the stop and “tug” at unroll. I would make sure that the backcast had sufficient velocity to tug on the rod tip. Again, three times or so. Making sure he saw what was happening. Finally, I’d do the same thing having him watch my hand. Then I would have him do a couple more pantomimes, move to the rod, and try only the backcast live, no forward casts yet. I would have him adjust his stroke length until he was getting good backcast loops – explaining why, and have him watch the backcast so he could see what was happening back there – maybe open his stance a little more to make it easier to do so. If he is progressing well, I would have him close his eyes and concentrate on the “feel” of the unload at counterflex as well as the “tug” on the rod tip at unroll, and call it out. If he can get to that stage (essentially, a good backcast) he will be able to hone his pause timing with each full casting cycle in the future. Cheers, Jim ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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