Techniques Of Javelin Throwing

Techniques Of Javelin Throwing Observation and analysis is imperative to coaches in order to provide the learner with detailed feedback about their performance (Hay, 1994). Javelin throwing has shown little change in technique throughout the years and elite performers virtually show identical techniques. Some athletes differ with their techniques by rotating the javelin arm forward, down and then extend it back prior to throwing. The most common technique of javelin keeps the javelin stable without any motion then extends it back before forward motion (Carr, 1999). According to Rogers (2000) the javelin is divided into a four phase pattern. These phases are; approach, transition, block and release and follow through. The approach is the run-up phase prior to withdrawal of the javelin. The run-up develops velocity and this energy created is transferred to the throw. The momentum gathered from the run-up adds 30-40% distance from a javelin that is thrown from a standing position (Rogers, 2000). Athletes prefer to use 12-15 step run up but some find using 8-10 steps comfortable. During the approach there should be a gradual acceleration eventually reaching a maximal, but controllable speed that can be maintained through the transition and release phase. The athlete should be relaxed during the run especially in the upper body and shoulders, maintaining a good posture. The javelin should be carried at a right angle with the shoulder with the javelin kept level and stable whilst in the run-up (Rogers, 2000). The transition phase is used to withdraw the javelin in preparation for the explosive motion of the release of the javelin. The withdrawal is established with a five-step pattern (for right handed thrower this goes left, right, left, right, left). The withdrawal begins when the left foot lands (after 12-15 step run-up). As the left foot lands shoulders turn 90 degrees to the right and the throwing is extended back with the palm facing upwards, so the arm is level or above the plane of the shoulders. The arm is slightly external rotated at the shoulder joint to ensure the palm is facing upwards. The tip of the javelin should be aligned at the level of the chin with shoulder kept level. During this phase the legs and hips are active. The turning of the shoulder controls hip rotation and feet placement and turning of the hips and feet cause deceleration (Rogers, 2000). Figure 1. The transition between approach and withdrawal phase with emphasis on the drawback of the javelin. The final stage of the transition is the most important to gain energy into the release of the javelin, the impulse step. The impulse stride drives the hips and trunk forward. The trunk is kept upright to maintain forwards speed. The right leg is swung infront forward with knee flexed and toe turned up. The left foot then lands forwards as the right contacts the ground (Rogers, 2000). Figure 2. Final Stage of the transition phase the impulse stride. Emphasis on the high knee drive of the right leg. The block and release phase is an explosive continuation from the preceding phase. During this phase the hips and trunk are thrust forward against a straight, left leg. The hips rotate with them finishing facing the direction of the throw. As the left leg is planted in a blocked action the right leg drive forces acceleration of the right hip, stretching the trunk. The throwing arm and all the leg action is kept relaxed and trailing. All these actions cause a stretch of the chest and trunk muscles resulting in a flail like action of the throwing arm (Rogers, 2000). Figure 3. The release phase showing the full extension of the left leg and the right leg driving through the block. During the follow-through the athlete must think of driving through the block. This forces the body high and onto the left toe after release. Another step should check the forwards momentum to prevent exceeding the foul line (Rogers, 2000). Analysis of Performance Using the four phase pattern devised by Rogers (2000) an analysis of a javelin performer comprising of their strengths and weaknesses and comparing them to a good model of practice. Strengths of the athlete shown come in the approach phase of the javelin throw. The athlete uses a 10-15 step run-up with a gradual acceleration which is controlled by the athlete. A controllable speed enables the athlete to gain momentum going into the transition and release phase where the more explosive movements take place. During the approach phase the athlete also shows a good posture with shoulders and upper body relaxed and javelin kept stable (Rogers, 2000). During the transition phase of the throw the athlete has good posture and the footwork is exemplary. The athlete keeps the hips high and upper body upright whilst doing the cross-over steps. During the cross-over steps the javelin is stable and is partly extended. The footwork of the athlete is correct and continues the gradual acceleration gained during the approach run. Prioritising the weaknesses of the athlete are essential so the correct practice drills can be selected and eventually an improvement in technique and performance. The two weaknesses concern the arm positioning and the impulse stride. The athletes arm drops below the plane of the shoulders. This impacts the whip-and flail release as the chest and torso are not kept open (Rogers, 2000; Paish, 2009). During the release phase the block of the left side causes a prestretch of the chest and trunk resulting in a the flail-like action. This cannot occur if the arm drops below the plane of the shoulders. The dropping of the arm below the plane of the shoulders also has biomechanical impacts. The dropping of the arm causes the tip of the javelin to point upwards, causing an over rotation of the javelin. Fig.4 this image clearly indicates the drop of the shoulder beyond the plane of the shoulder. The image clearly shows the impact this has on the hips, causing them to sink and the points of the javelin, which should be kept stable. The second weakness during the transition phase is the lack of an impulse stride. The impulse energy transfers energy from the transition phase to the release. The impulse stride is a final cross-over step but with the exaggeration of the right knee drive. The drive of the right knee aids pulling the hips forward (Rogers, 2000). The athlete being analysed performs the cross-over steps with ease but just has no final impulse stride, which gains explosive energy for the release phase. The lack of an impulse stride means there is no vigorous movement generating no pace and explosion. Fig 5. The image shows the lack of a knee drive. The knee should theoretically be at 90 degree angle. The lack of knee drive reduces the explosive movement of the impulse stride. Another major weakness from the athlete is during the block phase. As Rogers (2000) explains the left side of the body should be kept firm and act as a block whilst the drive comes from the right hand side, accelerating through the block. The left leg should be fully extended so the right hand side can rotate and drive through the left leg. The weakness the athlete shows is that after the impulse stride the left-leg is planted but is flexed. The implications of this are that the right hand cannot drive through the left side, generating no power for the javelin throw. The flexing of the left knee causes the hips to sink meaning body weight is forced backwards. Fig. 6 The image shows the lack of block during the release phase. The planting foot should be firm and almost in a vertical line. The flexing of the front knee causes hips to sink and a lack of drive through this block. Table 1: illustrates the athleteà ¢Ã¢â€š ¬Ã¢â€ž ¢s strengths and weaknesses. Strengths Weaknesses Good posture in run-up with the javelin kept stable. Arm drops below plane of the shoulders when drawn back Uses 10-15 step run-up. Lack of exaggeration during the impulse step Palm faces upwards and shoulder externally rotated when javelin is drawn back. Good footwork during the transition phase, with 3 well performed cross-over steps. During block phase left-leg not fully extended, causes right side not able to drive through the block. Hips drop and height lost during the block and release, caused by left-leg not fully extended. Developing Technique of the Performer As mentioned in the previous section the three key weaknesses have been prioritised. The weaknesses are; the drop of the arm below the plane of the shoulders when extended back, lack of exaggeration of the impulse stride and lack of extension of the left leg during the block and release phase. Drills now need to be created so technique of the performer is improved, so in turn the end outcome of the throw will be improved. Drills for improving these techniques can be combined together with drills for extension of the arm and lead leg culminated together. The first practice drill will be a standing javelin throw. This drill is a warm-up drill but can also focus on technical aspects of the throw (Bowerman and Freeman, 1991). The main objective of this drill is to stabilise the arm. As mentioned a weakness of the performer is the dropping of the arm below the plane of the shoulders. To simplify this drill the athlete could use a turbo javelin, this is a lighter javelin aimed at improving technical aspects or even a tennis ball. The athlete should complete about 30-60 standing javelin throws so the action is stereotyped and the athlete gets the kinaesthetic feel of the throw. During this drill the coach should be giving feedback focusing on the arm position, making sure it is above the plane of the shoulders. This drill is focusing on technical aspects so distance and effort should not be an issue the coach has to focus on. The next progression of the drill aims to perform 3 cross-over steps then perform a throw. This drill despite the introduction of the cross-over steps focuses on the arm position and extension of the lead leg during the release phase. As noticed the athlete during the transition phase lets the javelin drop below the plane of the shoulders, causing an over rotation of the javelin. During this drill the athlete should begin the throw with the arm fully extended to the rear and above the plane of the shoulders. The first stride should then be completed with the left leg and then cross-over step and throw. During the release phase the athlete needs to focus on fully extending the lead leg allowing the right side to be able to drive through the block (Rogers, 2000). The coach should prescribe the athlete to shadow perform this drill and pause as the left leg plants. This will indicate whether the athlete is fully extending the lead leg. Initially this drill should be done at a slow pace t o get used to the rhythm of the movements. Once comfortably the intensity and pace of this exercise should be increased. Again this action should be repeated so the movement is stereotyped to the performer. This means the action can be repeated without any conscious thought. To increase the difficulty of the drill the athlete should throw towards a target, making a gate to aim the javelin towards. The athlete should then challenge themselves out of 10 how many times can the athlete successfully land the javelin. The next drill will focus on the impulse stride. As explained the athlete lacked any exaggeration of the impulse stride therefore lacking explosive power into the release phase. This drill will focus on the high knee drive of the right knee. The athlete will perform cross-over steps over a line of SAQ hurdles. The athlete will only drive the right leg over the 12 inch SAQ hurdles. The will be done so the athlete feels comfortable with the feel and explosive movement of the impulse stride. The athlete should now understand the requirement s of the impulse stride so the final practice should be the athlete performing a 7-11 javelin throw. This will replicate the throw in a competition environment. The coach need to observe all components of the javelin and see if the technique has improved. Summary The javelin throw according to Rogers (2000) is split into four phases. These phases are; approach, transition, block and release and follow through. Each phase has key aspects which the coach should compare against a good model of the practice, the model of practice I compared the performer to was Steve Backley. By using video-analysis strengths and weaknesses of the performance could be drawn. For the weaknesses progressive and technical practices were drawn up so technique of the performer could improve, therefore improving performance. The key weaknesses of the performer analysed was; dropping of the arm below the plane of the shoulder when withdrawn in the transition phase, lack of extension of the lead leg during the release phase and lack of an impulse stride during the transition phase which is the most explosive movement. The progressive practices focused on one or two key points and are basic and repetitive so the technique can be embedded in the performance. Eventually the practices developed into a practice javelin throw replicating what would be done in competition, so developments can be seen.

Black Power Movement Essay

The movement for Black Power in the U.S. emerged from the civil rights movement in the early 1960s. Beginning in 1959, Robert F. Willams, president of the Monroe, North Carolina chapter of the NAACP, openly questioned the ideology of nonviolence and its domination of the movement’s strategy. Williams was supported by prominent leaders such as Ella Baker and James Forman, and opposed by others, such as Roy Wilkins(the national NAACP chairman) and Martin Luther King.[10] In 1961, Maya Angelou, Leroi Jones, and Mae Mallory led a riotous (and widely-covered) demonstration at the United Nations to protest the assassination of Patrice Lumumba.[11][12] Malcolm X, national representative of the Nation of Islam, also launched an extended critique of nonviolence and integrationism at this time. After seeing the increasing militancy of blacks in the wake of the 16th Street Baptist Church bombing, and wearying of the domination of Elijah Muhammed over the Nation of Islam, Malcolm left that organization and engaged with the mainstream of the Civil Rights Movement. Malcolm was now open to voluntary integration as a long-term goal, but still supported armed self-defense, self-reliance, and black nationalism; he became a simultaneous spokesman for the militant wing of the Civil Rights Movement and the non-separatist wing of the Black Power movement. An early manifestation of Black Power in popular culture was the performances given by Nina Simone at Carnegie Hall in March 1964, and the album In Concert which resulted from them. Simone mocked liberal nonviolence (â€Å"Go Limp†), and took a vengeful position toward white racists (â€Å"Mississippi Goddamn† and her adaptation of â€Å"Pirate Jenny†). Historian Ruth Feldstein writes that, â€Å"Contrary to the neat historical trajectories which suggest that black power came late in the decade and only after the ‘successes’ of earlier efforts, Simone’s album makes clear that black power perspectives were already taking shape and circulating widely†¦in the early 1960s.† By 1966, most of SNCC’s field staff, among them Stokely Carmichael (later Kwame Ture), were becoming critical of the nonviolent approach to confronting racism and inequality—articulated and promoted by Martin Luther King, Jr., Roy Wilkins, and other moderates—and rejected desegregation as a  primary objective. SNCC’s base of support was generally younger and more working-class than that of the other â€Å"Big Five†[14] civil rights organizations and became increasingly more militant and outspoken over time. From SNCC’s point of view, racist people had no qualms about the use of violence against black people in the U.S. who would not â€Å"stay in their place,† and â€Å"accommodationist† civil rights strategies had failed to secure sufficient concessions for black people.[citation needed] As a result, as the Civil Rights Movement progressed, increasingly radical, more militant voices came to the fore to aggressively challenge white hegemony. Increasing numbers of black youth, particularly, rejected their elders’ moderate path of cooperation, racial integration and assimilation. They rejected the notion of appealing to the public’s conscience and religious creeds and took the tack articulated by another black activist more than a century befo re, abolitionist Frederick Douglass, who wrote: Those who profess to favor freedom, and yet depreciate agitation, are men who want crops without plowing up the ground. They want rain without thunder and lightning. They want the ocean without the awful roar of its many waters. †¦Power concedes nothing without demand. It never did and it never will. Most early 1960s civil rights leaders did not believe in physically violent retaliation. However, much of the African-American rank-and-file, and those leaders with strong working-class ties, tended to compliment nonviolent action with armed self-defense. For instance, prominent nonviolent activist Fred Shuttlesworth of the Southern Christian Leadership Conference (and a leader of the 1963 Birmingham campaign), had worked closely with an armed defense group that was led by Colonel Stone Johnson. As Alabama historian Frye Gaillard writes, †¦these were the kind of men Fred Shuttlesworth admired, a mirror of the toughness he aspired to himself†¦They went armed [during the Freedom Rides], for it was one of the realities of the civil rights movement that however nonviolent it may have been at its heart, there was always a current of ‘any means necessary,’ as the black power advocates would say later on. During the March Against Fear, there was a division between those aligned with Martin Luther King, Jr. and those aligned with Carmichael, marked by their respective slogans, â€Å"Freedom Now† and â€Å"Black Power.† While King never endorsed the slogan, his rhetoric sometimes came close to it. In his 1967 book Where Do We Go From Here?, King wrote that â€Å"power is not the white man’s birthright; it will not be legislated for us and delivered in neat government packages.†

Top 5 Books for Essay Writing You have to Hold as Your Desk Companions

When a student has to cope with writing a paper, he/she usually refers to the Internet to learn how to write the particular piece in the style that the professor has requested. But, is the Internet always a trustworthy source? Can you rely on it? Of course, there are many excellent websites that have solid information on grammar, spelling, punctuation, citations, and so on. But, if there is some uncertainty about a site, it’s better to refer to the trusted books that have been great writer’s closest companions for years. Here is a list of the most recent books on academic writing that will become your best friends while writing papers for school. 1. The Elements of Style by William Strunk Jr. Strunk and White’s classic has been gracing the desks of the studious for a long time now, and there’s a good reason: among the best books for essay writing, it stands far above the rest in its concise, clear directions on how to write. It is pocket-size, for your convenience, so you won’t be tempted to leave it at home. You can read it through and then refer to it for all your questions on how to write correctly and precisely, so your reader understands what you mean without confusion. 2. The Chicago Manual of Style by the University of Chicago Press Wondering whether or not you should capitalize that word? Curious whether the term you are using is still considered politically correct? Asking yourself how you’re supposed to know whether or not a dash is needed? The Chicago Manual of Style won’t let you down. After your student years come to the end, you’ll still be getting your money’s worth, as authors, editors, and professional writers everywhere consider it their bible. It is a big book, so you will be using it more as a reference, but oh, what a valuable reference it will be. 3. Bartlett’s Familiar Quotations by John Bartlett If you love being a know-it-all, sneaking a peek at Bartlett’s now and then will make your papers sing. There is nothing like the words of someone else to make you seem just that much smarter, and you’ll have the best quotes to choose from in this classic tome. A penny saved may be a penny earned (Poor Richard’s Almanac), but you will save yourself from a writer’s block by purchasing a copy of Bartlett’s. 4. Revising Prose by Richard A. Lanham While Richard Lanham’s guide may not be the most famous writing book on the market, it’s one of the most helpful for those who tend toward wordiness. He’s famous for his terse, pithy revisions of tedious texts, and you’d do well to give your papers the once-over with his methods for saying what you’re going to say in the briefest, richest way possible. 5. 100 Ways to Improve Your Writing by Gary Provost If your sentences are leaden, dull, and stiff, bring them to life. 100 Ways to Improve Your Writing is the kind of book that changes not only the way you write, but also the way you read. It is full of stories. It does not preach. It leads you down a path to seeing what you are writing, so that fewer revisions are necessary. In short, you cannot do without it. There is no reason to be upset if you have no idea what to write about, or how to arrange your thoughts, or even where to put a comma to sound correctly. Get these books to be your desk companions, and enjoy your writing.

A Seasoned and Experienced Professional Helping Guide Free Essay Example, 3500 words

Another type of development is mentoring which is described as a much more extensive and long-lasting process than coaching (insala. com, p.1). Mentoring is a long-term relationship that will develop between two individuals over time while coaching is usually finished once a specific task is completed. In addition, mentoring will target more complete development of an individual while coaching is limited to usually one measure of performance (p. 2). Coaches will influence people s behaviour, but mentors will be involved in every aspect of creating desirable actions until final outcomes are well established. Finally, coaching is more of an event while mentoring has no specific time limits (p. 2). The article Core Competencies of an Executive Coach describes how coaching can be used to meet organizational objectives. One way described is with facilitating continuous improvement. This is where coaches do research and try to improve worker efficiency in multiple areas. In this way, oth er senior managers and the whole organization benefit as input is provided from multiple people in the company (Ennis, et. al, p.26). Another positive change for organizations is in the area of integrity (p. 27). We will write a custom essay sample on A Seasoned and Experienced Professional Helping Guide or any topic specifically for you Only $17.96 $11.86/pageorder now Company-wide positive outcomes can occur when ideas developed in the coaching model use best techniques to meet organizational needs. This is particularly true when there is a coaching partnership that helps all involved parties to be accountable to each other and the organization (p. 27). One option for developing a coaching culture is to start offering to coach at the higher organizational levels (Eldridge and Dembkowski, p.2). This avoids the notion that coaching is just used to fix problems, and gives the idea that it can be used to bring out organizational talent and help the company be an industry leader (p. 2). A second option is in defining quality standards and criteria for selection. This helps to promote quality in coaching and helps to ensure that quality standards are achieved.