Dean Somerset put out a musing today on his blog about training to failure, and it has me thinking about its applications in circus. The thing about strength training is that everything works to a degree. It might not be the most efficient use of your time but it usually does something.
“The balancing act of training is imparting enough stress to see positive adaptations, but not so much as to cause serious tissue damage or worsening performance.” – Dean
So what do I mean by failure exactly? Dean made this handy little graph.
“Technique failure” is when your form starts to break down. “Mechanical failure” is when you physically cannot do another rep.
In circus, we’re often trying to acquire new skills, which require new load demands on the body. Often as we try new things we fail. A lot. Sometimes it is because we’re not quite strong enough yet.
Aerialists, in particular, push themselves to mechanical failure on the regular.
Does pushing circus artists to mechanical failure matter?
Simply put, yes! Why?
1. A circus athlete’s skill level should guide their training program.
Beginners will generally get the most benefits from stopping when they hit technique failure. Pushing to mechanical failure has limited benefit and risks injury.
Advanced circus athletes can benefit from higher stresses and are less likely to risk injury once their form starts to break down.
Think of all of the years of shoulder prehab work a professional aerialist has done. If she is doing 1-arm beats on straps and goes a little off course, those muscles kick in to protect her shoulder. A beginner has no guardrails.
2. A skill’s technical requirements should guide how far to push to mechanical failure.
All skills are not equal. If a movement has a low technical requirement, it is less risky to push to mechanical failure. Even a beginner can push to mechanical failure in toes to bar, for example, so long as they recover well from the exercise.
3. An athlete’s goals should guide their training.
No matter a circus artist’s level, waking up with severe Delayed Onset Muscle Soreness (DOMS) can be problematic. And training to mechanical failure is DOMS-land. Do you have a show the next day? Do you have to be active for your job? Do you just not want to feel like ass after training? Then think twice before training to mechanical failure.
Keep in mind that as training stress goes up, so do potential gains and risks. Going harder is not always the answer. Play with different approaches and see what works for your body. You can build the ability to tolerate stress over time and still see gains all over the place without trashing your body.
I just wanted to share this article that I read today on internal vs. external cueing and share some of my thoughts. In it, Matt Kuzdub, a high-level tennis athlete, discusses what the research has shown on cueing and why he thinks that it is not all that.
Hint: I agree!
I like to think of external cueing as playing the short game and internal cueing as playing the long game.
We need both. If you want to see what all short game looks like, that’s the current political process in the US. Not the best model for high performance.
And all long game? Well, that’s academia. Where something might be happening. But it is not totally clear. I mean, if you have tenure, there’s no rush.
According to Matt, “I believe there’s a constant tug and pull, a back and forth, a mix and match type scenario that should occur. Sometimes, we need to focus on the positioning and/or execution of a particular body part. Other times, we should focus more on an external factor like the flight of the ball or a target. But this will all depend on the athlete, their preferences, their skill level, the time of year, the complexity of the task, the sport in question, and probably a host of other factors I haven’t yet considered.”
The problem I see in circus is an over-reliance not on internal cueing, but on non-specific internal cueing.
What does that mean?
As I say in the post, instead of just saying, “I need you to lift your hips,” you should instead give specific details about HOW to achieve that, e.g., “by pulling the bottom of your ribs forward and your right shoulder blade back.” You don’t need to give 50 cues at once but you do need to be specific about a strategy for achieving a technical outcome.
And if you’re not a coach?
Get comfortable asking for the feedback you need.
If you’re not getting the feedback you need, ask your coach for it. Unsure how, try: “What remains stable and what moves?” That will help them focus on the specificity you just might need to move forward.
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