The Myth of One "Correct" Repeatable Technique

This is the title of the first chapter of How We Learn to Move, a new book I am reading by Rob Gray PhD, host of the Perception and Action Podcast on Patreon.

This book is a bit technical, and focuses primarily on skill acquisition in sports, but there is so much to glean about how teachers and coaches can help movers support their own individuality and creativity and have more fun, even during challenging skill learning and practice processes.

In the chapter called "Freedom Through Constraints," Gray writes about having a learning goal that is "adaptable and flexible so that we can use different movement solutions to achieve our goal in the face of ever-changing conditions... Moving skillfully involves coming up with new solutions to new problems, not just repeating the same old solution. How do we learn to solve problems? By practicing lots of different ones. In other words, by having variability in our practice conditions."

The constraints one experiences might be individual, environmental, or task related. 

Individual constraints are things related to our own organism, as in what we bring to the table such as our height, weight, speed, flexibility, etc. Imagine me having a brawl with Mike Tyson...I would have to get pretty creative in such a context, given my individual constraints! 

The constraints might be environmental, like having to play a soccer game on a wet field or run a marathon in freezing rain or extreme heat; or task oriented, like being asked to dance in heels when you have been dancing and movement barefoot for years!

There are so many ways to view the beauty of constraints and the dexterous learning opportunities that they provide.

I love it when our dance teacher instructs a combination to a slower, more moderate rhythm, then asks us to do the same dance to a song with a much quicker beat. Or when we learn a dance solo and then try it with different partners, and/or change our orientation in the room. These are constraints that ask us (as movers) to dexterously adapt, self-organize, and creatively problem solve within the given context.  

When I was traveling a lot, every new studio confirmed a different practice environment. Some had props, others had very few, some had none. There were often language challenges, and people came from different movement backgrounds. It could be cold in rented space, or it could be very noisy. These things can be frustrating for those who have limited themselves by the idea of the one "correct" repeatable technique, or the perfect peaceful environment and/or "ideal'' conditions in which to learn. 

It is interesting that, given our ability to do something well, our movements may be more variable--even when they appear to be the same.

Repetition without repetition is the name of the game. I call that PLAY!