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Schwimm-Ratgeber

Training des Schmetterlingarmzuges

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Kategorie: Technik
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TEACHING BUTTERFLY STROKE

By Terry Gulliver

Butterfly Stroke is easy to teach and, for younger pupils particularly, easy to accomplish. Children as young as five years of age can be taught to swim Butterfly Stroke. It is helped by the fact that younger pupils seem eager to learn and invariably enjoy performing the various aspects of the stroke and the stroke in general.

BREAKDOWN OF THE SKILLS

When teaching Butterfly Stroke, it is pertinent to break the stroke down into its main components…

    • The Kick
    • The Arms
    • Combining the Arms and Legs
    • Coordinating the Breathing
    • Making it Flow
      •

It’s an easy stroke ... Teachers should make it easy for pupils by keeping it in simplest terms.

THE KICK

"Good kickers make good swimmers"

This is particularly so in Butterfly Stroke where swimmers are faced with bringing both arms over the water simultaneously and, at this point, relying heavily on help from the legs to make it easier. Pupils learn the initial movements by lying face down, hands loosely by the side, and eyes looking forward (the latter is the secret to stopping the body hydroplaning to the bottom when practising the following kick drills).

HOLDING THE BREATH AND LOOKING FORWARD … BEGIN UNDULATING MOVEMENTS OF THE HIPS

"Bounce the bottom and flap the feet"

The kicking movement starts at the hips and works down through the thighs, knees and ankles and feet in the same way you shake one end of a piece of rope vertically and watch the undulation work its way to the other end. Exaggerated movements with legs are better than small or no movements at all. Pupils should make a splash down on the water with both feet at the same time (and, hopefully) continue the movements well below the depth of the body underwater. As the skill is learned and forward progress results the movement can be refined until eventually the feet just rise slightly above water level before starting the kick downwards.

THE KICKING MOVEMENT IS INITIATED AND CONTROLLED BY THE HIP MOVEMENT

Hips must rise to start the movement, which results in the downward action of the feet. Just as importantly, the hips must drop to start the rising movement of the feet.

The Knees are encouraged to bend and straighten in symphony, with the natural undulating movement of the body.

The Ankles and Feet and even the Toes should be loose and work like flippers, with pupils encouraged to keep them reasonably together … and, as they get better, turn the toes inwards — pigeon-toed.

Good Butterfly Kicks produce a satisfying "Whoosh Whoosh" rhythmical sound. The sounds produced should be equi-distant apart and in definite rhythm.

As proficiency improves, the chin can be pushed forward and just out of the water every now and again to enable breathing movements to the swimmer can cover some distance without stopping.

Eventually, swimmers will breathe at the time of every fourth kick just as they will do later in the more advanced stages of the stroke. When not breathing, the face should stay underwater but looking more or less in a forward direction – for reasons mentioned earlier.

As reasonable proficiency is achieved, kicking is performed on the board … initially with the face in (because it is easier and a similar position to that in which the kick was initially mastered, except the arms are in front) and eventually, with the face looking forward and kept out of the water.

The Arms … for teaching purposes, the arm stroke starts at shoulder width apart at full extension in front of the body and pulls through in more or less parallel fashion to the thighs. No effort is made to teach an "S" pull or anything fancy at this level. Arms are kept fairly straight in the recovery but relaxed with thumbs to the front as they sweep around just above the water from the thighs to the frontal position.

WHATEVER WORKS … WORKS

With reference to the above, teachers may enjoy more success teaching a recovery with the knuckles down and little finger leading. Experimentation and experience over a period of time will help teachers decide the best way for them.

Pupils will learn the arm movement best by standing up and bending over in shallow water and practising the pull and recovery actions with the face in the water mirroring the teacher’s movements. Teachers should remember to keep instructions simple…

"Stretch out the arms in front, shoulder width apart. Pull the hands back under the body past the hips and recover with straight arms."

Once the standing arms movements are mastered, pupils should progress to trying the movement with a small sized pool buoy (large ones will unbalance the pupils and make the task more difficult than it needs to be). Several arm movements should be performed in succession without breathing. Initially, movements should be done slowly – but eventually done with more speed and rhythm.

Stroking faster generally makes it easier. When faster strokes can be performed proficiently, pupils should grab a breath about every second or third stroke by pushing their chin forward to clear the water as the arms pull back.

Teachers should not get too complicated with their instructions.

COMBINING THE ARMS & LEGS … AND THE STOP KICK DRILL

Pupils are told … "There are two kicks in Butterfly Stroke — one as the hands start the stroke in front — and one as they finish the stroke at the back."

Most pupils tend to overlook the second kick. So, in teaching, we start with that one first.

Lying face down (looking forward), pupils produce the first kick and recover arms around the side over the water to the shoulder width apart position AND STOP.

From here, they produce another kick and pull back to the thighs AND STOP.

Then another kick and recovery AND STOP in front.

The STOP KICK DRILL is designed to make pupils aware of the need for THE TWO KICKS and their timing.

As proficiency improves, THE STOPS ARE ELIMINATED and the movement becomes free flowing.

All the above drill is done WITHOUT BREATHING so as to allow full concentration on the timing of the kicks.

COORDINATING THE BREATHING … AND SOFT ARMS

Breathing movements have been practised incidental to earlier skills. Assuming pupils have achieved fair proficiency at all earlier skills, we are ready to coordinate the breathing.

Starting with hands in front and face down, pupils make the first kick and start the pull simultaneously reaching the completion of the arm pull in synchronisation with the second kick.

Still with the face down, the arms recover to the front where the third kick is performed as the hands start to pull back. As the hands pull under the chin, the chin starts the push forward in preparation for the breathing movement, which is performed at the time of the fourth kick and the hands completing the push back.

This particular phase of the stroke is the crucial key to performing the stroke successfully. Pupils are encouraged to breathe every two strokes ... therefore, every fourth kick. During this phase of teaching the stroke, encourage pupils to concentrate more on the legs than the arms. Get pupils to pull with "soft arms" and merely bring the arms under the water without any real pressure on the water. A teacher demonstration will go a long way to helping pupils understand the concept.

BUTTERFLY MUST FLOW

Good Butterflyers (and this includes good beginner Butterflyers) will make the stroke flow with everything in symmetry. There must be no stopping of the movements, although, having said this, there is a definite slowing down of the arm movements in mid-pull as the hands tend to change direction and gather for an accelerated push back. At the lower level of the teaching scale, we tend not to teach this but let it develop naturally as pupils develop their own feel for the stroke in conjunction with teachers’ demonstrations, which may feature this anyway.

PRACTICE … PRACTICE … PRACTICE – THE KEY TO LEARNING THE "FLY"

Once the above skills are mastered, "fly" will improve with constant practice and refinement. All practices should be done over a short distance – e.g. 12.5 metres.

Allow plenty of rest between the short swims so pupils are swimming fresh (and not tired) for the full distance. If pupils cannot make the distance with reasonable proficiency, shorten the distance of the swims. Initially, the stroke will look cumbersome and awkward but as the pupil perseveres, so will the proficiency in the stroke improve. The strength necessary to accomplish the stroke will grow with practice and the movements will refine themselves … resulting in the swimmer rising in the water to flow like a butterfly.

In Butterfly, it is not the distance you swim but how you swim the distance that makes the difference. I coached my son, Damien, to win a National Primary Schools Butterfly Title and I cannot ever remember him swimming more than 25 metres at a time in training.

 

IT ALL DEPENDS ON THE TEACHER

When pupils feel Butterfly is hard to do, or impossible to learn, it is usually a reflection on the teacher … or the teaching practice. My pupils have always loved Butterfly because I have always loved it (although I never raced it) and have loved teaching it and have transmitted this feeling to my pupils. My method of teaching it has been based on the premise that…

"SIMPLE IS BEST" AND KEEPING IT SIMPLE ENABLES PUPILS, PARTICULARLY THREE AND FOUR YEAR OLDS, TO UNDERSTAND

… and this helps them learn it.

If there was any secret to my success with teaching butterfly over the 35 years I have been coaching it, is in a series of slow motion demonstrations I perform each and every time I teach it.

Every time I do them my pupils improve quite dramatically. Too often teachers try to teach the Butterfly without demonstrating it.

 

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