Foundational Coaching: Installment 2 – Medicine Ball Drills

In this series, I’m going to go over some of the basics with respect to how I progress medicine ball drills and how our youth athletes can best represent the idea of improving movement qualities of power and speed.

Many times our youth athletes will come in one of three ways: very coordinated, somewhat coordinated, and very uncoordinated.

This plays a role in not only our screening process at CSP, but also in what exercises are selected to help them display and express the physiological qualities of strength, speed, power, and endurance.

For example, If someone gets fatigued doing a specific type of drill, it can be expected that their ability to move around and perform that exercise for long durations of time will reduce in terms of efficiency over time. Long story short, their form will degrade as the exercise continues.

The energy requirements that require strength, speed, and power to be expressed in various movements are very different than the ones that are needed during endurance activities. So this brings to light a specific timeline or even window with which these youth athletes can perform exercises before fatiguing on a global level.

If they cannot maintain form for a movement pattern past the 60 to 90 minute mark, who is to say we need to keep on performing that exercise? What do you do instead?

Miguel_Aragoncillo-203

What Do You Do When Someone Has No Coordination & is Quick to Fatigue?

Set them up for success – by any means necessary. Period.

Now let’s answer the question of how we go about doing this. 

If someone can’t display strength, speed, or power from the get-go, what can we do differently to help them show off their power that is harnessed within their body?

One thing to understand is that if someone comes into our gym with a “very uncoordinated” body, then perhaps the position that they are normally in will not elicit the best expression of the desired qualities of strength, speed, power, and even endurance.

How can we bridge this gap between an uncoordinated individual with the tremendous source of energy that they might be able to display in their program?

I’ve always hung my hat on knowing when clients or athletes may not feel coordinated. Over time, you too will be able to sense a moment of hesitation before an explosive motion occurs in jumping, throwing, hopping. This subconscious self-doubt or self-talk displays itself in several micro-ticks within an individual’s behavior. Some call it the coach’s eye, and others will point to reduced force production on force plates or technology, Just Jump Mats, or less weight pulled on the barbell (than you know they are capable of).

Whatever the output is, it is best to identify which movements will elicit the highest outputs of force without detracting from the end goal.

Practical Application

One thing I can use to my advantage is to reduce the movement to its simplest movement patterns in order to progress or layer into the next drill – the end goal for the day. On a neurological level, sometimes standing and being explosive is too much work. Let’s make it easier – go to one knee or two knees, and ask them to be explosive in this manner.

Sometimes sprinting drills aren’t effective because the individual doesn’t understand the requisite movement patterns that are necessary to understand. Sometimes an individual doesn’t understand what it means to throw their whole body into a jump, or medicine ball drill, and there is force production left behind on the table.

Using drills such as a medicine ball medley or medicine ball warm-up will help bridge this gap between uncoordinated movement qualities and powerful slams and throws.


I not only find these drills to be effective for our youth athletes, but also as a great reinforcement of separation for our intermediate and advanced athletes. By locking down the lower half of the body, you can elicit a static base and foundation with which you can display great levels of rotary and sagittal explosive force, depending on the drill.

Coaching Cues

1. Make sure to stay tall through your torso – head up to the ceiling.

2. Brace with the ball in your hands, and give a slight exhale as you slam the ball.

3. Break the ball through the wall, and REACH with whatever position you are in (to encourage upper body separation from lower body).

4. Lastly, keep hips square to whichever position you originally started in.

—-

As always,

Keep it funky.

MAsymbollogo

My Favorite Exercise Combinations: Installment 17 – Hands, Wrists, Forearms – Oh My!

I’m continuously fascinated by how much one part of the body that seems so far away from another can affect another body part. In this case, I’m super interested in how a lack of flexibility can affect your hands and wrists!

Interestingly, the most I can point to is the concept of relative stiffness from Sahrmann, and regional interdependence in which a proximal area (shoulders) will affect a distal structure (hands and wrists).

Biceps - Forearms Check - AROM Collage
On the Left: Muscular Hypertrophy is also another reason why distal structures may be tight. On the right: Hypermobile individual without as much hypertrophy displays much more mobility.

Question: In the above picture, would the left or right individual have an easier or harder time setting up a traditional front squat position from the shoulder position on up?

Essentially if you are stiff up top, your range of motion will obviously be affected up top. Thusly, you may “ask” of your body to move where there is a path of least resistance – and thus the smaller structures involving the elbows, forearms, wrists, and even hands may display different movement patterns. This is opposed to if you aren’t as tight or stiff up top!

Long story short, if you have short or stiff lats, this may affect what is going on at the biceps, which can affects what goes on at the forearms, which can affect what’s going on at your wrists and hands!

This is of course, assuming you have had a pre-disposition towards these range of motion deficits. I’ve seen many athletes that walk in our door display a lack of shoulder range of motion, but make up for it further down the chain (and have a shift to the right in wrist and forearm pronation).

But what happens if you apply a stressor such as a sport (such as baseball) or even lifting heavy weights in the context of hand or wrist issues?

Miguel_Aragoncillo-283
What happens if you constantly dance on your hands and abuse your wrists?

Well, sometimes blood flow to an area can create a residual or superficial warming up of the affected area, and movement improves.

This is a good thing.

Other times, however, you can aggravate your issues further by ignoring the specific issue, and overgeneralizing your warm-up, and the condition is glossed over.

This is a bad thing.

For example, take into account one athlete that came into our doors earlier this year:

As you can see, there is a lack of closed chain wrist extension (or the ability to place her hands on the ground flat, and move her wrist into extension past 90°. There was even a discrepancy from hand to hand, which was concerning to me. Perhaps there was a soft tissue problem that can be alleviated, but if not there may be something else going on!

Turns out she competes in pole vaulting. (Watch some high level pole vaulting here.) This motion is exacerbated when she bench presses, and rightfully so as the barbell compresses her carpal bones in a not-so-fun manner.

So what are some easy fixes that can be done if you have issues with compression?

Well, from a joint appraisal point of view, assessing rib mobility will allow you greater input towards what occurs at the glenohumeral joint, which can affect shoulder flexion, extension, and internal & external rotation. This seems to be first. Afterwards, identifying range of motion at the hand, wrist, and forearm will be next.

Shoulder Motion
Photo Credit: https://www.senderoneclimbing.com

Next, we assessed what was happening with her bench press technique.

If you don’t keep in mind the specificity of what happens when someone does an activity, you may be caught in a “corrective exercise rabbit hole” that you won’t be able to dig yourself out of.

Turns out her wrist position was not ideal, and we also assessed her ability to deliver high tension techniques in her bench press, which was improved after a few minutes of coaching.

Read: Wrapping the Barbell in the Bench Press

Developing a Simple Plan of Action with Exercise Combinations

To give a few really easy drills of what we did from an exercise combination point of view:

1. Golf Ball on Forearm/Hand for Neurological Inhibition (or loosening up the structures on superficial level)

Wrist and Hand SMR - 22. 1-Arm Lat Stretch with Hand Distraction

1-Arm Band with Hand Distraction

3. Fixed her bench press technique.

These few items helped alleviate or at the very least, staved off any problematic issues from preventing her from competing in either powerlifting or pole vaulting.

These sports are not the only sports that are affected or plagued by hand issues. There are tons of them out there – gymnastics, bboying, any contact sport involving pushing, CrossFit even – not to mention even typing on a computer or laptop for 8 hours a day for hours on end will create carpal tunnel like syndromes that can be alleviated with some simple exercises.

In Conclusion…

With these tips in mind, I have a slew of other exercises that were utilized to help improve hand, wrist, and forearm range of motion for those who are lacking the ability to get into certain positions with their upper limbs. If you’re interested, I have a whole webinar dedicated to this topic, and it can be found at Elite Training Mentorship here.

—> Join Elite Training Mentorship TODAY <—

ETM Logo

As a part of the Cressey Sports Performance webinar library, I also have uploaded several exercise demonstrations along with monthly webinars that go over functional anatomy and exercises that you can begin using today in the gym – without all the fancy philosophy and rhetoric.

You can join today for less than a weekend out in the city, and get a ton of different content (including all of the past content) to help you coach and train your clients today. Make sure to check it out at EliteTrainingMentorship.com.

As always,

Keep it funky.

MAsymbollogo

Perspectives of a Dancer Turned Strength Coach

Dancing has painted the way I view many things in life. To the way I longingly look at any shiny floor in any part of the world (there were some dope places in London that I wanted to dance at… but security stopped me from doing so), to the way I choose the songs I casually listen to, to the way I even do my job of coaching athletes – my life is a canvas painted by dance.

Miguel_Aragoncillo-162

What is probably the most interesting aspect of how dancing has infiltrated my work is how I coach the athletes and clients I work with on a daily basis.

Perspectives of a Dancer

Now, my unique blend of experiences and the way I view the world will shape how I approach exercise and essentially my job as a coach. Essentially, everyone will bring something unique to the table – this is what I bring.

The Tangibles

  • For the athletes and clients I work with, I want you to move well, before moving with volume or heavy load.
  • If you’re dancing, moving with a slower tempo before speeding up may be beneficial – or vice versa. Knowing when to slow it down and speed it up is crucial for success in both the dancing and strength & conditioning world.
  • I want you to feel certain sensations as you do your exercises.
  • From a coaching perspective, dancing has given me a different set of lenses that I use in order to convey different stories, analogies, and lessons to get across.

Long story short there are many benefits to dancing that I have transferred over at first, subconsciously from my experiences, but after seeing many coaches coach and do their thing, I began to realize this is where I’m different.

It is also an interesting story for others to hear – almost every other coach in the industry has a background that involves their high school and collegiate career in sports.

On the other hand, I openly admit to sucking at every organized sport pretty much my whole life, and knowing full well I wouldn’t be as good as my other friends, I decided to invest my time, energy, blood, sweat, and tears into dancing.

Intangible Skillsets That Transfer from Dancing to Coaching

1. Everything is a sensation

In dancing, the music drives the movement. In exercising, there is no attention to the music (other than just to hype you up).

The takeaways that I’ve always used from dancing that help with coaching involve understanding that certain movements may “feel” a certain way in individuals – whether it is the right feeling or not is up for debate. In power moves in bboying, there is a certain “pulsing” that occurs when you are in the groove or in the correct position.

When exercising, if you aren’t feeling the correct areas being kicked on, my job as a coach is to help you feel those areas by any means necessary – with words, tools, stories, analogies, or by changing the exercise through a regression or other similar exercise.

2. Developing a “coach’s eye” through a different set of lenses.

Many have referenced the use of different ways to learn and coach – some learn by visual cueing, auditory, or even kinesthetic methods. I feel like I have developed my ability to deliver a high level kinesthetic coaching experience for anyone (certain populations aside of course).

See, my goals for getting you to move well involve efficiency and feeling. Being efficient means moving you into certain positions with as little verbiage as possible, without clogging your brain up with a bunch of things to think about.

For example, when teaching the basics to a squat to anyone, I really enjoy using the following strategies:

  • Using a visual cue, using pointing when necessary to identify critical parts of the movement.
  • Using an auditory cue simultaneously, such as “Knees go east and west of each other, as you squat to the box.”
  • And finally, emphasizing a kinesthetic cue for an individual’s feet by pushing on the outside of their feet, and tapping their heels and likewise saying “Feel tension where I’m pushing.”

It’s never a singular sensorimotor experience that allows an individual to learn. If I can make you laugh, learn to breathe, and perform an exciting exercise they never thought possible, I’ve done my job. These are just a few items that emphasize the uniqueness that most dancers can bring to the table when coaching.

Actionable Items

If you’re a coach, what can you do to improve your ability to well… coach?!

1. Learn a new skillset.

For skillsets that involve movement, rhythm, and attention to detail, but still is lots of fun – I highly recommend salsa. Salsa is easy enough to learn from your micro-failures early on, that big takeaways can be learned right away from several YouTube videos, or if you’re daring enough at a salsa club or lessons.

(Word to the wise: Havana Club in Cambridge/Boston area has lessons an hour before they have the full blown salsa night. Check it out if you’re in the area. Oh, and hit me up if you plan on going as well! :) )

Learning a new skill such as this will expose you (the coach) to the feelings of being a novice all over again. It is surprising, but many coaches may stick to their strengths out of fear of being exposed, or even clinging to the thought of looking dumb. Just think of how your athletes feel when you try to have them do anything new.

By walking (dancing) a mile in their shoes, you can re-experience what it means to learn a new skill set all over again, which may give you better perspective and experience to help ease your athletes or clients’ worries.

And, it doesn’t have to be salsa. It can be learning the intricacies of a new sport, learning a new set of recipes to cook, or just simply stepping outside your comfort levels for an hour or so out of the week!

Learning a new skill set also gives you a broader vocabulary with which to convey your intentions as a coach. If I want my athlete’s body to remain as still as possible, and perform a specific exercise that may require movement of only one or two body parts, I’ll ask them to stay still like they are doing the robot, but then move this part (pointing or demonstrating) only. If they have no idea what “the robot” is, then I can show them right then and there – they laugh, I laugh, they do the exercise – gains.

2. Learn the rhythm to every exercise.

Every exercise has a rhythm – yes even stationary exercises such as planks and side planks. (If you remember to breathe during these static drills, you can see what I’m talking about.)

Other than the obvious rhythmic exercises such as kettlebell swings, sprints, or skips, exercises such as squats, deadlifts, hang cleans, and medicine ball drills all have specific rhythms to adhere to achieve success.

  • With KB Swings, there is a portion where your torso is parallel-ish to the floor, and then a moment of weightlessness as the KB accelerates away from your hips (and your lower half shoulder feel like it goes down into the ground).
  • With sprints there is a moment of speed and pulsing that is created when you move past the acceleration phase.
  • With squats, there is a bouncy feeling that you need coming out of the hole while maintaining a tall torso position, at least for the intermediate to advanced lifters. 
  • With push-ups, there should be a feeling of pushing the earth away ala Chuck Norris jokes from 2005.

Push-Ups Earth Downs

See if you can find the rhythms in other exercises, and use whatever verbiage (or kinesthetic cues) you can to describe it to help you coach these exercises better.

I personally use powerful words to help describe the intensity in these movements – with KB Swings there is an early “snap” out of the hips that helps to improve your movement, with medicine ball slams there is a “boom” that also facilitates intensity.

As you can see, there are tons of different perspectives that allow myself, a dancer turned strength coach, to be successful in a room full of otherwise very sports minded individuals.

One thing to keep in mind is that many of the above items refer to biomechanical and neurological sensations as a key towards unlocking movement success. For the athletes and clients I work with, this is not to underestimate their ability to attain certain physiological adaptations as well. They are connected, but not the same. At the same time, please don’t believe that every item I perform involves stretching to the max – I believe in having flexible and pliable muscles, but that is not usually my end goal for you as the client or athlete!

There is a certainly a time and place for everything, this is simply my own take on it!

As always,

Keep it funky.

MAsymbollogo