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Introduction to Sports Biomechanics: Analysing Human Movement ...

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INTRODUCTION TO SPORTS BIOMECHANICS<br />

96<br />

knee angle curve, when it is driving the knee from an extended <strong>to</strong> a flexed position; we<br />

can call this a flexing acceleration. Trace through the entire patterns of Figure 3.10 until<br />

you thoroughly understand them and can explain them <strong>to</strong> your fellow students; this is a<br />

very important step <strong>to</strong>wards becoming a good movement analyst.<br />

Another noteworthy geometric feature of Figure 3.10 is the sequence of the three<br />

movement patterns: an extending (positive) angular acceleration, caused by muscle<br />

tension, occurs before the angular velocity changes from flexing (negative) <strong>to</strong> extending<br />

(positive). The resulting sequence of peaks (or troughs) is: acceleration, velocity,<br />

angle. Also notable is the inverse phase relationship between the angle and angular<br />

acceleration patterns; one is increasing while the other is decreasing; this is typical of<br />

cyclic joint movements, but not always so apparent in movement patterns in discrete<br />

sports skills, such as jumping and throwing.<br />

THE COORDINATION OF JOINT ROTATIONS<br />

Before looking at how we interpret graphical representations of coordination, let us<br />

begin by considering what we mean by this important term. In Chapter 1, we saw how<br />

well-coordinated arm movements can improve the height achieved in a standing vertical<br />

jump. So, we could study coordination of arm movements with vertical forces for<br />

vertical jumps; this would be an ambitious starting point, however. In Chapter 2,<br />

when considering movement principles, one of the universal principles we noted was<br />

‘Mastering the many degrees of freedom involved in a movement’. This is one<br />

explanation of what coordination involves. A rather longer definition, which elaborates<br />

on the one in the previous sentence, introduces the idea of ‘coordinative structures’.<br />

This viewpoint sees the acquisition of coordination as constraining the degrees of<br />

freedom in<strong>to</strong> coordinative structures, which are functional relationships between<br />

important ana<strong>to</strong>mical parts of a performer’s body, <strong>to</strong> perform a specific activity. An<br />

example would be groups of muscles or joints temporarily functioning as coherent units<br />

<strong>to</strong> achieve a specific goal, such as hitting a ball. As muscles act around joints, this<br />

explanation leads us <strong>to</strong> look at joints and their inter-relationships <strong>to</strong> gain an initial<br />

insight in<strong>to</strong> how sports movements are coordinated. We look at two common ways of<br />

doing this in the following subsections.<br />

Angle–angle diagrams<br />

In the previous section, we looked at joint angles as a function of time – a ‘time series’.<br />

However, times series involving several angles, as in Figure 3.11, can be difficult <strong>to</strong><br />

interpret for coordination. An alternative is <strong>to</strong> plot angles against each other – these are<br />

called angle–angle diagrams. We could plot three angles in this way <strong>to</strong> form a threedimensional<br />

plot, but this is rarely done.<br />

Several forms of coordination can be brought <strong>to</strong> light through angle–angle diagrams.

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