fedec_cyrwheelmanual_en_2011
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Description
of the Cyr wheel
The Cyr wheel, a perfectly spherical tube with a diameter of 1.80 metres, is a simply shaped tool yet awe-inspiring when put to action.
It allows the artist to perform an almost infinite number of acrobatic moves, when considering the principle of equilibrium and disequilibrium
in each moment.
Once tamed and mastered, Cyr wheel becomes a pure object of creation, an extension of the body.
There is no real consensus on the standard material as Cyr wheel is a young discipline in constant development. According to some the practitioner can adapt to the existing material, while others believe that the material has to be changed according to the demands and experience of the individual.
Some important factors to consider are:
–the height of the student
(height of the wheel = student’s height + 13/15cm)
–the training/performance surface (often a plastic cover is necessary to reduce the risk of sliding too much)
–transport (multi-segmented wheel versus fixed wheel)
–maintenance of the wheel
(tightening of the tubing or connections)
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Types of material and construction of the Cyr wheel
Wheel used at ESAC in Brussels:
–material of the wheel : stainless steel 304S15
–material of the connections between the 3 parts: stainless steel tubes 26,9x2,6 (3/4”)
–diameter of the wheel: the height of the user plus the height of a fist and two/three fingers
(=+/- 13 à 15 cm).
–diameter of the tube: 33,7x2
–thickness of the material: large tube: 2mm/connecting tube: 2,6mm
–weight: depending on the diameter: roughly 10 kg
–anti-slip plastic coating : crystal tube, diameter 32x40mm
It is IMPORTANT that the coupling is flexible enough to leave a small margin of movement between the large coupling and the small one.
Wheel used at University of Dance and CircusStockholm:
Students use wheels bought from Daniel Cyr in Montreal. They are composed of 5 parts, fixed together by couplings with an anti-slip plastic coating. These wheels are very comfortable, easy to assemble and disassemble and practical to transport. They weigh roughly 11 to 13 kg.
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CONTEXT OF TRAINING SURROUNDINGS
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Looking
after the material
Before commencing training (and even during training) it is advisable to check the tightening of the couplings which often come loose. In order to avoid slipping the plastic coating has to be cleaned regularly to avoid accumulation of dust. Finally it is necessary to regularly check for fissures in the metal / stainless steel.
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Safety procedures related to practice
1/ For people around the practitioner;
Delineate a safe area, according to the competence of the practitioner.
2/ For the practitioner;
–On first trial - if possible - let a trainer assist you with movements
–Mark out an area free of obstacles,
–Check the quality of the training surface (ideally a dance mat, otherwise a clean and not too slippery surface)
–In all circumstances (when falling) the practitioner has to try and keep hold of the wheel with one hand for the safety of people around him
–Wear the appropriate clothing (not too long, specific shoes for the discipline, bare feet depending on experience)
–Work on the automatic reflex of opening your hands and extending your fingers fully when hands travel past the floor on the wheel.
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PRE-REQUISITES
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The wheel is a discipline that requires
few pre-requisites and it is therefore accessible to a wide audience. After learning the basic steps necessary for a good sense of balance,
an acrobatic background clearly facilitates
the progression towards more advanced moves.
If learning takes place progressively one could say that the discipline presents little danger.
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Devising and planning out a programme must take into account the student’s project, his/her level of expertise and aims on an individual basis.
05 The following suggestions come from permanent members of staff at circus arts Higher Education Institutions which are members of the FEDEC network.
DISCIPLINE-SPECIFIC METHODOLOGY
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Devising:
managing the training programme over time
In a 3 years’ Higher Education course where students train on the Cyr wheel for an average of 4 hours a week, the over-arching aim is to allow students to perform a complete act but also to equip him/her with the knowledge and understanding necessary to train alone and continue to develop afterwards.
The total length of the training course is therefore divided into three large parts or years or what are also called, macro cycles.
Every macro cycle is divided into two semesters, or meso cycles. These are also divided into micro cycles, or months, for an easier planning.
This division has to be adapted according to the duration of the training. It can give a clear vision of the overall objectives and the training programme, for both the student and the teacher.
Regular presentations of the student’s work, whether based on technique or artistic research, enable assessment of the student’s progress. New goals can be set for the following learning cycle, e.g. new technical moves to be mastered, progressive steps to create an act. As the student’s mastery level increases, the initial moves and progressions that have been learnt and developed, can be replaced by newly acquired elements.
The elements that make up the different sessions are:
–Discovering the discipline: exploring the equipment, sensations and feelings, basic technical moves,
–Basic, intermediate and advanced technical moves, as the student makes progress,
–Working on the sequence of moves and links between them, implementation of technical routines, integration of choreographed links,
–Endurance work, with and without equipment,
–Understanding external aspects: games, attitudes, rhythm, exploration of space.
–Working on rhythms (different musical contributions).
–Creating an act: creation and work on different parts, rehearsal with music and costumes, theatre designing.
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Quantitative planning (sets)
and qualitative planning
(frequency of rest)
The session length can vary from one to two hours.
Below is an example of a typical session.
The content, size and order of the stages vary depending on the time of the year and whether goals are being achieved or not. Certain activities will also be integrated with or replace certain exercises to break up the routine. 1 A specific warm up takes place in the first 10 minutes
of each session.
2This is generally followed by some technical work. Movements or practice of proper form are repeated until the aims are achieved (e.g. being able to repeat a move 5 times in a row with stability).They can be interrupted if there seem to be a lack of coordination or fatigue. In this case, students can work on a movement which uses different muscle groups or other
skills. 5 to 10 movements can be worked on during one session, depending on the level of technical difficulty. It is advisable to alternate movements which require different muscle groups or using other skills. The resting time between each set corresponds to the time
devoted to the feedback on the previous move. Resting time should also be proportional to the neuromuscular difficulty of the move performed.
3The students work on the links/sequences. The same logic applies with regards to working and resting time.
4Finally, some time devoted to research and exploration of the links, transitions and wheel manipulations. Some time could be devoted to costume rehearsal or listening to music for an act, etc.
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