The 10 Most Important

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The 10 Most Important Conditions to Develop Creative Potential ...Horst Wein

2010 Soccer -Coaches .com / essy Spor ts-Software C.B. and Institute for Youth Soccer

Author: Horst Wein

Production:

Soc cer-Coaches.com / Sportakademie24.dePeter Schreiner, Dr. Ma rion Becker-Richter

Copyright:

2010

Institute for Youth Soccer, Germany, easy Sports-Software C .B., Spain

All rights reserved.

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The 10 Most Important Conditions to DevelopCreative Potential within Each Child

INHALT

1 DECLARE THE WAR AGAINST THE 11 VS. 11 GAME

REQUIREMENTS NEEDED FOR THEDEVELOPMENT OF MORE CREATIVEFOOTBALL PLAYERS

The 10 Most Important ConditionsTo Develop Creative PotentialWithin Each Child

2 MORE GAMES AND LESS ANALYTICAL EXERCISES

3 LET THE KIDS PLAY

4 PLAY IN ALL POSITIONS AND IN REDUCED SPACES

5 YOU MUST ENJOY THE GAME TO BE CREATIVE

6 LET THE PLAYERS CREATE GAMES AND RULES

7 DARE TO TAKE RISKS AND TO IMPROVISE

8 TRAIN THE RIGHT HEMISPHERE OF THE BRAIN

9 CREATIVE COACHES = CREATIVE PLAYERS

10 THE ENVIRONMENT AS AN ENEMY OF CREATIVITY

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Creativity is to meet your self, to experimentand explore new things, to transform, toremodel, to have fun, to travel into a world of

dreams and to do new things with joy andpleasure, using your fantasy and imagination.


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REQUIREMENTS NEEDED FOR THE DEVELOPMENT OFMORE CREATIVE FOOTBALL PLAYERS

Since we were born,weve been giventhe potential of

being creative. Weonly differ in how wellwe exhibit thiscreativity and in the

areas in which each person is able to become creative. Most of ushave been more creative as an infant than as an adolescent oradult, because there are more opportunities and possibilities to playat the pre-school stage than later on in school.

Therefore, in general, the development of the capa city to becreative and to become even more creative is not obstructed in kidsup to 6 years old. This is considered as being normal.

Nevertheless, when the child starts school, the evolutionary processcan cease. This is due, in many cases, to the negative effect of theteaching methods with intentional orientation and very strict norms.Suddenly, the available time to play is reduced and schoolfrequently suffocates this development which was occurringnaturally.

When playing Football children face the same problems indeveloping their creativity because of traditional coachingpractices. Many of the methods that for decades have beenessential components of the learning-teaching process in theFootball world, are now-a-days obstacles that inhibit the expression

of the c rea tive potential within each child.

Left picture: Horst Wein withFranz Beckenbauer and Angel Maria Villar Llona


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As today many private or governmentalinstitutions or organizations are busy in

occupying the free time of our children, thekids lose fantasy, imagination and creativity todo their own things, to do what their desires,

expectations and needs demand.

The 10 Most Important Conditions To DevelopCreative Potential Within Each Child

To overcome these important defic ienc ies, the following conditionshave to be created to again see the growth and maturity of morecreative players in our Footba ll fields.


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In the big game on a regular field, the young player is generallycondemned to become passive, participating very seldom in playswhere he can exhibit his c reative skills.

The Football field has boundaries, but thepossibility to be creative are boundless.

(Dettmar Cramer)


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Practising should happen in a game context. Statements like: You

only learn to play Football by playing it must be re-discovered andhave to be considered in the planning of all training sessions inwhich drills are still dominant and excessive.

Children should be exposed tomore game plays (globalmethod) and less practice withthe analytical method. Thepractice should happen in thegame.

2 MORE GAMES AND LESS ANALYTICAL EXERCISES


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3 LET THE KIDS PLAY

Let the kids play, without correcting them constantly. When playing

it is not necessary for the young Football player to know exactly thespecific learning purposes. Knowing the learning aims is alwaysimportant for the c oach but not for the player.

The player should frequently have the possibility to play, or play just for fun, without necessarily having any specific lea rning as amain objective. We should not forget that one essential part of thegame is its unpredictability. This explains why the game is sofasc inating for kids. As Buytendik said: Eac h game starts with amovement, which consequence is not completely predictable andwhich therefore has an element of surprise

We should give children the opportunity to explore and to discoverthrough playing, to infect them with the creativity shown by theirteammates and opponents and without having the coachinterceding frequently. By correcting from the start we expose theyoung player to an intensive pressure. Being stressed is a

contradic tion to the development of c rea tivity.


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IFriedrich Schiller states perfectly, with the following words, the vitalmeaning of playing games for the human being: The human feelsand behaves like a human when he plays

The talent develops in a repetitiveconfrontation of many players in a small

limited field, whilst the regular Football fieldcreates fatigue and limits the fantasy,

creativity and burst of speedof the young players.

(Dante Panzieri)


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4 PLAY IN ALL POSITIONS AND IN REDUCED SPACES

Young Footba ll players up to 13 yea rs should have the opportunity

to play in different positions in order to discover the roles andfunctions which these positions charac terize.

To experiment by playing in different positions stimulates thecreativity. For example, the 8-9 years old players would perform themany variations of the Mini Football game (3 vs. 3 on 4 goals)instead of playing 7-a-side Football or 11:1. If those 10-11 years oldsparticipate in the 7-a-side game instead of competing in the 11- aside match and if the players of 12-13 years would playtournaments of 8-a-side Football instead of championships in11vs.11,then the problem would be solved since a competition withless players in a reduced space stimulates the creativity. On theother hand, the full game in a regular Football field only tires theyoung player physically and intellectually, limiting his creative play.


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5 YOU MUST ENJOY THE GAME TO BE CREATIVE

Each training session should include a great variety of games (and

not only Football-specific ones). When the children play, theyshould have fun and be keen on the game. If the young playerdoes not identify himself with the proposed game that the coachhas designed, the c rea tive c apability will remain asleep.

The more the players are enjoying the game and the ba ll, the moreit stimulates the development of a creative way of interpreting theFootball ga me by the young Football player.

Bohm and Peat (1988) maintain in Science, Order and C reativity,page 255-256, that the establishment of objectives and patterns of behavior as well as the obsession of efficiency produce a rigidknowledge which blocks the free flow of thinking and movements,both nec essary to lead to a c rea tive behavior of the player.


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6 LET THE PLAYERS CREATE GAMES AND RULES

Let the players create their own games and rules. The coach

should not only make sure that the objectives of a simplified gameare mastered by most of his players, in accordance to his plan, butshould frequently encourage the children to create differentgames through modifying the rules proposed by the teacher.Frequent rule changes, introduced by surprise during the practise of the game, force the players who want to win to adapt to the rulechanges, using their c reativity.

Several variations of Mini Football with 4 goals, played in a reducedspace, are particularly effective in stimulating creativity in youngplayers.

Also during the training session, from time to time, the c oach shouldgive his players (perhaps for 10 minutes) a space to play freely, todo what suits them best. This could be done in any part of thetraining session. Once the young players are familiar with thegenerosity of the c oa ch, not only their imagination and fantasy

will grow, but also their sense of responsibility, personal initiative andtheir daring to improvise and to be c reative. This may also increasethe possibility of creating a leader within the group of players.


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8 TRAIN THE RIGHT HEMISPHERE OF THE BRAIN

Once young children enter school the left hemisphere of their

brain, where logical thinking, calculation with numbers and theverbal expression are loc ated, is mainly getting stimulated. Pupilsare expected to solve the tasks (generally closed, perfectlydefined tasks) along the lines indicated by the teacher withoutbeing allowed to contribute something of their own to the solutionof the task or to be c rea tive.

Nevertheless the development of the creative potential needs asystematic stimulation of the right hemisphere of the brain. That iswhy in school, like in Football training, more than ever open tasksare needed. These open tasks require young people to becreative to find the best solution to the given problem.

As long as the left hemisphere of the brain prevails in the scholasticc lassroom as well as in Footba ll training, less creative players willarise in the world of Football.


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Learning in Football, must be extended, more frequently offeringthe possibility to think and to learn incidentally and in divergentways. The coach does not have to impose everything! It is not a

doctor-pa tient relationship with set prescriptions.

Instead of the coach being the main character in the teachingand learning process, he should often transfer responsibility to hisyoung pupils and ask them, through systematic questioning, tosolve most of the situations that he presents. A true master inteaching never gives the answers to the problems, but helps his

pupils to find and discover them on their own, guiding them tocorrec t results. The game of Football itself must become theteacher and not the coach. J ohann Wolfgang von Goethe says itwith other words: Our youth prefers to get stimulated rather thaninstruc ted.

The excessive instructions given by the coach as well as theacquisition of automated and coach-directed Football moves isnot helping to develop the crea tivity of young Football players.


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9 CREATIVE COACHES = CREATIVE PLAYERS

In order to see more creative players (with the capacity to be

innovative and to do things in a completely different way from thenorm) in the future on our Footba ll fields, our coaches will have torethink, among other things, about:

While prac tic ing or competing, coac hes should not alwayspunish the mistakes of their players, as this will inhibit the playersfrom taking risks and thereby stop their c reativity, fantasy andimagination from flowing

In the training sessions more space or time should be offered toallow players to experiment new moves that occur to themspontaneously. A more informal environment - as seen whenFootball is played on the street, the beach or in a park- helps todevelop more c rea tive players.


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10 THE ENVIRONMENT AS AN ENEMY OF CREATIVITY

The environment of the young footba ll player is a n enemy of his

creativity.Nowadays most of our young talent grows in an atmosphere whichis noticeably hostile towards creativity. Their familiar and scholasticsurroundings, espec ially between the ages of 7 and 14 years, arecharacterized generally by a intentional direction of learning(with strict norms), which is limiting personal initiative,independenc e, originality and the value of trying to do things indifferent ways.

In most Football fields, the young players are dominated byinstructors, who allow relatively little freedom of movement anddecision-making to the young players whose opinions arepractically not taken into account. For the coach it is important toalways have everything under his control. When a player departsfrom his norms, he is often c hastised and told to respec t thecoachs direc tions.


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Often instructions are given to the players about what to do andhow to solve the problem or where he has to position himself beston the field. If during a competition, the coach does not direct hisplayers, many parents may think that the coach is not motivatednor is qualified for his work.

In Footba ll training as well in school too much instruction fromoutside does not favor the personal initiative of the players. Manycoaches think for their players, instead of stimulating them to thinkfor themselves.

Compliance has to have high-priority! If a player begins to showsignals of autonomy and self awareness, he will receive a call fromthe coach to get in line. This way, over the years, the youngFootball player gets used to following the coaches instructions andplays according to the information received but without putting inhis own thoughts and his personal flair.

When these young players arrive at the age of 14-15 years, it isobvious that they are going to face serious problems if they arerequested to make their own decisions, because for many yearsthey have been trained to execute only what the adults have told

them.(At this age there is a massive drop-out of players, as demonstratedby a study conducted in Bavaria, Germany between 1978 to 1988.

The number of teams diminished during this decade by more than50% when the players switched from category C (12-14 years of age) to c ategory B (15 to 16 years of age).

That is to say, before they played in the category B more than half of the players dropped out (see Kicker- Sportmagazin,05.11.1989).)

The creativity of his players is the sourcefrom which a coach should drink daily.


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It is logical that suddenly it isvery difficult for them tobecome more of a composer

and creator instead of a simpleexecutor, who for years havenot been allowed to play in acreative way. Such players arenot capable of enriching theFootball game and theirteams performance with theircreativity, fantasy and

imagination.

Instead of presenting fishes to the children,the students, or the players, the parents,teachers and Football coaches should teach

them how to fish.


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