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There are basic cheerleading motions that nearly all cheerleaders use,
whether you cheer for your school squad or do competitive cheer. Knowing
each motion can help you learn new routines quickly and easily. Performing
the motion correctly helps the entire squad appear uniform and sharp during
performances.
Basic Cheerleading Motions
There are a few motions that cheerleaders learn and use right from the beginning. Even when
you advance to higher levels in your cheer career, you will still use these basic motions over and
over again.
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Ready Position
This is a basic starting position for almost every routine. Feet are shoulder width apart and both
hands are in fists resting just where the hips begin. Elbows should be straight out to the sides and
not pointed to the front.
Hand Clasp
Although it may appear that a cheerleader is clapping, more than likely she is clasping her hands
together. This creates a sharp look to the routine and is more dramatic when the cheerleader is
trying to get the audience to clap with her.
T Motion
Arms are straight out to the sides at shoulder height and hands should be turned so that the
thumbs face forward and the pinky fingers face to the back. Hands are in tight fists. Feet are
typically together, but this can vary by routine.
Broken T
To create a broken T motion, raise both arms so that your fists rest on your chest at shoulder
height. The thumb should be to the back, closest to your body and the pinky finger toward the
front, facing out. Be careful to keep your elbows raised and not drop them. Keep your fists close
to your body for a tight, sharp movement.
V Motion
The V motion can be done as a high V or low V. Start with legs shoulder width apart. To
complete a high V motion, the arms are straight up but out from the head by about 45 degrees.
Make the arms about the same width apart as the legs and you'll be very close to a perfect high
V. Thumbs face forward. To do a low V, reverse the motion and bring arms out about 45 degrees
from the legs.
Right and Left Punch
This move may seem simple, but the alternating motion of one hand on the hip and the other
hand punching up can be confusing for very young or new cheerleaders. However, if you stick
with cheerleading, you will learn this motion fairly early on in your cheer career. To perform a
right punch, as shown above, place your left hand on your hip with your elbow straight out to
your side. The right arm should be straight up beside your ear. To perform a left punch, reverse
the motion and put your right hand on your hip and your left arm straight up in the air.
Advanced Moves
L Motion
Imagine that your arms are creating a straight letter "L" and you should be able to complete this
cheer motion. Although the cheerleader above has the right idea with her right arm straight to the
side and her left arm up, she needs to move her arms into better position to be an advanced
cheerleader. To perform a right L, place your right arm straight out to the side at shoulder height
(the cheerleader above needs to raise her arm a bit). The thumb should face forward. The left arm
is straight up next to the ear (the cheerleader above needs to straighten her left arm and bring it
closer to her head). To perform a left L, simply reverse the motions and put the left arm out
straight to the side and the right arm straight up next to your head.
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Focus on Fundamentals
The tiniest of details can make the difference between a well-executed cheer and a sloppy
cheer. When performing motions during your cheers, make sure you focus on the basics.
For instance, make sure your fists point in the direction they're supposed to point for each
arm motion and be sure to keep your wrists straight. Cocking or bending your wrists and
turning your hands the wrong direction can make a motion look "off."
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Hello Cheers
Printable Hello Cheers
Basketball Hello Cheers
Monsters
Hey there, fans (start in ready position; high V)
We say hello (clasp hands three times)
Our boys punt or (left front lunge with hands on hips)
Go, go go! (move back to beginning stance while doing three left punches)
Hey Y'all
Hey y'all (start in ready position; right punch)
Cats stand tall (tabletop; touchdown)
Lots of Hellos
Hello, Ciao, a big Bonjour (ready position; broken T; high V)
Bulldogs are who we adore (right L; left L)
https://cheerleading.lovetoknow.com/Cheerleading_Cheers_and_Chants_and_Motions
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byChristy Mitchinson
Updated July 26, 2018
Cheerleading competition routines get more exciting and more creative every year, but
one thing never changes—competition routines always include six elements—jumps,
dance, stunt sequence, pyramid sequence, standing tumbling, and running tumbling.
Make sure you cover all six of the elements you need in your competition routine to
improve your team’s score. Read about each element below.
Jumps
The number one rule in the jump section of a competition cheerleading routine is the
more jumps the better! Gone are the days when you could link two or three jumps
together and know that you have done your best. Judges are now looking for more than
3 jumps.
Most competition routines now have at least four jumps. For example, a 3 + 1 is a
combination of three jumps inked together with a fourth either following but separated
by another move or somewhere else in the routine. A 4-Whip is four jumps linked
together.
More advanced teams have even started a trend of linking four or five jumps in their
routines, but that is a gamble as every single jump must be nearly perfect.
Dance
Often saved for the end of the routine, the dance is often a judge’s favorite part of the
routine. With multiple transitions, level changes, and clean, sharp motions, the dance is
a lot of fun. It should be flashy and exciting.
Keep motions crisp, quick, and exaggerated to catch the judge’s eye. Make sure your
choreography included a fast-paced, larger-than-life dance, full of energy, which will
have the audience on their feet clapping along with the beat.
When it comes to the dance, judges are looking for transitions, level changes, energy, all
of the things listed above, but they are also looking for one more thing… fun! The judges
want to see your team enjoying every moment of their time on the mats and with a fast-
paced, complex routine sometimes the dance portion is your best chance to show the
judges that you love to cheer.
Stunt Sequence
This is the part of the routine where the team is divided into smaller groups, called stunt
groups, and perform a series of stunts. The groups should be performing the same
stunts or series of stunts with little variation. The key factors to strong stunt sequences
are synchronicity and timing. In USASF Levels 2 and above the stunt sequence is often
used to show the flexibility of flyers with one-leg stunts like bow and arrows and spikes.
Remember that a lib is not considered a body position, so when you are trying to rack up
enough body positions in your level to score high, libs don’t count.
In some routines, there may also be a separate basket toss sequence for teams to
showcase their skills in baskets, such as toe touch basket tosses and full basket tosses. In
USASF Levels 2 and above, there is a section on competition score sheets for basket
tosses.
NCA looks for consistency in the elite level skills that they consider necessary for each
level. If you have a look at the list of skills required at each level, you will see that some
of the more difficult skills which can be performed aren’t on it. That is because the skills
they list for each level are what they believe that each team at that level should have and
that is what they are judged on first.
It is important to ensure that each stunt group on your team can hit the required skills
cleanly. Any additional skills may add to the team’s difficulty score if they are performed
with good technique.
For basket tosses, there is no difference in scoring for a team who has fronts versus a
team who doesn’t have fronts. This means that a team of 20 athletes may perform four
baskets with fronts or five baskets without fronts and they will not be scored differently,
but once again, all groups must have clean skills, so if a team or 20 goes for 5 toe-touch
baskets and one has poor form, this could bring down the team’s score.
https://www.thoughtco.com/elements-of-a-competition-routine-588800
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Cheerdancing
By: Michael L. Tan - @inquirerdotnet
Philippine Daily Inquirer / 01:28 AM September 17, 2014
More than 22,000 people packed the Araneta Coliseum last Sunday to watch this year’s
UAAP (University Athletic Association of the Philippines) cheerdance competition.
Many more people, maybe reaching a million, followed the competition on television,
through live and delayed telecasts.
I watched at the coliseum mainly to cheer on the University of the Philippines Pep
Squad but, as usual, I watched as a social scientist, too, intrigued by the way cheerdance
has been evolving as a Filipino institution since the UAAP began the competitions in
1994.
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The very word “cheerdance” is not quite an American or British term. I do not know if
it was coined in the Philippines, where it seems to be most widely used, but there is also
a Japan Cheer Dance Association so it’s hard to say.
Cheerleading
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Cheerleading was originally meant to, well, cheer school basketball and football teams
as they competed, and was mainly a combination of dance and gymnastics. This
original function of the groups cheering for athletic teams is still there, but our
cheerdancing also drew from another American tradition—the pep squads.
The pep squads were slightly different from cheerleading groups. Pep squads were
associated more with elementary and high schools and emphasized school spirit. The
UAAP cheerdancing groups have mostly adopted the name Pep Squad and have
become varsity teams in their own right, meaning they don’t just cheer on the basketball
teams but are themselves competing teams, which is why we have this separate one-day
event where all the UAAP schools compete.
In form and substance our cheerdancing has evolved into a sport in its own right and,
even more importantly, as an art. The dance and gymnastics components form the core
of cheerdancing, but there are variations in what each school emphasizes. National
University (NU), which emerged No. 1 for the second consecutive year, is clearly
oriented to gymnastics and stunts, with hold-your-breath rotations high in the air.
The UP Pep Squad has gymnastics and stunts, too, but is heavier on dance, reflecting
coach Lalaine Juarez-Pereña’s own training background. It has workouts in jazz and
contemporary dance, with some ballet thrown in. The University of Santo Tomas team
has a similar focus on dance, even retaining the name “UST Salinggawi Dance
Troupe.”
I noted, too, how much of theatrical showmanship there is in cheerdancing, and I think
this is what makes it so Filipino. I’m wondering if cheerdancing is moving into a kind
of local Cirque du Soleil, the Canadian group that took off from circus acrobatics to
develop a dazzling combination of ballet, pantomime, even aspects of synchronized
swimming, all enhanced by high-tech lights and props.
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Our cheerdancing is of course much more modest with the props, but the universities
clearly invested on the costumes and accessories. I was struck by how two of the
teams—those of UST and Far Eastern University—used Chinese themes. NU, although
now owned by the Chinese-Filipino Sy family (the ShoeMart Advantage, according to
netizens) chose instead a Native American theme.
Which takes me to the UP Pep Squad. In the UP tradition, it decided this year to
dramatize a strong message, captured in flash cards brought by UP fans that read “UP”
on one side, and “Pantay Pantay” (or Equality) on the other. The “Pantay Pantay”
message initially perplexed many, until the team performed.
Defying tradition
Halfway through the UP Pep Squad’s performance, the audience gasped when our
women defied tradition by lifting two of the men, rather than the other way around. I
heard later that people sitting farther from the performers did not quite catch this; they
assumed it was always men hoisting up women. But later there was a buzz in social
media, with people exchanging views, overwhelmingly positive, on this innovation.
When the team did a sneak preview for the UP community days earlier, our students
just went wild, roaring approval when the men rose into the air on the women’s
shoulders.
I was elated when I first saw this reversal of roles. Back in July, Coach Lalaine told me
that she and the team were thinking about challenging traditional roles in gymnastics. I
encouraged her, saying I wanted to see our athletes overturning gender stereotypes.
Watching the UP Pep Squad performing at the coliseum, I thought of the grueling
weeks its members had put in for rehearsals. Remember, UP shifted its school opening
from June to August, but even the team’s freshmen—there were three of them who
performed last Sunday—came in during the prolonged “summer” to practice. It was
even more difficult when school started, given that these are kids who have demanding
courses, like psychology, sports science, or electrical engineering.
As a whole, the UAAP cheerdance competitions are heartening in the way they reflect
growing interest in performance sports. The teams have caught the attention of young
Filipinos in high schools, who idolize the cheerdancers. Many neighborhood street
dance groups are incorporating cheerdancing elements, and I hope our UAAP
cheerdance teams can find time to visit these schools and neighborhoods, not just to
perform but also to coach the aspirants, especially on safety aspects.
I did watch the UP Pep Squad last month coaching a group of disadvantaged students,
all scholars from rural areas. The message was clear: You can learn many techniques
fairly quickly, but perfecting a performance requires dedication and discipline.
And courage. Cheerdancers are no mere daredevils. They’re clearly driven, focused on
what they want to achieve, and willing to work extra hard. This year was especially
difficult with the “Pantay Pantay” challenge. Our women cheerdancers tend to be quite
petite, so they had to put in much more to condition themselves to lift the men.
Rainbow of hope
At one point last Sunday, the UP crowd unfurled and began to pass around a huge
rainbow-colored flag, borrowed from the LGBT (lesbian/gay/bisexual/transgender)
movement to symbolize diversity. The UP Pep Squad said it takes the rainbow to
represent hopes for equality.
The flag was first passed around the bleachers, where there were mostly UP people.
Eventually, members of the audience thoughtfully passed it on to Ateneo. The Blue
Eagles fans took up the flag and then passed it to the next school.
The transformation was dramatic. Almost in contrast to the loud cheering, the flag
quietly floated around the coliseum, no longer just UP’s flag, or theme, but a vision for
all who care about equality—in cheerdancing, in sports, and in all we do.
***
Many thanks to the UP Pep Squad members, with special mention of Coach Lalaine,
assistant coaches NJ Antonio, Pio Opinaldo and Suyin Chua, team captain Audrey
Muñoz and cocaptain Christian Gorgonia. Also, it’s time we recognized the all-
important role of the Pep Squad Drummers, led this year by John Anthony Sayson and
Christine Marie Pagador.
(E-mail: mtan@inquirer.com.ph)
Cheerleading grew from there. It wasn’t until 1923 that women were allowed to cheer for the
first time, at the University of Minnesota. During this decade, cheerleaders added tumbling and
acrobatics to their routines, and a University of Oregon cheerleader used flashcards for the first
time. Although women were joining teams in the ‘20s, it wasn’t until the ‘40s that they joined in
large numbers, since so many college-aged men went off to fight in World War II.
In 1948, Southern Methodist University cheerleader Lawrence “Herkie” Herkimer held the first
summer cheerleading clinic at Sam Houston State Teacher’s College (now State University), and
went on to develop his signature “Herkie” jump, the spirit stick and the pom pon, all
cheerleading staples to this day. In 1961, he incorporated the National Cheerleaders Association
(NCA).
By the 1960s, cheerleading could be found in virtually every high school and grade school across
the country, and pee wee and youth leagues had developed as well. In 1974, Jeff Webb (who had
been general manager of NCA) founded Universal Cheerleaders Association (UCA), which
taught higher level skills. The ‘80s decade brought the launch of many more event companies, as
well as AACCA (American Association of Cheerleading Coaches and Administrators), in 1987,
the first association devoted to teaching safety to coaches and advisors. UCA has grown into
Varsity Spirit Corp., today, encompassing 17 cheerleading event, apparel and service companies.
All Star cheerleading started in the late ‘80s, and grew rapidly through the ‘90s. All Star
cheerleading focused on athletic training and competition performances, as opposed to school-
based cheerleading, which still encompassed leadership and spirit qualities. Today, many
companies offer both scholastic and All Star categories, and some companies focus primarily on
All Star cheerleading.
The original purpose of cheerleading is still relevant in today’s world, even with the
increasing popularity of competition.
Cheerleaders are the promoters of their schools and communities. They are a key marketing tool
to the athletics programs that they support, and they create the community patriotism we call
“school spirit.” Most importantly, they are tomorrow’s leaders who through the development of
athletic skills, leadership, and teamwork will be vital members of the community in the
future. Be a cheerleader and become a leader.
https://www.varsity.com/news/cheerleader-history-cheerleading/
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