LINK UNITS FOR GYMNASTICS, GAMES AND DANCE. KEY STAGE 2-3 TRANSITION INDEX

Transcription

1 LINK UNITS FOR GYMNASTICS, GAMES AND DANCE. KEY STAGE 2-3 TRANSITION INDEX Page PREFACE... iv AN INTRODUCTION TO THE AUTHOR... iv Val Sabin, DIP. PE., B. ED. HONS., MA... iv LINK UNITS FOR GYMNASTICS, GAMES AND DANCE KEY STAGES 2-3 TRANSITION INDEX... ix (A) The structure of the manual... ix (B) The Gymnastics link unit (blue section)...x Additional Resources...x (C) The Games link unit (green section)... xi Additional Resources... xi (D) The Dance link unit (purple section)...xii Additional Resources...xii (E) How can the Link units be used?... xiii (F) Standardisation of experiences and understanding... xiv Tried and tested... xiv (G) Assessment...xv Why?...xv How and when... xvi Awareness of Assessment Criteria... xvi Assessment Sheets...xviii - xxiv KEY STAGE 2-3 LINK UNIT FOR GYMNASTICS INDEX INTRODUCTION 3 (1) ESTABLISHING THE EXPECTED STANDARDS OF PERFORMANCE... 3 (2) The transition between Key Stage 2 and Key Stage Imbalance of experience / ability... 5 Delivery of the unit... 5 Working in pairs and small groups... 6 Partner-work and Progression... 7 Working in 3 s or small groups... 8 Basic individual skills... 8 Resource cards... 8 Challenge... 9 Sequences Apparatus...11 Maintaining pace and motivation (3) Structure of the Link Unit Working through the link unit (4) THE LINK UNIT AS PART OF THE NATIONAL CURRICULUM The four strands of KNOWLEDGE, SKILLS AND UNDERSTANDING: (a) Acquiring and Developing Skills (b) Selecting and Applying Skills and Compositional Ideas creating phrases and sequences v - Val Sabin Publications

2 Page (c) Evaluating and Improving Performance through observation, analysis and discussion (d) Knowledge and Understanding of Fitness and Health (5) WHAT NEXT? DEMONSTRATION LINK UNIT FOR KS2 AND KS3 GYMNASTICS Learning Objectives Expected Learning Outcomes UNIT FRAMEWORK Key words or language for learning EXPECTED LEARNING OUTCOMES FOR EACH PHASE OF THE KEY STAGE 2 / 3 LINK UNIT Transition Progression Progression Progression Progression Progression Progression Skill and Sequence Development, Principles of Movement, Apparatus Warm-Up and Cool Down Expected Standards of Performance by the end of KS KEY STAGE 2-3 LINK UNIT FOR GAMES INTRODUCTION... 3 (1) ESTABLISHING THE EXPECTED STANDARDS OF PERFORMANCE... 3 (2) THE TRANSITION BETWEEN KEY STAGE 2 AND KEY STAGE (3) STRUCTURE OF THE LINK UNIT Working through the unit (4) THE LINK UNIT AS PART OF THE NATIONAL CURRICULUM (a.) Acquiring and developing skills (b.) Selecting and applying skills and tactics (c.) Evaluating and improving performance - through observation, analysis and discussion (d.) Knowledge, understanding of fitness and health (5) WHAT NEXT FOCUS ON ATTACKING AND DEFENDING SKILLS AND STRATEGIES DEMONSTRATION LINK UNIT FOR KS2 AND KS3 GAMES Learning Objectives Expected Learning Outcomes UNIT FRAMEWORK Key words or language for learning EXPECTED LEARNING OUTCOMES FOR EACH PHASE OF THE KEY STAGE 2 / 3 LINK UNIT Transition and Familiarisation Progression vi - Val Sabin Publications

3 Page Progression Progression Progression Progression Progression THE ACQUISITION AND DEVELOPMENT OF GAMES SKILLS AND STRATEGIES WHICH GAMES SHOULD WE COVER? (a) TARGET GAMES (b) NET / WALL GAMES (c) STRIKING AND FIELDING GAMES (d) INVASION GAMES (5) DEVELOPING STRATEGIES / TACTICS (A.) WARMING-UP FOR GAMES ACTIVITIES GROUP 1-4 WHOLE BODY GENERAL WARM-UP (B) CAREFUL SYSTEMATIC STRETCHING WARM-UP CARDS (C.) MORE FOCUSED ACTIVITY AT A HIGHER PACE TAG CARDS Expected Standards of Performance by the end of KS KEY STAGE 2-3 LINK UNIT FOR DANCE INTRODUCTION...3 (1) ESTABLISH THE EXPECTED STANDARDS OF PERFORMANCE... 3 (2) THE TRANSITION BETWEEN KEY STAGE 2 AND KEY STAGE Imbalance of experience / ability...5 Delivery of the unit...5 Working in duos, trios and large groups...7 Partner-work and Progression...7 Working in 3 s or small groups...8 Basic individual skills and techniques...8 Resource cards and other stimuli...9 Challenge...9 Dance Phrases and Dances...10 Warm-up and cool-down Music and accompaniment Maintaining Pace and Motivation (3) STRUCTURE OF THE LINK UNIT...12 Working through the Link Unit...13 (4) THE LINK UNIT AS PART OF THE NATIONAL CURRICULUM The four strands of KNOWLEDGE, SKILLS AND UNDERSTANDING are addressed in the following ways:...14 (a) Acquiring and Developing Skills...14 (b) Selecting and Applying Skills and Compositional Ideas creating phrases, motifs and dances...15 (c) Appreciating, Evaluating and Improving Performance through observation, analysis and discussion vii - Val Sabin Publications

4 Page (d) Knowledge and Understanding of Fitness and Health...17 (5) WHAT NEXT?...18 FOCUS ON GAMES...19 LEARNING OBJECTIVES AND EXPECTED LEARNING OUTCOMES...21 UNIT FRAMEWORK...22 Key words or langauage for learning...22 EXPECTED LEARNING OUTCOMES FOR EACH PHASE OF THE KEY STAGE 2 / 3 LINK UNIT MUSIC ON THE ACCOMPANYING CD...24 Transition and Familiarisation Progression Progression Progression Progression Progression Progression THE LANGUAGE OF DANCE WARM-UP AND COOL DOWN EXPECTED STANDARDS OF PERFORMANCE BY THE END OF KEY STAGE viii - Val Sabin Publications

5 (3) STRUCTURE OF THE LINK UNIT Work on floor and apparatus The link unit has been structured to progress and develop skills, agilities and sequences through a series of progressive phases:- Transition and Familiarisation on floor and apparatus: Travel, jump, turn and balance using matching / mirroring / contrasting (joining 2 phrases of movement together). Progression 1 on floor and apparatus: Shapes and levels through balancing with one point of contact with a partner (moving into and from a balance). Progression 2 on floor and apparatus: Making static and mobile shapes for a partner to move under / over (joining 3 movements together and adding the phrase from progression 2 to form a more complex sequence). Progression 3 on floor and apparatus: Pushing and pulling against a partner(s) to produce a balance using counter-balance or counter-tension (developing control and body tension changing positions and moving smoothly to music). Progression 4 on floor and apparatus: Adapt, modify and refine counter-balance / counter-tension balances and transfer them to apparatus (develop sequences using different parts of the apparatus and using all the floor etc) Val Sabin Publications

6 Progression 5 on floor and apparatus: Working with a partner or in a group of three select and develop at least 4 balances from the different types experienced and combine into a sequence using music to help determine structure (develop sequences working to specific criteria and evaluate them using a check-list). Progression 6 on floor and apparatus: Using their understanding of construction / siting of apparatus pupils complete the settingup of their own apparatus group and use the same criteria for creating a sequence as in progression 5 but fully using both floor and apparatus (develop sequences to exploit space and imaginative use of dynamics. They work to music). Working through the link unit N.B. It is very important to retain PACE and MOTIVATION so, depending upon the length of lessons and pupil response, some of these progressive phases may be delivered within one lesson, others may take 2 lessons. It is essential to try and work through to progressions 5 and 6 as they represent the climax of the balance work in two s and three s. In these final phases pupils can show their individual, pair and small group skills as well as their use of levels, directions, pathways, speeds and how to create relationships to a partner and the apparatus. It is also the time when they can show their understanding of how to create a balanced sequence of movement. They will know and use the safety rules for moving, siting and working on apparatus, and can show how they have developed their analytical skills to evaluate their own and others work. They will also have made up their own short warm-up routine Val Sabin Publications

7 (4) THE LINK UNIT AS PART OF THE NATIONAL CURRICULUM The four strands of KNOWLEDGE, SKILLS AND UNDERSTANDING are addressed in the following ways: (a) Acquiring and Developing Skills Basic actions and skills which should have been developed in Key Stage 2 are revisited, remembered, refined, adapted and extended along with their associated principles and techniques to establish a common level of understanding and experience. This will enable structured progress to continue after this unit. The unit develops through a focus of Balance and the areas of experience and themes included are:- Balancing and travelling on different body parts The five basic jumps Matching and mirroring Balancing with one body part in contact with a person or apparatus Holes and barriers Counter balance and counter tension Many of the basic core skills associated with these themes can be visited, refined and adapted as appropriate, including:- Turning (sideways / forwards / backwards / rolls, walkovers etc) Jumps (the shapes associated with the different jumps) Balances (simple balances on different body parts and more complex balances like handstand, headstands and shoulder stands, pair and group balances etc) Lateral movements (like cartwheels and arab springs etc) Travelling on feet, hands and feet, and different body parts (including all the above skills) Quality of movement is encouraged through precision of body shape, extension, body tension and control Val Sabin Publications

8 PROGRESSION 1 Mats out spread about the room. Warm-up / preparation 1 GENERAL WARM-UP REACH SWING AND JOG (Track 1) (i.) Walk, jog and side-skip about the gym between the mats (change step on a signal from the teacher). (ii.) Deliver General Warm-up No 1. Reach, Swing and Jog Music Track 1. (iii.) Jog about the room STOP place one foot on the nearest mat. Move the other foot as far away from the mat behind you as is comfortable (don t overstretch hold for approx 6 seconds). Repeat the activity but change legs. Repeat the activity but stand sideways on the mat and move the other foot away sideways (don t overstretch and explain which muscle groups are being stretched). (iv.) Jog and stop to lie down with front of body on nearest mat on a signal pull arms and legs upwards so your body is in a dish shape hold for 6 seconds. (v.) Jog and stop, then sit on the edge of the nearest mat on a signal pull arms and legs up into the air (stretched) and hold for 6 seconds balanced on hips. (Repeat these last 3 activities jog and stretch several times in any order. Explain which groups of muscles are being stretched.) Floor-work (i.) Move about the gym and over the mats showing different ways of travelling (give pupils time to explore and show demonstrations before repeating task. Some ideas which may be used for demonstration could include:- cartwheels, sideways / forwards / backwards rolls, jumps, handstands, forward roll, dive rolls etc. This could also lead to some skill development.) Val Sabin Publications

9 (ii.) Can you demonstrate a front support position? (Take a child who can show a good quality position and briefly go through the teaching points strong straight arms, hands directly behind the shoulders, fingers pointing forwards, strong straight body in line with head.) All try, and emphasise body tension, extension and clarity of body shape all of which give quality (Repeat the exercise with back support and side support). (iii.) Can you begin in front support and, maintaining body position throughout, turn over to back support. Stretch out the free arm as you turn, and this means you also pass through side support. (iv.) With a partner can you match the turning movement and keep together moving at the same time as each other. (v.) You can choose any of the supports in any combination and with your partner make a combined balance with one part of you in contact with each other. (Look at and show different ideas for points of contact and partner relationships) e.g. side-by-side, feet-to-feet, head-to-head, one behind the other, facing each other, backs to each other, crossing over each other etc. (vi.) Now you have established your balance, can you change it by releasing one or two points of contact with the floor and changing your body shape (look at ideas and emphasise body tension and extension. Recognise that a smaller base means a more precarious balance). (vii.) Hold the balance for three seconds then find a way of turning or rolling to travel out of the balance and back onto your feet again (Practise the turn / roll and jump back onto feet. Show good demonstrations of a range of turns or rolls and emphasise teaching points). Some examples of skills which fulfil this task could include: (a) (b) (c) (d) (e) forward roll and walk out cartwheel out turning jump backwards roll to push onto feet able pupils could show walkovers Val Sabin Publications

10 4 CREATE A COMBINED BALANCE BALANCE WITH OR AGAINST A PARTNER - DIFFERENT BODY PARTS IN CONTACT forward and back (This simple task will enable the teacher to make initial judgements about individual skill level.) (viii.) Look at the card for ideas of combined balances (CARD 4 Making contact to create a combined balance ) and explore some of them modify and change them as appropriate. (Look at some ideas as the exploration process is evolving and point out the essential teaching points concerning the role and position of the supporter. Emphasise how strong body tension is required to maintain the balance.) N.B. cards 10 and 11 are also available. (ix.) Find a favourite balance and make it perfect! Then find a way of turning or rolling away from it to travel back onto your feet. (Observe and comment on any modifications from section (i) of floorwork.) (x.) Stand away from your mat and your partner. How can you travel towards each other and move smoothly into the balance. (Encourage pupils to approach the balance from different directions. Explain they can use different movements from each other and can move at different times i.e. in canon or synchronisation. Ask them to choose appropriate movements to encourage a flowing transference of weight.) Question for self-evaluation What timing do you use to meet a partnercanon or synchronisation? Have you selected appropriate turning or rolling skills to travel from the balance? do the movements flow? Do you show a clear starting position? (xi.) Perform the complete phrase travel into the balance using canon or synchronisation hold the combined balance for 3 seconds travel away from the balance by turning or rolling Val Sabin Publications

11 PROGRESSION 4 Warm-up - preparation 3b GENERAL WARM-UP CHANGE STEP (TRACK 3) (i.) Deliver general warm-up No3 (b) Change Step. Explain that the activity now requires not only a change of step, but also changes in direction. Pupils change step with reminders from the teacher, BUT keep changing direction and pathway as an individual when they choose. (Ask pupils to clarify the different directions and describe a variety of pathways i.e. forwards / backwards / sideways / diagonally zig-zag pathways, straight pathways and curving pathways. (ii.) Remember the two stretches (D) and (G) and practise how you performed them with your partner including jogs / side steps etc. (Allow time to remember and practise.) A WARM-UP STRETCH (iii.) Introduce warm-up stretch A perform it all together then add it to your existing warm-up sequence by jogging / side skipping in a different relationship or using different pathways (8 steps x2) before performing the stretch x4 (allow time to practise and perform accurately). Apparatus (i.) Take the apparatus out in waves. Pupils move in / out / under the apparatus in between each wave to maintain momentum and allow the teacher to check locks, levers and position of apparatus. (Encourage pupils to look at all these safety issues as they move in and out of the apparatus and draw attention to anything they feel needs adjusting.) (ii.) Exploratory tasks As an individual move in / out / under apparatus freely, then on a signal, stop and push or pull against the nearest free piece of apparatus to create a balanced position (i.e. counter balance or counter tension). (iii.) Same task but can you now explore different body Val Sabin Publications

12 parts that can push or pull against the apparatus to hold a balance (show demonstrations of different balances to show variety). Ideas could include:- e.g. Feet on floor Hands or elbows pushing or gripping to pull. Chest, back or side of the body pushing against apparatus. One foot on floor, one foot / leg pushing against the apparatus or linked to it. Hands on floor Feet, hips back, side of body pushing or leaning against the apparatus. Leg linked to pull against the apparatus. Shoulders on floor feet, hips, back leaning or pushing against the apparatus. Knees on floor head, elbows, hands pushing or leaning against apparatus. (iv.) Allow time for exploration and emphasise body tension, extension and clarity of body shape. (Show more demonstrations and ask pupils to describe what they see i.e. is it counter-balance or counter-tension why is it an effective balance?) (v.) Join together with your partner or in the 3 you worked in on the floor, and move in / out /under apparatus in a follow-my-leader formation. On a signal No1 pushes or pulls against the apparatus to create a balanced position then No2 explores how to push or pull against No1 (and No3 completes it) to create a combined counter-balance / counter-tension position. (This is repeated several times to allow exploration of different pieces of apparatus and to show demonstrations of effective balances. Pupils are asked to comment on different balances, body parts in contact and sometimes how No1 may be for example holding a counter-balance position against the apparatus but No2 (or No3) is holding a countertension balance against No1.) 6abc COUNTER-BALANCE AND COUNTER- TENSION (vi.) Pupils travel in different ways between the apparatus in follow-my-leader formation and stop and balance in their own time against a free piece of apparatus (encourage them to change the leader each time the combined balance is achieved). (vii.) Move back to your own set of apparatus. Explore combined counter-balance / counter-tension Val Sabin Publications

13 12 COUNTER-BALANCE AND COUNTER- TENSION IN THREE S balances on different parts of your own apparatus or adapt, modify and extend balances you used on the floor (hand out card 6a, b, c so pupils can refer to them if they wish). Remember you can make it more interesting by showing different levels e.g. No1 on apparatus, No2 on floor (No3 on either) or both (all) on different pieces of apparatus. (Three s could use card 12) (viii.) Find a favourite balance and hold it for 3 seconds. Evaluate your own balance and decide how it could be improved. Find a way of travelling from the balance very slowly and smoothly in a controlled manner. (ix.) Now find another balance on a different part of your apparatus and practise holding it for 3 seconds how can you travel from it in a fast or explosive way? (Allow time for practise and show demonstrations which illustrate good ideas.) 7 COUNTER-BALANCE / COUNTER-TENSION ON APPARATUS (x.) Combine the movements fluently to produce a wellbalanced sequence. Hold the first balance, move away slowly Travel into the second balance Move away quickly or in an explosive way. Travel into a finishing position. Hand out card 7 Counter-balance / counter-tension on apparatus. Evaluation Evaluate another pairs sequence what did you like about it? Does it contain a travel jump turn and balance? As a result of the evaluation, modify or improve your own sequence. Cool-down (i.) On your own lie on the floor. How many different ways can you stand up and lie down again slowly and with control. (ii.) Choose two different ways. Perform one, then slowly walk to another space and perform the other. Keep repeating the movement and walks in between until, on a signal from the teacher, you stand up and stretch tall Val Sabin Publications

14 7 GYMNASTICS - LINK UNIT COUNTER-BALANCE / COUNTER-TENSION ON APPARATUS Combine the following movements into a well-balanced sequence. (a) (b) (c) (d) Hold a combined counter-balance / counter-tension balance on apparatus (3 seconds) then move smoothly away. Travel into a second balance on a different part of the apparatus. Hold it for 3 seconds and then move quickly or explosively away. Travel into a finishing position. N.B. Do the balances show clarity of body shape, body tension and extension. Are there clear variations in speeds, levels and directions? Does it contain aspects of TRAVEL, JUMP, TURN and BALANCE? Val Sabin Publications 7 GYMNASTICS - LINK UNIT COUNTER-BALANCE / COUNTER-TENSION ON APPARATUS Combine the following movements into a well-balanced sequence. (a) (b) (c) (d) Hold a combined counter-balance / counter-tension balance on apparatus (3 seconds) then move smoothly away. Travel into a second balance on a different part of the apparatus. Hold it for 3 seconds and then move quickly or explosively away. Travel into a finishing position. N.B. Do the balances show clarity of body shape, body tension and extension. Are there clear variations in speeds, levels and directions? Does it contain aspects of TRAVEL, JUMP, TURN and BALANCE? Val Sabin Publications

15 SKILL DEVELOPMENT (A) THE DEVELOPMENT OF A SKILL The main emphasis of the manual is on actual teaching material so it is important at this stage to examine some of the core principles. Since we have already established that skill development is at the heart of all gymnastic work, it is essential to establish some simple universal rules for skill development. Once a basic skill has been mastered and can be performed confidently with control, accuracy and quality, it can be developed by:- (1) slightly altering or adding to the skill to increase the level of difficulty. (2) including the skill in a sequence. (3) using the skill with a partner or small group. (4) transferring the skill to apparatus. (1) Slightly altering or adding to the skill to increase the level of difficulty. This can be achieved by:- developing precise body line, tension and extension to increase quality. changing the speed/direction/level/shape of the skill. performing the skill with a different leg leading. finding different ways of moving into or from the skill.. (2) Including the skill in a sequence. This can be achieved by:- demonstrating variety and control when moving into and from a Val Sabin Publications

16 skill. following compositional principles to use the skills in a well balanced series of movements. (3) Using the skill with a partner or small group. Understanding core skills and principles will give pupils the confidence and versatility toadapt and use skills with others. Partners and group work will encourage and develop:- observation, evaluation and suggestions for improving performance. communication, discussion and trust. understanding of own and others strengths and weaknesses. adaptation to the needs and abilities of a partner. success for pupils of all abilities and levels of confidence. (4) Transferring the skill to apparatus. Basic skills and movements should be experience and mastered on the floor before attempting to transfer them to apparatus. Once confidence has been gained skills can be transferred by:- Moving steadily through a series of progressive stages to take them into the full skill. Utilizing different relationships to the apparatus (over, under, against, along, through or exploit different levels.) N.B. These points are not listed in any particular order and, indeed, will be used in a way which suits the task, however, it is important to remember:- (a) A pupil must be able to perform confidently and competently on his/ her own and have a reasonable vocabulary of movements before attempting to work with a partner. (b) Pupils should have experimented successfully with relevant work in pairs before moving into threes. (c) Group work should be resisted until principles and practice of threes work are understood and have been experienced in an atmosphere of trust. (d) A skill must be performed competently and confidently on the floor before it is attempted on apparatus Val Sabin Publications

17 (D) APPARATUS LAYOUT Unless vaulting is the object NEVER set apparatus up in straight lines. This effectively gives pupils only one entrance and one exit. Consequently they will queue to use the apparatus thus cutting down both on their performing time and on the opportunity to use their creativity. Using those same four pieces of apparatus in a different way.... immediately creates many more exits and entrances and therefore more pathways are made available.this will mean that a group of five (using the surrounding floor and remembering that they can go under and across the apparatus as well as along it) can all keep moving and working simultaneously, thus increasing their performing time by 400% and allowing them the opportunity to work creatively. In the construction of any group of apparatus it is wise to remember. (a) The apparatus should have a floor plan which is angled and covers a wide floor area - ( V N Z W E F etc) to give maximum number of exits and entrances Val Sabin Publications

18 GYMNASTICS KEY STAGE 3 - MINIMUM EXPECTED STANDARDS (1) FOCUS ON:- CANON AND SYNCHRONISATION IN SMALL GROUP Most children should be able to:- (a.) In a group travel, jump and turn in different directions using canon rhythm. (b.) Maintain the canon rhythm whilst all perform different movements on different levels. (c.) Synchronise (start at the same time and finish at the same time) with each group member showing different movements, directions and levels. (d.) Create and develop a sequence to show knowledge of canon and synchronisation, group awareness and unity and appropriate use of direction, levels and speeds. (e.) adapt and transfer skills and principles onto suitable apparatus at every stage of learning. Utilise, adapt and develop canon and synchronisation into the choreography of all group sequences throughout Key Stage 3. (N.B.) Specific skills should be taught, reinforced and developed at strategic and appropriate times and pupils should show an increased range in their movement vocabulary. (2) FOCUS ON:- MATCHING, MIRRORING, CONTRASTING AND DEVELOPING GROUP RELATIONSHIPS Most children should be able to:- (a.) travel, balance, jump and turn to match or mirror each other in 2's, 3's or larger groups. (b.) identify and demonstrate contrasting shapes/movements and use them to travel over a partner(s). (c.) understand the need for good body tension, extension and clarity of body shape to create high quality work. (d.) know and use a range of partner / group relationships. (e.) create a sequence on the floor to show matching / mirroring / contrasting and use a range of partner / group relationships. Demonstrate planned changes in shape, speed and direction and use individual linking skills. (f.) adapt and transfer sequences onto apparatus to exploit changes of levels and show planned variations in shape, speed and direction. (3) FOCUS ON:- MATCHING, MIRRORING, CONTRASTING AND DEVELOPING GROUP RELATIONSHIPS Most children should be able to:- (a.) know and identify the five basic jumps and show flight using body parts other than feet. (b.) identify and show flight over a partner without making contact. (c.) understand and demonstrate flight in two's exploiting both passive and active launches. (d.) design and refine at least three different forms of flight in two's. Create a varied floor pattern and show appropriate planned variation in shape and level and be able to repeat the sequence accurately. (e.) identify and demonstrate the basic grips and supports for lifting, lowering and launching in three's. (f.) know and show how to transfer pair and group work safely and creatively onto apparatus at every stage of learning. APPROXIMATELY HOURS ACTIVITY TIME OVER 3 YEARS WILL ENABLE MOST PUPILS TO ACHIEVE THE DEVELOPMENT STAGE STANDARDS IN GYMNASTICS Val Sabin Publications

19 PROGRESSION 6 Warm-up - preparation GROUP 3 GENERAL WARM-UP TAG (i.) Take some general warm-up activities from Group 3 directions to raise muscle temperature and increase blood flow. (ii.) In pairs, jog, stride, side-step and stretch in their own time and their own design. (iii.) Divide the class into the groups indicated at the end of last session. They play their own tag game, to complete the warm-up. They organise it and referee / umpire it. Game (i.) Each group is taken to one of the three types of sites for games. 1 PROBLEM SOLVING Each group is given a copy of the relevant challenge and they organise themselves into a game. They discuss, co-operate and organise themselves. If things are not working, they analyse the reasons why, and think of ways to put it right. (ii.) The teacher walks round and keeps asking questions about: 2 PROBLEM SOLVING 3 PROBLEM SOLVING rules do they make play safe and fair? attacking / defensive play which strategies? area size / shape size of scoring zone, number of goals etc. suitability of the type of activity chosen for the game. is the equipment suitable would the game flow more easily if it was changed? Does the equipment need to be changed to make the activity harder? (iii.) If the lesson is long enough, pupils could be moved onto a second or even third type of game: (Remember they have already played these games Val Sabin Publications

20 in their basic form throughout the lessons of the Link Unit, so this exercise will enable them to explore and develop the game in different ways and recognise the similarities in basic skill production and in attacking and defending strategies.) Cool-down (i.) Each team of 4 or 5 will conduct its own cool-down based on cool-down activities already experienced throughout the unit Val Sabin Publications

21 C WARM-UP Lateral Trunk Stretch (1) Stand upright with feet slightly apart and hands interlocking overhead. (2) Exhale, drop one ear towards your shoulder, and slowly lower your arms sideways. (3) Hold the stretch and relax (for 6 secs) perform the same action to the other side. (4) Can you do this side-by-side or facing a partner - keep together and match or mirror. N.B. Perform this for a total of 4 stretches unless your muscles feel stressed. Val Sabin Publications D WARM-UP Lateral Trunk Twist (1) Stand upright with your feet parallel - shoulder width apart; knees slightly flexed and arms outstretched at shoulder level. (2) Exhale, and slowly twist your trunk around as far as possible in one direction. (3) Hold the stretch and relax (for 6 secs). (4) Exhale and return to the starting position. Repeat the opposite direction. (5) Can you stand with a partner and slowly perform this together? N.B. Perform this twist a total of 4 times Val Sabin Publications

22 1 GENERAL WARM-UP - REACH SWING AND JOG (musical accompaniment Track 1) (This involves rhythmic movement of the whole body, which serves to increase circulation and raise body temperature.) Stretch upwards with feet shoulder width apart. Reach towards the ceiling using alternate arms (as if climbing) for 8 counts. At the same time transfer the weight from one foot to the other and repeat. The arm moves out at the same time as the foot so that on each side there will be a stretching feeling through one side of the body each time. In between the sets of stretches, relax the arms and let them loosely swing backwards and forwards whilst bouncing the knees (x4 swings backwards and forwards). After set of 4 swings jog and travel to a new space using 2 x 8 counts (16 beats) and then begin the set again. Repeat until the end of the music. Challenges:- Can you perform this rhythmical warm-up with a partner (i.e. which relationships - match / mirror, side-by-side, follow my leader etc). Val Sabin Publications (i.) 2 (ii.) GENERAL WARM-UP - STRETCH AND JOG (musical accompaniment Track 2) (a.) Stretch both arms up very slowly into a full, high stretch then open arms out wide slowly and take them down to your sides (take the whole of the phrase of music). (b.) Repeat twice more - then jog about the room to the jogging music. (c.) Repeat (a.) and (b.) until the end of the music. (a.) With a partner work out stretching to one side; slowly taking arms over your head in an arc to stretch on the other side. (b.) Repeat twice more with different stretches, then jog about the room to the jogging music. (c.) Repeat (a.) and (b.) until the end of the music. (iii.) With a partner make up your own stretching movements to the slow phrases and decide how you are going to travel. (iv.) With a partner, use the specific stretches cards A - H (pages 93-96) to select and use on the slow music. Val Sabin Publications